Circa 1980s, Renoma Paris black leather detachable sleeve multi-pocket jacket.
A truly exceptional piece.
Renoma Paris is a French fashion house.
Maurice Renoma, one of its founders, opened the first boutique in the 16th arrondissement of Paris in 1963 alongside his brother Michel.
The boutique, distinguished by its white facade, became known as the "WHITE HOUSE." The concept of curating clothes for oneself and wearing them into daily life—a notion of real, lived-in clothing—gained considerable traction.
The house's approach to ready-to-wear was novel for its time and earned high regard.
From Paris students to figures of international prominence, the brand found an devoted audience. Artists—musicians, filmmakers, and others attuned to personal expression—were particularly drawn to Renoma's vision.
Serge Gainsbourg, John Lennon, Andy Warhol—figures whose names are woven into cultural history—were devoted to the house's pieces.
Renoma Paris, founded by Maurice Renoma, remains a house beloved across generations.
The style and philosophy he established continue to influence those with an eye for fashion.
This offering presents a black leather multi-pocket jacket with detachable sleeves from Renoma Paris.
The multi-pocket jacket has become nearly synonymous with vintage Renoma itself.
It is perhaps most notably recognized through Andy Warhol, the American pop art pioneer, who wore a version during his travels to China.
One would expect variations across years—differences in fabric, silhouette, and detail—among the multi-pocket iterations that Renoma produced.
What distinguishes this piece, above all, is its construction in black leather.
In examining numerous old Renoma pieces, the vast majority are crafted from cotton or cotton-blend fabrics.
Leather examples are extraordinarily rare. This is, without question, a singular specimen.
Beyond the material, its details align closely with that worn by Warhol in China.
Yet this particular example carries a slightly extended length, rendering it more akin to a half-coat in proportions and sentiment—distinct from a traditional blouson silhouette.
The chest presents asymmetrical flap pockets; the hem is articulated with paired zip slash pockets; and small flap pockets are distributed—two on each side—composing the signature "multi-pocket" configuration.
Such detailing speaks to those who seek it, the kind of specificity that quickens the pulse of the discerning collector.
The front closure employs a dual-layer system: zipper and snap buttons in concealed configuration, combining aesthetic refinement with practical utility.
The zip slider bears the mark of riri, the esteemed Swiss manufacturer.
The sleeves detach via zip, allowing this piece to function as both jacket and vest—a two-way versatility that responds to mood and the particular demands of a moment's styling.
This adaptability is among its most valuable attributes.
This example arrives with a quilted liner, removable via zipper. This affords seasonality: wear it through spring and autumn, layer beneath it in winter, or remove it entirely as conditions and inclination dictate.
Flexibility built into its construction.
Worn without affectation, simply layered across the shoulders, this piece reveals its most compelling character.
It aligns naturally with refined, considered styling—tied neckwear and tailored proportion.
It remains indifferent to trend, equally at home in casual or formal contexts. Truly, a piece of uncommon adaptability.
The multi-pocket jacket sees periodic reissue in contemporary production, yet for those inclined toward vintage authenticity, the original from that era holds unmistakable appeal.
Size marked XXL.
In Japanese sizing, this aligns with L to XL.
The actual measurements confirm a generous cut, accommodating those of substantial build without compromise.
It reads equally composed at true size or worn oversized.
Wear is visible—surface friction, marks of use—yet no damage of consequence impedes further wear.
Renoma Paris, a house representing the breadth of French fashion sensibility.
A multi-pocket piece, worn by Andy Warhol himself, is now exceedingly difficult to encounter in the vintage market.
These are not pieces acquired simply through expenditure. Future availability cannot be assured.
As wardrobe, as collection, as design reference—this piece serves all purposes with equal grace.
It surfaces rarely, within or beyond domestic markets. Should you have sought such a thing, or find yourself drawn to pieces of this caliber, this opportunity warrants consideration.
