Last year we did a series of articles analysing four of my overcoats from different traditions: Sartoria Ciardi, Cifonelli, Liverano and Edward Sexton. They were discussed, measured and picked apart in the ‘Style Breakdown’ format that also formed the basis of the book Bespoke Style.

There was one, however, which we didn’t have time to include, and it was probably the most unusual – the ‘Body Coat’ from the tailor Michael Browne, which he made for me five years ago.

The coat has some interesting making aspects that are worth delving into, quite apart from the obvious style ones.

 

 

House: Michael Browne

Address: 15 Bruton Place, London

Site: michaelbrowne.eu

Cutter: Michael Browne

Price (at time of writing): £8500 (incl VAT)

 

Perhaps the most evident visually of those making choices is the front edge. This long, sharp line than runs from the lapels down to the very bottom of the coat is actually quite soft. 

Most tailors clamp that front edge with hand stitching, to stop it moving around or losing shape. That goes for jackets as well as coats, and for most tailoring traditions. 

But Michael puts only subtle top stitching along there, relying on the rest of the make to keep the line straight. This is harder to do and in some ways makes the coat look more like a ready-to-wear piece than a bespoke one. 

Or to put it another way, it does something the hard way in order to achieve a deliberate effect – something you could say about Michael’s approach to bespoke in general. 

 

 

Something similar is done along the bottom edge of the coat – as shown in the image above. 

That wide navy panel on the right is the facing – the back of the long line we just talked about. Usually this would finish at the bottom. Instead, the hem (that thinner line of navy material running left to right) is prioritised, running to the corner instead. 

This is again done for particular effect, to make that bottom edge cleaner and sharper. 

 

 

There are details like this all over the coat, including the way the collar is made. Then there’s the beautiful finishing on things like the lapel buttonhole (first image above) and the neat hidden button on the cuff (second image).

That finishing is the best of any of the coats in this series, on a par with Cifonelli

The design aspects of the coat aren’t all comparable with the other coats in this series, as this is a single-breasted and those were all double. But you can certainly see the distinctive style Michael is going for. 

The most obvious things are the closer, jacket-like fit, the simple two buttons, and that clean back – simply sliced by the box pleat in the centre back and a long vent.

 

 

But I think the style is actually more down to subtler things, like the relatively small notch on the lapel (which makes it appear wider) or the dead-straight breast pocket with its slightly thinner welt. 

These are the kinds of things that really show a designer at work, in a way that rarely happens with more traditional tailors. Edward Sexton, of course, is another in our series that has a distinctive design, but it’s still one that originated now 50 years ago. 

I find Michael’s style very satisfying, because it is so distinctive yet (in this material at least) rather subtle. 

Most of the time I wear it with things like these charcoal flannels, a navy knit and a pair of black or dark-brown shoes. It looks very stylish yet understated, and seems to draw a particularly large number of compliments. 

 

 

Interestingly, though, I struggle to wear it with anything other than these quite conservative pieces, in dark colours. Somehow the design is unusual enough to stand out quite a bit if other things do so too – like a silk scarf, pale-coloured trousers, or contrasting shoes. So in that way I haven’t found it anywhere near as versatile as a normal navy overcoat. 

Another disadvantage of the style is that the close fit makes it more likely alterations will be needed. You only have to gain a little weight and Michael’s things require letting out, as this one has been for me since the photos were taken last year. 

This is an interesting topic, because you would think a close-fitting coat would be no more susceptible to alteration than a loose one. After all a tighter coat needs altering only if you get bigger, not smaller, and a looser coat would probably need altering if you got smaller but not bigger. So the difference is only which direction you go in. 

But actually I’ve found roomier jackets and coats are less likely to need alterations even if you get smaller. Partly this is because the change is less noticeable – tension lines from being too tight are more obvious than a little excess from being too loose. 

But also I think it’s because roomier jackets are already made – in their cut, in their structure – to look good when roomy, so a little more room isn’t a problem

Anyway, one for another piece perhaps and certainly the input of a tailor or two. 

 

 

The last thing we need to mention is the price, which has risen from £7500 (including VAT) when I had it made in 2019 to £8500 today. That 13% increase is pretty much on a par with other bespoke tailors, but remains a very large amount of money. 

As I said in the original article, it’s hard to make any kind of case for spending that on a coat, except that if you are going to spend it, this is exactly the kind of workmanship and taste you should expect. It remains better value than the designer brands that can each similar prices. (And it’s still less than Liverano…) 

Style breakdown:

  • Shoulder width: 6½ inches
  • Shoulder padding: Light
  • Sleevehead: Moderate roping
  • Lapel width: 4½ inches (SB, notch lapel)
  • Gorge height: 4½ inches
  • Outbreast pocket height: 11½  inches (shoulder seam to bottom of pocket welt)
  • Buttoning point: 194½ inches 
  • Back length: 44 inches

Other clothes shown:

  • Permanent Style ‘Finest Crewneck’ in navy
  • Hermes silk stole
  • Whitcomb & Shaftesbury bespoke trousers in Fox Flannel
  • Cleverley bespoke black oxfords

Cloth: 90% wool, 10% cashmere; 986021 from Holland & Sherry

 

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Nils

It really is a magnificent piece and you can tell the tailoring is a labour of love. If you comissioned it now, would Michael still make it this closely fitting?

Brad

The workmanship is first rate. Stylistically it looks too much like a frock coat for my taste. It is too close fitting to wear as an overcoat, and too formal looking to wear on its own.

Joe

Agree with Brad here – the style is not timeless, but of a time. That’s not a bad thing and in person I bet this baby just sings.

David

Simon,
A fine piece of tailoring which now looks like it belongs in a museum.
Five years ago I considered this type of detailed tailoring to be démodé – now it looks positively Dickensian.
I suspect the cost per wear is stratospheric!
Regards,
David

Misbah

Apparently bespoke pays it’s way when the 2nd generation wear it.

Sean

Beautiful coat Simon! Huge fan of Michael’s sleek, modern and masculine design. Looks like a typo on your “Buttoning point” entry

John

I had a dinner suit made by Michael last year and he was very collaborative and open to any stylistic changes (curved breast pocket, lower button point and gorge, more open quarters etc), though obviously went to him for his distinct look and craftsmanship so is still very much a Michael Browne suit. I will say, having had pieces made from a number of well known tailors in UK and Italy (though a fraction of what Simon has had done…), Michael was the most thorough, considered, and fastidious tailor I’ve ever come across and truly enjoyed my time with him. It was the first time I felt I could really go down the style/bespoke rabbit hole with a tailor. The suit fits perfectly and precisely with unbelievable finishing, as Simon said, is a great incentive to stay the same size!

Amon

The Details really do shine on this coat, great artistry at work!

TAC

I’m surprised to hear that the coat isn’t more versatile. Do you think a different color (grey or charcoal, or even an oatmeal) would soften the look, or is it a result of the cut more than the color?

Anton

It really is quite beautiful. At a first glance it’s obviously something special but it’s hard to pinpoint exactly why it feels that way since no detail in particular stands out.

Is the Hermes stole vintage? I never see plain scarves from them these days. Only wild patterns which are not really to my taste.

BB

Sublime.

NL

Hi Simon. I noticed on the H&S site that the cloth is under the 13-16oz weight.
With it being a ‘lighter’ overcoat and cut close, would you say it’s mostly worn in Spring and early Autumn seasons (UK)?

Dario

Looking at the pictures from the first article, with the rollneck and front shots that emphasized the fit at the waist, it looked like something more unusual/dramatic.
In these pictures, especially from the front and from a certain distance, like if I was running into you on the street, it looks like a standard navy overcoat, so I am also surprised to hear it’s not more versatile.

Kenneth

Good morning..greetings to you all..Michael Browne is one of the best of the best…the coat looks fabulous..Simon it looks great on you..you will receive many compliments whenever you wear it..peace

Mike

I hate to come across as negative but I’m not as fond of this piece as your other coats. As a piece of tailoring it’s very nice, and it has some great style details, but it’s either too showy or not showy enough, I suppose. Like, it wants to be plain but isn’t. And 2 buttons seems like one too many or one too few.

As you note, maybe it’s the tighter fit, or maybe it’s that it’s being worn over a crew neck (no collar), but it looks too formal to be casual. That said, I’d be interested in seeing it worn over something like denim and chinos, as an autumn layer, to get a better idea of how it could work as a kind of jacket substitute. Maybe subverting the formality could give it more usefulness?

Also, I’m glad you shared that image of the back pleat open as it’s kind of, well, Eye of Sauron-esque might be a kind way of putting it. I was wondering if curved seams might be better (though perhaps more costumey) but your Sexton has them; gotta diversify!

At any rate, the important thing is that you enjoy wearing it when you do. I understand it was a deliberate commission, so perhaps all my perceived weaknesses are in fact strengths. Not everything needs to be versatile and conservative.

Alec

“”you would think a close-fitting coat would be no more susceptible to alteration than a loose one.””
I feel that a lot of the charm of close fitting garments comes from the structure, the lines from shoulder to waist. If the customer puts on weight, the tightness is immediately visible and very unflattering. Letting the garment out removes the tightness but you lose some of the drama of the original silhouette.
A looser fit is less dramatic but more forgiving.

Alexander

Simon – do you have any advice on how to keep this outfit looking interesting once you are inside and have to remove the coat and scarf?

Uncle S

Sorry Simon,

Long term follower of yours here. Who on earth is paying 8500 pounds for a coat? Yes some rich London/business types but for the common (even relatively well to do person. Think lawyer/doctor. The price of 8500 is extortionate.

Uncle S

“Immense value in the coat” as the labour costs charged by uk makers is quite frankly an extortion.

Travel to the outskirts of Napoli and you will find time and expertise like no other. Price is more fair and in keeping with what you pay for.

This is a clear example of the emperor’s new clothes I’m afraid.

The coat should be rightfully expensive as you say however you get to a level of money where it’s ridiculous. Ferrari offers fundamentally a complete different driving experience when compared with a mainstream maker (engine layout, weight, engineering). What is it about this coat specifically which allows such a high price to be charged ?

Chancellor

Extortion also implies one was coerced into paying that amount, which obviously was not the case here. It is a loaded term.

I think this is about how much something is worth to every individual. I don’t think this coat is worth the price to me, but I’m happy it was to you and you had the opportunity to buy it. I will spend my money on something else.

Ollie

Hi Uncle S, it may seen extortionate or hard to believe from your perspective (which I can understand), but as someone who spent more than that on my most recent coat (from C&M), I can assure you there are people out there willing to spend that and beyond.

The Liverano Ulster comes to mind too, which is more than £12k if I remember Simon’s article correctly, and given Liverano is popular, I doubt they’d be charging what they do if the demand wasn’t there.

I couldn’t justify spending that on Liverano, because I (perhaps mistakenly) believe the high price in Liverano’s case is due to popularity and demand, rather than precision (ie. The finishing on MB and C&M, from what I understand, is better)

You could also compare the cost to brands like Loro Piana, Brunello Cucinelli, etc — where last time I checked, you can get suits that are MORE expensive than some of the most expensive tailors… without the time or work.

It depends on what you value, right?

I for one couldn’t justify spending much on a car, and I think spending £250k on a Ferrari is extortionate, because I have no interest in cars (while appreciating others would be willing to pay beyond that… if they can afford it… because they value what goes into cars).

But with tailoring? I value the attention to detail, precision, and the pursuit of mastery, tailors, cutters, and coat makers have gone through to achieve extraordinary standards. It also bothers me if finishing isn’t pristine on the outside and inside.

As with most things that are “the best in the world”, you can’t really justify with a “value per £££ spent” mindset… because there are diminishing returns the higher you go for cost per % improvement.

Shoes are a good example of this…

a £500 pair of shoes might be much better than a £250 pair. But a £1500 pair might only be slightly better than a £500 pair comparatively speaking.

Some people value those subtle improvements enough to justify the extra cost, and some don’t 🙂

IMG_9428
George

Hi Simon,

I am soon moving to NY and, with the current temperatures there (next week the min is due to be -14C and max -5), I am considering a new winter coat (and indeed potentially other winter clothes) to wear with a suit to the office come winter time. I have a few questions I’d appreciate your thoughts on:

– I have overcoat that was done with a 480g (wool and cashmere mix) cloth. It is quite long (similar to your Sexton one) and it covers me for near-zero temperatures but likely not enough besides that. I am thinking of doing something extremely heavy for extreme winters. What type of cloth — and, importantly, cut — do you recommend? The one I have is a DB peak lapel but I was wondering if something ever more closed off would be appropriate.
– How do you evaluate brands like Canada Goose and Moncler (or similar)? Do they have a place in a man’s wardrobe or are they not elegant enough, especially in the context of wearing it on top of a suit to the office? If you’re not a fan, what alternative(s) would you suggest?
– Do you wear thermal wear with a suit? I’ve never been a fan of a t-shirt or similar beneath the shirt and tie.
– And lastly (and I must apologize for the long answer), do you have any recommendations of what you wear for gloves, hats, scarves and socks for extreme winter temperatures? I know this is a bit more specific so feel free to ignore…

Many thanks, as always.

Best wishes,
George

George

Thanks a lot, Simon. Really appreciate it.

One follow-up question if I may — understood re: tailoring not being sufficient for these types of situations. But for a heavy winter overcoat (say, over 600g), would you go with something that’s buttoned up until the top like the Donegal overcoat instead of a DB? Would that be warmer?

Thank you again.

P.S. That’s an absolutely brilliant hat. I should go check out Cromford at some point soon…

Chancellor

As a Canadian living in -22 Celsius weather as I type this, I will disagree slightly, recognizing that everyone expereinces cold differently, and you should do what makes you comfortable. I walk to work daily (~25 minutes) in the winter, and these are my experiences.

In my experience, the limiting factor about being out in cold weather is the hands—that’s what gets cold. Past -5 C, you absolutely can’t be wearing typical leather gloves with a cashmere lining. I have a pair of gloves with rabbit fur lining for past -5 C, and past -15 C, I wear gloves with down filling. As it gets even colder, I may switch to down mitts. None of these are as elegant looking as fine leather gloves, obviously.

The other cold points are the ears (for me, usually a wool/fur hat that covers the ears—the Comford fur hat is great, but knitted would work too) and the feet (I wear a Swims overboot over my dress shoes when walking to work). The face does get cold, but most of us in Canada just live with that. If you don’t, a balaclava, or even wrapping your scarf over part of your face would help. A scarf for the neck is also an absolute must.

With coats, down to -20C or so, I am fine to wear tailoring: typically a suit or sport jacket & trousers, with a heavy overcoat. For example, I used the 760 g PS donegal cloth to have a double breasted ulster coat made, that that’s an overcoat I normally wear in this weather.

For below -20 C, I was able to get ahold of a 1000 g cashmere, and I have a double breasted great coat made up in that, which works well. I do sometimes upgrade to a 3 piece suit in this weather for extra warmth. I’ve never needed thermals underneath.

Personally, in the coldest weather, I will do the coat up all the way, with the scarf wrapped multiple times around my neck, and possibly also my chin. That keeps the lapels up and tight, and I think warmer than keeping the front open.

Please note that since I am walking to work, carrying a briefcase with a laptop, etc., I do generate hat which does help in these temperatures. If you are standing still, you probably will feel colder.

If you do go the parka route, I suggest against Canada Goose as I think they are overpriced these days (unless you get their really technical stuff, or the Black Label line). I also find their style isn’t great, but that’s personal. Arc’teryx is my recommended option, but most goose down parkas should be good. Make sure you get one long enough to go below the seat, so only your legs are below the coat (legs don’t lose much heat).

Overall, my biggest advice for the cold is to focus on the accessories: keeping the hands, feet, ears, neck, and head is the most important and where you will feel the cold most acutely. If you do that, you’ll probably be ok with a heavy overcoat.

J Crewless

Having lived in Chicago ( you haven’t experienced cold weather until having spent a winter or 10 in Chicago), I can attest that overcoats work in those temperatures.

Ryan Hallstrom

Hi George,

I’m from upstate NY and have lived in Russia and Finland. I’ve worn tailored overcoats with a suit in -40C weather and found them sufficient. I’ve written on this topic, but I’m not sure external links are allowed here.

However, to summarize, in extreme cold (-40C) I wear: thermals (up top and bottom), a heavy-weight suit (ideally flannel), a sweater or suit vest, and two pairs of socks, dress boots (the best were a pair with a faux fur lining). For accessories: insulated mittens (sometimes with liner gloves underneath), a scarf (which I may wrap around my face), and a Russian ushanka (fur hat).

My wool overcoat is very heavy weight with a zip-in faux fur lining. It also has a hood, which, of course, is not a classic feature, but it has quite literally saved my ears from frostbite on more than one occasion when I’ve been caught outside without a hat. My more formal overcoats don’t have hoods.

In NY, it was rare for me to wear everything I’ve included above, as it rarely drops down to even -20F.

I definitely think that tailoring can be worn in extreme cold conditions — however your average winter overcoat and accessories may not be sufficient.

Ryan Hallstrom

Yes, almost like a parka but more like a car coat. Since I bought it 9 years ago — it’s shorter than the overcoats I buy now. Here’s the coat and here’s my article on wearing a suit in the extreme cold. (Both articles were published on The Modest Man which, unfortunately, isn’t the same reliable resource it once was.)

WS

The most beautiful coat I’ve seen on this site. It’s certainly not period costume-y or particularly daring. A statement piece? Debateable, but an elegant man who is in decent shape will always look good in this style.

Charles

Hi Simon,
would you say this lack of versatility is due to the specific and luxurious details of this coat (back, pockets, use of cashmere…)? Or is it a more general aspect of single-breasted coats vs. DB?
living in Paris, I feel navy SB are often (and sometimes successfully) worn casually

Ben R

How would using a cloth like the PS donegal brown/black work in a ‘Body Coat’ style? If layering with knitwear, I thought a more casual color may work well. But I’d be interested in your thoughts given color is only one of many variables.

Ben R

Thanks. Is there a Shop update coming soon?

Ben R

thanks. I’ll keep an eye out. I am in need of some items.

gl

Just a fascinating discussion about the simplicity, style and lack of versatility. In contrast with earlier comments about price, this strikes me—in the right context—as a bargain where you have obtained something truly rare from the hand of someone operating at the highest level…signified by things other than brand, label or showy nonsense…and much less expensive than a Ferrari. This is exactly the kind of simple, excellent product that appeals to me. My exposure to Sexton is only from coverage on PS, but Browne’s vision seems so much more restrained and timeless than Sexton’s was at the time…that I have to imagine he is/will influence the rest of the small bespoke industry and deserves some emulation by men’s RTW fashion.

Luis

Hi Simon,

New here. I have a question about the final photo. I appreciate that the coat has a “closer, jacket-like fit”, but you also note “that clean back – simply sliced by the box pleat in the centre back and a long vent” as a distinct element.

However, in the last photo the cleanliness/elegance of the back, to my mind, is lost as the pleat is fully open and the coat appears strained to accommodate you when you close your arms. Might that perhaps mean that the garment fits a bit too closely, or, to put more simply, is a little small? The fact that the garment required letting out after you gained just “a little weight” would further suggests that. In my experience, any time I need to alter a garment after gaining/losing a little weight usually means that it did not fit properly to being with, and the small changes to my body only confirmed it/made it more obvious.

Thanks.

M

Hi Simon,
Im looking to get a similar style made in Australia, but trying to understand what the best fabric and weight would be, Thinking a lighter cashmere at 220-300. Have you had any guidance / experience in this area?