The collar dimensions would depend on the coat size, absolutely, but they would largely be to scale with the movie coat specs regardless. This is simply not the case with Magnoli's collar. That picture of Ryan Gosling is just to show that the collar is big in relation to the wearer's head/face.
My coat collar doesn't crumple, incidentally... this might be due to the shearling, larger dimensions and added weight by two coats of waxing.
And yes, I meant to say 'piping'. Thanks for the correction. To my eyes, that would-be piping around the the edges of the lapels matches the the piping around the shoulder panels, as seen here.
View attachment 1519000
What I mean is that the effect you are referring to is not caused by piping or cording. I am almost certain that is the result of the amount of material used in those spots (which has a large effect on how areas like the shoulders and collar function).
What happens when you see these areas is the machines tension on the thread puts the stitch in the center of the stack of material. When you do multiple rows like this, it compresses the line of stitching, pushing material up and gives the raised effect between the rows. Think of tying a string around something soft, like elastics on a sleeping bag - the tension makes the outer edge plump up.
You could imitate this with cording, but it would most likely look *very* rounded.
The crumple on the right side of the collar, or lack there of is caused by a few factors : weight of the canvas or other shell material(s) used, the weight of the faux shearling, and potentially any material between the layers of canvas (interfacing, canvassing used to structure suits, insulating materials, etc) and whatever the process was to "laminate" the material. Without tearing open a screen used coat, it's guesswork as there would be a difference between even using cotton vs poly liner materials.
That guesswork is largely the same for the rest of the dimensions of the collar as well. I agree it definitely is not a consistent width ( like how a collar stand on a dress shirt tapers towards the closure) but there is more to the gestalt of the collar than it's initial shape, of which I don't think anyone has totally nailed, but it's an area that has to function as designed as much as it need to be shaped "correctly."
Soft parts are a lot different than hard edged parts in terms of design and getting them to fit each individual the way they look in a film.
I've had a lot of experience with this in particular with the coats made for Han Solo in ESB. The collar on that jacket is really surprisingly long and sits quite low. However, scaling that to a larger fellow with say a 48 inch chest, makes the collar look way, way too long, and sit too low, throwing the fit off significantly. It also looks off when the collar sits higher like a Nehru jacket. It looks good, but not necessarily "correct."
I guess this is all to say that there may be two goals here:
1) Replicating the garment worn on screen
2) A functional coat that replicates the look of the jacket worn on screen.
Where 1 would be replicating the same sizing as Ryan Gosling wore and 2 be making a jacket with those features that fits the wearer.
It was customized for the actor.
