London Logo Plaid

As this is a follow-up to my Disney-inspired Pocahontas outfit, made for my “Pandemic Princess” series, it is aptly tied to the songs from the 1998 sequel “Journey to a New World”. To Pocahontas in the sequel, that new world is Britain, specifically London – “What a Day in London” song.  With her visit (following her marriage to John Rolfe in real life), her history became even more deeply linked to both Britain and America – “Between Two Worlds” song. I couldn’t think of a more glaringly ironic match (in many ways I will address later on in this post) than for me to make a trench-style coat made of cheap but iconic English Burberry plaid fleece.  Yet, the logo plaid must not have been out of place in the forest as a wild deer was photo bombing me throughout, totally edging in on my spotlight – “Things Are Not What They Appear” song.  Beyond adding a watermark, these are real, unaltered pictures!  How can I brag about my coat when the deer has an even prettier, more useful one on her back?!?

This was yet another one of my many remnant stash-busting projects.  I only had one yard of Burberry plaid fleece, half a yard of black fleece, and leftovers from other projects to help me finish this one off.  Yay for a smart use of fleece, the fabric I love to hate, in a print I very much enjoy!  This coat is a very versatile and a breathable weight of warmth.  It was a quick undertaking which ended up looking much better than I imaged it might.  My projects which use up scraps really make me inventive in a way for which I am proud.  In conjunction with that incentive, my “Pandemic Princess” series is also inspiring me push my Disney dreams farther than just one outfit per leading lady.  Oh, what have I started!

THE FACTS:

FABRIC: the exterior black and Burberry plaid fabrics are polyester fleece, the inside lining is burgundy polyester crepe (leftover from sewing this 1930s lounging robe), the inner layer is pre-quilted cotton covered batting, and the under collar together with the front facings are cotton sateen

PATTERN:  Simplicity #1320, year 2014

NOTIONS:  I had everything I needed on hand already – interfacing, a few buttons (ornate brass ones, leftover from this historical skirt), and lots upon lots of thread.

TIME TO COMPLETE:  This coat took me about 25 hours to make.  It was finished on February 19, 2021.

THE INSIDES:  any raw edges inside are cleanly concealed by the full lining.

TOTAL COST:  As I have had the two fleece remnants on hand for the last 10 years, and the all other supplies were leftover from past projects, I’m counting this coat as free!!!

The prestigious Burberry Company began in 1856, but found its home in London by 1891 when Thomas Burberry opened a shop in London’s West End.  Thomas Burberry is credited invented and patenting gabardine in 1888 – the breathable, weatherproof and hard-wearing fabric revolutionizing rainwear – which up until then had typically been heavy and uncomfortable to wear.  Then, its fine, waterproof outerwear happened to make the term “trench coat” an anchor in fashion history by having an adapted version of his “Tielocken coat” the standard issue for officers during World War I.  The recognizable Burberry logo plaid was then introduced in the 1920s.  Afterwards, in the 70’s and 80’s, the brand’s tartan print suddenly was no longer solely worn inside their garments as a lining when it turned into a preppy U.K. elite symbol (aka, the “Sloane Rangers”).  It became a visible status symbol.  Yet by the next decade, it was also one of the most widely counterfeited brands of the turn into the 21st century.  Over the years, Burberry has evolved and today it’s much more of a lifestyle brand that you can see on catwalks and fashion shows – no longer just known for making a trench coat.

British soap opera star Daniella Westbrook in that infamous head-to-toe Burberry outfit of 2002

In the late Nineties, the Burberry print began a trendy revival courtesy of the “logo wave”, which was all about sporting Gucci belts to Chanel bags and Louis Vuitton wallets.  As a teen at that time, I was one of the biggest fans of the tacky, over-the-top usage of the knocked-off Burberry tartan on anything under the sun.  (Oh, what was I thinking!?!)  Now, I am much more restrained but still enamored by the fashion plaid print.  All I ever bought of the Burberry brand as a teen was an expensive Pashmina Burberry neck scarf at a fine retailer and the brand’s classic eau de toilette.  Now, I am breaking out of that shell by making of this coat.  I’m returning back to my teenage fascination and half reliving something I never got to do growing up…only half because this is not a true, trademarked Burberry material.    

I am not one for brand flourishing myself – of course not, when I sew my own clothes.  Yet, a Burberry plaid is my long restrained weakness.  At the same time, however, it is so gaudy in my mind that I never knew what to do with it or how to pair together with a pattern.  I figured to tone it down with a darker contrast remnant on hand and – even though both cuts are only cheap fleece – treat them like a finer coat fabric to hopefully end up with something which might not be tacky.  At least the coat turned out better than I expected while being nicely tailored and cozy warm!  This was a successful experiment and yet also a weird one to see finalized after all these years.

I sort of blended the lines between a trench and an over coat, just for practical purposes. A trench coat is designed to protect you against rain while an overcoat is designed to protect you against the cold. A trench coat is lightweight while an overcoat is heavyweight.  For my coat, the fleece outside is fluffy polyester, so it really doesn’t get wet easily even though it is not waterproof.  I tested this truth out later the night of our pictures when I played in our son’s snow fort, which was beginning to melt.  I stayed warm and dry and most of the wet snow either rolled off or could be brushed off of me.  Usually one has to layer up to be warm in a trench coat because it is merely supposed to be waterproof appropriate gear for all seasons.  Yet, I am a person sensitive to the cold so I upped the game on my version with the cozy quilted cotton layer between the exterior fleece and polyester lining.  It is a coat which is in between lightweight and heavyweight, as all materials are pretty lofty load individually. 

This is still double-breasted like a proper trench coat, with a large stormproof collar that can be turned up enough to completely protect most of my face from the elements, if I so need.  However, my coat’s collar is wonderfully modern in the way it is asymmetric and the tailored princess seams and color blocking reflects the new fitting and color options which the new Burberry line has to offer.  The length of a trench coat is traditionally to just below the knee. However, nowadays one can find trench coats in various lengths: full, knee, three-quarters and short.  So I suppose I can call this a very personalized, updated version of a 90’s Burberry inspired trench coat.

Amazingly, this was a very easy coat to make, even with complicating the construction by fully lining and layering it.   There are no darts, no chalk markings to make, and every seam is straightforward with first rate shaping drawn into the seam lines.  The fit was spot on, too.  I went up one whole size because I was planning on adding extra layers into the coat and that was to right move.  I have full and unrestrained freedom of movement.  More or less, I cut out 3 whole coats – fleece, quilted cotton inner layer, and lining poly – so I was happy the two pieces for the front (doubled into four) and two pieces for the back (double cut sides with one center on the fold) were simple.  The facings and the under collar had sew-in interfacing to back them up as they were a thinner material in key areas which got double-breasted and needed structural support. 

I did sew each layer to the coat separately, but hand tacked the quilted cotton inners to the eternal fleece plaid along their matching seam lines “in the ditch” to eliminate shifting of the layers.  It was important remember to shorten the sleeves and the bottom hem of the quilted inner layer by cutting off 1 ½ inches.  It is very difficult and bulky to hem quilted cotton and thus I wanted to account for the turn-under hemming to the fleece and lining only.  I also had to make the seam allowances ¾ inch to the quilted cotton and poly lining so the inner layer fits inside as slightly smaller than the eternal coat layer.  I found out some these tricks of how to work with pre-quilted cotton material (as well as how breathable but pleasantly warm it can be) as I made this 1940s jerkin vest for our trip to Denver, Colorado back in 2019.  I also knew from making this 60’s cocoon coat how shifty fleece could be when you try to sew it into something structured.  So, I combined both of what I learned from two separate winter past projects into this newest, latest, dare I say, just about the best coat I have finished so far.   

I like the unusual and slightly easier route of making handmade chain stitched thread loops along the right front closing edge in lieu of buttonholes.  The fact it is black on black color along the front is the only way I like this feature, otherwise I think thread loops would be too weirdly obvious.  The instructions called for fabric loops.  However, I know how those sort of things are fussy to add in a seam and more often than not pull out of a seam anyway if not anchored to a base of some sort (seam tape, bias strip, etc.) along the seam allowance.  I used heavy upholstery thread for making my coat’s thread loops and attached the loop bases to the interfacing inside the coat edge, so these closures are definitely stable. 

For some weird reason, my last Pocahontas inspired outfit finally gave me a decent idea as to what to do with long hoarded, one yard remnant of Burberry looking fleece.  Luckily, I was able to sew it together quickly enough to take advantage of the same photo shoot against the breathtaking backdrop of my favorite creek after the most recent snowstorm.  This coat’s earthy colors pair nicely with my Pocahontas separates (in the previous post), but also work well as an item from the era of the release dates to the Disney films.  All the elements I desired for this project were fulfilled, only Pocahontas’ Disney story is the opposite of everything this logo plaid stands for.  At the same time, it suits her aesthetic so well at the same time.  Let me explain.

I like using irony to drive home a point.  Pairing an overworked fashion print with the raw, pure beauty of nature is amusingly contrary enough.  Yet, modern fashion is synonymous with the throwaway culture severely detrimental to our world of today, threatening the very existence of living things, and fleece is one of worst offenders being a petroleum-based product which will not break down.  Thus, I only use fleece when I do because it is already on hand in my stash from before I became more conscious of the environmental impact of what we wear.  For many years now, fleece is something I will not buy and love to generally hate (ugh, plastics).  However, I am a firm believer in making use of what one has, and doing that effort well enough so that item lasts.  I believe this is the most sensible thing to do with questionable products such as fleece.

Hopefully what I have done here would be Pocahontas approved if she knew where I was coming from with my reasoning.  It does have colors I believe she would like – after all, a deer I met out in the wild didn’t seem to mind one bit!!

“For whether we are white or copper skinned
We need to sing with all the voices of the mountains…

You can own the Earth and still
All you’ll own is Earth until
You can paint with all the colors of the wind”

“Retro Forward” Burda Style – “Hot Stuff” Cocoon Coat and Poster Dress

What you wear says something about you, whether or not you want that to be the case or whether you even want to get anything across.  How would an army-to-army battle be fought in the buff without clothes to identify sides of the combatants, after all?  How else did the upper classes of the past undemocratically distinguish themselves from their peers not so well off?  Well, since the last 50 years clothes evolved into something more…as an opportunity to purposely, inaudibly, make a message, declare a challenge, signal protest, or be the spark of a conversation using written expressions.  Today, more than ever, fashion is re-imagining the 1968 poster dress, slogan tee, and op art garment trends in its own way to truly make powerful statements with what is worn.  You can literally wear your heart, your convictions, or your idealism on your sleeve nowadays for all to see, and we don’t realize how lucky we are for this, something we take a bit for granted in an era where every tee or pants bottom has a slogan.  It’s the golden anniversary of this freedom, and I’m celebrating with a fun, mild little version of my own.

Not too often do I go for shock value…with what I have said above, now I have a good reason!  Under my cool and classy ice blue coat is a silk dress printed with advertising labels containing four letter words (“Well I feel damn sexy today!), even though a bit subdued due to their small size.  This is the outfit of bold contrasts and complimentary contradictions.  My dress is light, airy, and flippantly playful in earth toned silk, leather, and an A-line silhouette.  My coat is lofty, warm, dressy, and feminine, as sharp as an ice crystal, yet made out of one of our modern era’s most crafty, over-commercialized material – fleece!  My coat is definitely not body conscious, with its voluminous shape silhouette concealing, while the dress is practically the opposite, with more leg and general skin baring than is my norm.

 As I said, I was inspired by some strong 60’s trends here – both the in-your-face poster dresses as well as the shape-disguising cocoon coats made popular by the likes of Balenciaga and Cardin, the Après ski culture, and popular movies.  Using two great Burda Style patterns, I have now come up with an outfit that is part 2018 and part retro flower child era, all the while designer inspired.  This post is part of my ongoing “Retro Forward with Burda Style” Blog series as this is a modern take on 60’s styles.

Our home town’s downtown was the appropriate backdrop for our photos.  As a river city town, we have a long levee wall to keep the water at bay.  Along that wall, there is a concrete ‘canvas’ (allowed by the city) open for graffiti and street artists.  It is a wonderful, organic, and ever changing platform for a very interesting, creative, and sometimes rebellious way for expression.  This medium doesn’t always have a mainstream outlet, so it attracts quite a number of visitors and quite a variety of talent, as you can see.  For an outfit centered on the 60’s idea of self-expression in a semi-shock value sort of way, I couldn’t think of a better equivalent in the built environment of the city than our river levee graffiti wall.

THE FACTS:

FABRIC:  The Coat – The outside is just your basic anti-pill fleece, and the inside is fully lined in flannel backed satin…yummy warm!  The Dress – a 60% silk, 40% cotton blend semi-sheer fabric, lined in a soft finish crepe poly.

PATTERNS:  Burda Style’s “Long Coat” #104B from December 2015, and their “Sixties Shift Dress” #106 from July 2016.

NOTIONS:  Amazingly, the only thing I specifically bought to finish this outfit was the plastic “crystal-look” buttons for the coat.  Everything else (notion-wise) was on hand – a 22” invisible zip, thread, snaps, interfacing, and bias tape

TIME TO COMPLETE:  The coat was finished on December 7, 2017 after maybe 20 to 30 hours.  The dress was made in about 10 hours and finished on January 20, 2018.

THE INSIDES:  Both the dress and the jacket are fully lined, so…what insides? I don’t see ‘em!

TOTAL COST:  The light blue fleece was bought probably 6 years back on deep discount for a few dollars a yard, so I went crazy and bought 6 yards of it and I only used 3 for the coat…so I have plenty leftover still.  The silk was bought online at an Etsy seller and the faux leather is leftover from this 40’s purse project.  Other than these fabrics, the linings were bought at Jo Ann’s fabrics specifically for my project.  I’m supposing my total is about $10 for the dress, and $20 for the coat…what a deal!!!

Both these pieces were time consuming and challenging, but they were so satisfying to make because I was making a creative idea from my head a reality.  Making a coat is necessarily labor intensive, but the dress and some of its detailing took more time than I expected.  However, I like a garment that I can be just a proud of inside as well as out, and I want my clothes to last, so I feel they deserve the extra time and I deserve finding a way to take my time to enjoy my sewing better!  Rome wasn’t built in a day and a good garment isn’t either without something being sacrificed, I would think.

Now, as for any Burda Style pattern, printing and/or tracing is necessary to have a usable pattern to lay on your desired fabric.  My patterns were traced from the inserts in the magazine issue, but they are also available online as a downloaded PDF that needs to be printed out and assembled together.  What works best for me is to use a roll of thin, see-through medical paper to trace your pieces out.  It’s at this preliminary step that you pick out your proper size and add in your choice of seam allowance width.  A scissor with a magnetic ruler guide helps immensely to quicken along the step to getting a finished pattern prepped.  Sorry to repeat something you might already know, but this is just an “FYI” for those that don’t.

The sizing of both garments was pretty much spot on, without much extra fitting needed, yet I did  some departures from the original design lines.  I’ll start with discussing the coat, and firstly, the sleeves. They were so very, very long, just by leaving off the additional cuff piece they came to a good length on my arms.  The sleeves do have the most beautiful seaming, though, especially where they join the body of the coat.  At the top sleeve panel, they are “epaulet style”, continuing the sleeve to run right along the shoulder top into the neckline.  But then the bottom panels join in as a raglan style to make a sleeve that has first rate seaming and is gently set-in the main body.  What an unusual but amazing combo!  Many cocoon coats, especially the ones first created by Balenciaga in the late 40’s and early 50’s, and many of the others made by his fellow couturiers, all had deep cut kimono or dolman sleeve, or at least a sleeve that had a similar silhouette that tapered into the waist and offered generous ease of movement.  This was part of the reason they were so popular with the Après ski culture that exploded in the 60’s when people saw movies such as “Charade” with Audrey Hepburn, “Help” with the Beatles, or the James Bond escapade “On Her Majesty’s Secret Service”.  These coats are easy to move in yet look good on their own accord, and offer full movement.  The excess material around the body only keeps the wearer warm.

The back bottom hem panel to the coat was also very long in length, so I cut that down by half in order that my coat would end at my knees, what a proper longer length cocoon coat should do.  Thus, my coat ends up being a length which is in between the “A” short version and the “B” long coat of pattern #104.  The idea of the general shape of Balenciaga’s cocoon fashion was to liberate the waist with flowing lines that carry their own beauty in the tailoring and shaping of the garment itself.  The defining points to a cocoon coat, however, is the neck and the knees, the two ends where the coat tapers in to slenderize the legs and highlight the face.  This coat has great design lines that do just that with the front French bust darts, the horizontal back bottom panel, and the angled, sun-ray style darts which radiate up and out from that.  From what I have seen of cocoon coats, many have an open, basic neckline.  Nevertheless, I added a small self-drafted collar at the neck because there’s no use for a warm and cozy coat that lets my neck freeze!

The pattern called for giant patch pockets to be added on the front of the coat, but that would ruin the classy streamlined look I was going for with it.  So I added pockets that were set into the French darts!  I think this one touch was the best thing I could have done for this coat!  The pockets also end up filling out the coat right over the low hip area so that it has more of a cocoon shape – this was a bonus I did not see coming but I really like it!

This coat was a project on my backburner queue since the pattern came out in 2015.  However, it wasn’t until I saw light blue coats popping up everywhere this past Fall-Winter season, at different stores, from different designers, and even on the back of one of my favorite actresses, Hayley Atwell, that I realized now was the time to pick up that idea and make something of it!  This Versace set from their Spring 2018 Ready-to-Wear collection, with its ice blue coat and Vogue poster print dress, was the first real impetus that inspired me to pair two 1960’s trends together in a modern way.

The leather piping is the most obvious out-of-the-ordinary addition that I made to the dress, yet I think it also was the best touch.  It brings to attention the awesome geometric cut to this dress that wraps around my arms, over, and down the back of my body, as well as bringing out a whole different “feel” to the general color scheme and texture.  I did take out the horizontal waist seam all around the front and back, mostly because I did not have much fabric to work with (only one yard) but also because I did not want to mess up my silk’s print with extra seaming.  As my dress is fully lined, I did not have to bother with using any of the facing pieces the pattern provided.  The full lining not only made my dress opaque, and covered up my seams inside, but some leftover scraps of it were also used to add in some small side pockets.  My pockets are basic and in the side seams to (again) not cut into the print, since the instructions directed to add welt pockets into the front.  Welt pockets are not my favorite thing to do, anyway, but I did install an invisible zipper down the back!

The faux leather neckline detail has that hint of a plastron-armor type of feel to me, but it does make for a lovely neckline or at least a good place to highlight a statement necklace, as I have done.  Beginning circa 1967, fashion was all about experimenting with novelty materials, and mixing them with contrasting traditional fabrics.  They did have many plastron front designs (I’ve made one myself) and several armor-like dresses in the late 60’s – especially when it came to the metal and chainmail garments of designer Paco Rabanne  or the plastic armor in the film Barbarella.  For the neckline addition, I made it slightly different than the pattern.  Mine is wider and more geometrically simple to match with the dress, versus the curved, tiny design as what the pattern originally planned.

I have worked with many 60’s patterns and this Burda dress felt like a true 60’s pattern, I must say.  I’m impressed!  It has the angular corners that the late 60’s loved (thanks in part to Pierre Cardin), the traditional pair of small back neck darts, and the normal, lovely, A-line silhouette with ever so slight body shaping that I enjoy about fashion of the flower child era.  I know certain “dress doctors” mourn the 60’s loose and youthful styles as the end of tailoring and the introduction of sloppiness.  Often these kinds of fashions were part of a certain desire to stand out, be different, or perhaps a bit rebellious, and are certainly not for everyone.  They are nonetheless a significant part of history.  Text and wording on these fashions didn’t come until about 1968, but even before then they were a statement in themselves.

Now, I’m not saying that wording isn’t to be seen on what people wore before the 1960’s.  Yes, there were many novelty prints in the 1940’s and 50’s that discreetly hid small doses of words which were often song lyrics or famous persons’ names (see this vintage pj top or this Elvis skirt for only two examples).  There are cultural uses of text in traditional African khanga to list out proverbs or words of wisdom to suit special occasions.  Earlier in the past century, women who were protesting the First World War or standing for women’s’ rights had sashes, ribbons, and badges which sported the words of what they believed in.  However, the wording was never (to my knowledge), before circa 1968, directly on the fashion garments themselves, and it was never before advertising or a personal or highly political statement.  The paper poster dresses where the first wave of this methodology – with the Cambell’s soup dress, ‘Nixon for President’ dress, the Newsprint dress, and the op art dresses.  The trend has spread like wildfire since.  Beyond the paper poster dresses, about the same time Pierre Cardin borrowed from the Lacoste crocodile logo idea that started in 20’s, and began the now universal practice of visible designer logos announcing themselves on clothing so one can obviously brag who ‘made’ their clothes and how much they spent.  We now have words, messaging, and advertising overload everywhere.  What would 21st century life be without your basic favorite printed tee?!  As New York-based artist Susan Barnett has said in her interview with “The Guardian”, “slogan T-shirts…tell us about the wearer’s identity. ‘It’s about how people use their bodies to send a message about who they want us to think they are.’”  Thanks be to what was going on in history and who was alive doing the moving and the shaking 50 years ago.

We should all be aware of the power that fashion has nowadays with the black dress code for the Golden Globes.  But it’s becoming more than that, in a way that reflects upon the wearer as well as our unconscious perception of the wearer, even if their clothes are not so subtle.  Just a year ago, Dior’s first female artistic director, Maria Grazia Chiuri, had her first collection begin with a basic white tee printed with the slogan “We should all be feminists”.  Now, there are even collections so overly cued into the political climate that the newspaper garment has official made a comeback!  See my picture of the newspaper Poster dress 1967 next to Alexander Wang’s “Page Six” collection for Spring/Summer 2018.  If this keeps up, I wonder when fashion will need to be protected by the laws of our First amendment right for freedom of speech.  Just like in the 1960’s, it seems as if these collections are catered to the younger crowd, our Millennial age group, the 18 to 35 year olds.

My own advertising dress is nothing so serious or political.  There isn’t any such a thing as “Bonobo Jeans and Underpants” that I can find before 2007, so this print is a spoof.  Making something of it is meant to merely push my boundaries so that I can understand history by making my own small part of it.  Besides, the print does make me laugh and blush at the same time in a way that I uniquely love.  “I can clean dishes and wear tight edgy underwear!’’, “Designed for fun!”, and “We shape nice butts” are all on there.  I love how I inadvertently had “Somewhere beneath” with the masculine eyes along the bottom hem – it’s too funny.

Finally, this brings me to explain my title.  One of the logos on the print is, “Hot stuff for all to see!”  Yes indeed, I do feel like the dress is pretty close to being hot, and it’s so thin and lightweight it’s definitely made for hot temperature days, anyway.  The coat is so warm and cozy, it is better than our best bed comforter at insulating.  I’m supposing it’s the flannel and the fleece together, with the satin to keep the heat in.  I suppose a man-made, non-breathable fabric is good for something after all!  I certainly do need to dress for summer underneath this coat, otherwise I’d burn up.  It’s unexpectedly the warmest coat I now have, so it deserves to called “hot stuff”!