Tan Suede Jacket from Matchless in Spectre


When in Morocco in Spectre, Bond needs a cool jacket to conceal his firearm. For this purpose he wears a tan lightweight suede jacket from Matchless London. Matchless calls this jacket the “Craig Blouson”, but this is technically not a blouson since the waist is not drawn in. The jacket is longer than waist-length and sits over the top of the hips to cover the waistband of the low-rise trousers. The jacket has a zip front, side pockets and an ecru viscose rayon lining. The collar is two pieces and has a hook to close with. Bond wears the collar up in back to protect his neck from the sun but folded down a little in front to keep it away from his face. An unlined jacket would likely be a better choice for the hot weather in Morocco.

Under the suede jacket when Bond arrives in Morocco, Spectre brings a new take on a Bond staple: the navy polo. Bond’s polo from Tom Ford is made of a 57% cotton and 43% viscose rayon blend pique knit. Rayon makes the polo lighter than if it were just cotton, but cotton is stronger and more breathable. Instead of the usual buttoned placket, the shirt has an open V-neck. The collar and sleeve hems are a fine rib knit, and the shirt’s hem has a thick ribbed band like on a jumper. The polo has a close fit everywhere, and the mid-bicep-length sleeves perfectly curve around Bond’s shoulders and excellently show off his arms.


Later in the film on the train across Morocco, Bond switches the polo for a blue and white end-on-end linen shirt. This shirt is mostly hidden under the jacket, but it has a short point collar that curls up. Medium blue buttons fasten down a plain placket, and there is no pocket on the front. There are darts down the front at the sides of the front panels for a very tapered waist. Front darts are usually only on women’s shirts, which help the shirts fit closely around their anatomy. Men do not need front darts in their shirts, and tapering at the sides with darts for the small of the back are enough to fit a shirt closely to a man’s physique. This shirt matches the “Morton” model from Orlebar Brown, who made the blue swimming trunks for Skyfall. The “Morton” has long sleeves with short, pointed cuffs that have two buttons around the circumference to fasten the cuff at different sizes.


The khaki cotton gabardine chinos from Brunello Cucinelli are the same trousers that Bond wears later with his light brown Brunello Cucinelli jacket. They have a flat front, a low rise and narrow straight legs. Bond wears the bottoms rolled up for a casual look. The chinos are pressed with a crease down each leg, but the crease is faded and hardly noticeable. Bond wears the chinos with a brown woven leather belt from Brunello Cucinelli. The belt has a solid brown leather tab at the end with holes for the buckle to feed through. It is not the type of belt where the whole piece is braided and the buckle feeds through the braid.

The sunglasses are the Tom Ford Henry model. Bond’s boots are the Kenton Suede Boots from J. Crew in a tan colour appropriately called “Sahara”. They have five pairs of eyelets and three pairs of speed hooks, a plain toe and red mini-lug soles. The boots were likely chosen because they closely match the jacket, but the match looks too forced. Oiled leather desert boots could have been a better choice.


The outfit of a tan jacket, navy polo and khaki chinos pays homage to a similar outfit that James Bond wears on a previous trip to Tangier in The Living Daylights. Though Timothy Dalton’s outfit in The Living Daylights had the right idea—and the execution is fine for the 1980s—it’s not as unique as Craig’s similar outfit in Spectre is. The clothes in Spectre are much higher quality and more interesting. The return of the suede jacket in Spectre also recalls the numerous suede jackets Roger Moore wears in his 1980s James Bond films.

What Is James Bond Style?

Dr. No Dinner Suit

Since this blog usually looks at the many specifics of Bond’s clothes, let’s take a step back and look at the overall picture of what defines James Bond style. There’s no way to make generalisations about Bond style overall, but there are a number of different themes that Bond style has followed over the years. At its essence, Bond style is about looking good in a suit, or more specifically looking good in a dinner jacket. Bond has worn much casual clothing, but it’s the tailoring that sets Bond apart from other heroes. There have been multiple approaches to Bond’s style, from the quirky styles in Fleming’s novels to the classic styles in Connery’s films to the fashion in Moore’s and Craig’s films to the continental power look in Brosnan’s films. At the end of the article you can vote for which Bond you think best represents Bond style.

When most people think of James Bond’s clothes, it’s the black tie ensembles that first come to mind. Bond’s iconic black tie looks have kept the dinner jacket alive, and Bond’s consistently classic way of wearing black tie makes him the world’s number one black tie model. Wearing black tie well is a key element to Bond style, and something that has been kept consistent through all of the iterations of Bond. But there’s much more to Bond style than black tie.

Fleming Bond Style: Personal Peculiarities

The literary Bond’s style is defined by an unassuming manner of dress with many idiosyncrasies. Fleming typically dressed his Bond in a uniform of a blue suit with a white short-sleeve shirt, black knitted tie and moccasins. This isn’t ordinarily the description of a stylish man. The literary Bond’s clothes are still of high quality (notably his silk and Sea Island cotton shirts), and because of the consistency in his dress he obviously cares about what he wears. He doesn’t just put on anything. But he really dresses down his suits and never wears anything fussy or flashy. He doesn’t come off as a fussy man or a dandy, but he is snobbish about the clothes other people wear and judges them for it, whether it’s a windsor knot or an Anderson & Sheppard suit.

The plain-weave glen check suit in From Russia with Love

Connery Bond Style: Sober Sophistication

Sean Connery’s Bond has a similarly understated and uniform approach to style that the literary Bond has. Unlike the literary Bond, Connery’s Bond can be considered thoroughly well-dressed. His style is defined by understated, classic British style. He follows a uniform of a button two suit in a grey suit—solid, semi-solid, flannel or glen check—with the occasional blue, brown or striped suit. He usually wears his suits with a cocktail cuff shirt in light blue or cream, a dark grenadine tie and derby shoes or short boots with elastic. Apart from the boots, narrow lapels and straight-bottomed waistcoats, Connery’s Bond went for a classic style that didn’t follow many trends that showed he was a man of traditional tastes. His uniform has a thoroughly, though not overtly, British look. Connery Bond style is one of a well-tailored man who knows how to put together an outfit, but it’s a understated style where nothing stands our or is overly fashionable. Though his clothes are top quality, they don’t call attention to that fact. Connery’s Bond never stands out in crowd, just as a spy should not.


1970s Moore Bond Style and Craig Bond Style: Fashion Forward

Roger Moore’s Bond in the 1970 and Daniel Craig’s Bond in his last couple of films have a fashionable or flashy style that boldly infuses trends with classic style. For 1970s Roger Moore it means wide-lapelled jackets and flared trousers occasionally in flashier suitings like silk. But the suit jackets have a classic cut and the suits are often in staid solid worsteds, chalk stripes and tweeds. For Daniel Craig it means everything shrunken—tight jackets with narrow lapels and a short length, and skinny trousers with a low rise—but made in classic suitings with traditional British details. Though Moore’s and Craig’s Bonds dress very differently from each other in execution, in concept they have a similar approach to mixing blending what Connery established with the fashions of the time. Moore’s and Craig’s Bonds always stand out as fashionable but also as men with good taste. 1970s Moore Bond style and Craig Bond style are about considering the current fashions without forgetting about how to dress like an English gentleman.

Timothy Dalton’s suits in Licence to Kill follow the fashionable edge of Moore’s and Craig’s Bond’s suits but lack all elements of classic style apart from the colours.


1980s Moore Bond style and Lazenby Bond style: British Brilliance

Roger Moore’s Bond’s style in the 1980s and George Lazenby’s Bond’s style are about dressing in a British mode. Like Connery’s style, 1980s Moore and Lazenby follow classic British style with some fashionable touches, but their suits look more British than Connery’s due to sharper silhouettes, brighter ties and bolder suitings. They wear a lot of navy and grey, flannel and chalk stripe three piece suits in the city, and they wear earth tones outside of the city. They wear both single-breasted and double-breasted jackets. 1980s Moore Bond style and Lazenby Bond style is about being dressed classically, but with in modern edge in a way only the British can do.

Timothy Dalton’s Bond’s style in The Living Daylights fits into the British category, though there’s little brilliance in it.


Brosnan Bond style: Overt Opulence

Pierce Brosnan’s Bond’s style is one of a successful and worldly businessman, and it’s defined by continental power suits and luxurious overcoats. The long cashmere overcoats solidify Brosnan’s Bond’s image as a rich man. The confidence (or sometimes overconfidence) with which he wears these clothes only adds to the look. Brosnan Bond style works for Bond’s cover as a businessman who socialises with the wealthy, though apart from some subtle details, it forgets about the origins of the character. Though the strong cut of Brosnan’s Bond’s suits makes him look powerful, it translates more to money power rather than physical power. Though fashions now have moved away from the strong shoulders and full cut, a soft Italian suit could more subtly give the same effect of a well-travelled businessman today.

Which Bond best represents what Bond style is to you?

View Results

Loading ... Loading ...

Anthracite Damier Three-Piece Suit in Spectre


When Bond visits Q’s lab at the end of Spectre, he wears a sporty checked three-piece suit from Tom Ford. Bond has worn few sporty three-piece suits in the series, and this one follows the iconic three-piece glen check suit from Goldfinger loosely in idea but neither in execution nor iconography. Like the glen check suit in Goldfinger, it’s a suit for relaxed Bond rather than a 00-agent ready for business. And being a three-piece, it shows shows that Bond is a man who appreciates fine clothes even when he doesn’t need to dress up. Though it’s a sporty suit, the dark grey colour, smooth finish and waistcoat also make this a fairly dressy suit, but it’s not a business suit.


The suit is anthracite—a very dark charcoal—with a pin-point damier check. A true damier is a checkerboard pattern whilst this pattern is more like a variation on the shepherd check. It’s a check made up of pin dots with a 32-yarn repeat in both the warp and the weft. For 16 of the 32 yarns in each direction there is a yarn that creates a line of white pin dots every four yarns. The overall effect is a dark grey check. The content of the suiting is 70% wool, 18% silk and 12% mohair. The silk and mohair give the cloth a subtle sheen and increase its formality.

Like the two-piece suits in Spectre, this suit is the O’Connor model designed by Spectre’s costumer designer Jany Temime along with Tom Ford. The jacket has straight, padded shoulders with roped sleeveheads. The front has three buttons with narrow lapels rolled to the middle button for a button two look. The jacket is detailed with a single vent, slanted hip pockets, a curved “barchetta” breast pocket and four buttons on the cuffs. The last buttonhole on the cuffs is longer than the rest, and Bond wears the last button open. Like the other O’Connor suit jackets, this suit jacket is too short and too tight. This suit jacket is tighter than the rest because of the waistcoat underneath.


The waistcoat has six buttons with five to button. The bottom button is placed on the cutaway portion of the waistcoat, and the bottom button and buttonhole do not line up. The waistcoat has four curved “barchetta” welt pockets. The low-rise suit trousers have a wide extended waistband, slide-buckle side-adjusters, side seams curved forward at the top with on-seam pockets and narrow straight legs.

Under the suit, Bond wears a sky blue cotton poplin shirt with a point collar, double cuffs, a front placket and back darts, which give the shirt a close fit in the small of the back. He matches the shirt with a folded sky blue handkerchief in his suit jacket’s breast pocket. The tie is solid black—in what may be a panama weave—and tied in a four-in-hand knot. Bond’s shoes are likely the Crockett & Jones Norwich model: black calf five-eyelet, cap-toe derby shoes with Dainite studded rubber soles.


Navy Blazers: More Than Navy Suit Jackets with Metal Buttons


What is or isn’t a blazer? By one definition, a blazer is a tailored jacket in navy—or less traditionally in other solid colours—with metal buttons. By another definition it’s a tailored jacket with thick, bright stripes, and it may or may not have metal buttons. Only the first type of blazer is relevant to James Bond. “Blazer” is neither another term for a tailored odd jacket nor a suit jacket, though the term has increasingly been used as such since traditional blazers have because less popular. Bond’s blazers are always blue, from the almost black Royal Navy uniform shade to a bright marine blue.

Single-breasted or double-breasted

Blazers can be either single-breasted or double-breasted. All of James Bond’s single-breasted blazers have two buttons and double vents. Sean Connery wears three similar single-breasted blazers in Dr. No, Thunderball and Diamonds Are Forever. Roger Moore wears two similar single-breasted blazers in The Spy Who Loved Me and Moonraker and another in single-breasted blazer in A View to a Kill.


Bond’s double-breasted blazers all have six buttons. Some of Bond’s double-breasted blazers have two to button in the traditional configuration with the top row placed further apart. Other blazers have three to button like a naval reefer jacket, which makes the jacket look rather columnar and give it a higher buttoning point. However, this style looks appropriate for a naval commander. The double-breasted blazers all have double vents like the single-breasted blazers have. George Lazenby wears a double-breasted blazer in On Her Majesty’s Secret Service, Roger Moore wears double-breasted blazers in The Man with the Golden Gun, Moonraker and For Your Eyes Only and Pierce Brosnan wears a double-breasted blazer in GoldenEye, which has the last appearance of the blazer in the Bond series.

The cloth

Blazers can be made in a variety of different cloths. The most common cloth for a blazer is wool serge. Serge is worsted wool in an even twill weave with a 45° wale. Heavier serge with more defined twill wales looks better as a blazer. Serge is one of the most common materials for a suit, but in navy it can be a great choice for a jacket on it’s own. Serge blazers are the most formal type of blazers due to the cloth being the same as what is often used for a business suits and military uniforms. Plain-weave worsteds are not as good of a choice for a blazer. George Lazenby’s blazer in On Her Majesty’s Secret Service, Roger Moore’s blazer in For Your Eyes Only, and Pierce Brosnan’s blazer in GoldenEye are likely made of serge.


Hopsack wool is a worsted commonly used for warm-weather blazers. Hopsack is a basketweave and is open and very breathable. Roger Moore’s double-breasted blazer in The Man with the Golden Gun and single-breasted blazers in The Spy Who Loved MeMoonraker and A View to a Kill are hopsack.

Doeskin makes for the ideal cool-weather blazer. It’s a densely napped flannel woolen with a sheen, not the skin from a deer. It is woven in an even twill weave like serge, but the weave is traditionally not visible through the nap. Sean Connery’s three blazers in Dr. No, Thunderball and Diamonds Are Forever appear to be doeskin, even though he wears two of them in tropical locales. Roger Moore’s double-breasted blazer in Moonraker also appears to be doeskin.


Other cloths can make excellent blazers. A soft, thick cashmere is excellent in cold weather whilst silk and linen are exceptional in warmer weather.

The buttons

Some follow the definition that a blazer must have metal buttons to be a blazer. Metal buttons reflect the maritime heritage of the garment. All of James Bond’s blazers have metal buttons, whether brass (polished or unpolished), polished nickel or gunmetal. Pewter buttons are a subtler alternative to brighter metals. At the moment, blazers with metal buttons are unfashionable. Some think they are for old men, some think they are for preps, and others think they are for security guards. The classic metal buttons have solid blank with a shank (metal loop) that sews onto the jacket. Crests should only be worn on the buttons if the crest has a personal significance. Naval motifs on the buttons are common, and Bond wears shanked buttons with such a motif in GoldenEye. Many of Bond’s shanked buttons are simply plain metal.


In The Spy Who Loved Me and Moonraker, the buttons are metal (nickel on the single-breasted blazers and brass on the double-breasted blazer) with four holes, and the buttons are sewn on with a contrasting navy thread. These buttons have a more modern look than shanked buttons, but they keep the blazer tradition by sticking with metal. Enamel buttons in a metal case are another classic choice for a blazer, but Bond has not worn these.

I believe that buttons other than metal buttons can be used on navy jackets, though whether or not the jackets still qualify as “blazers” is debatable. These buttons need to be different from suit jacket buttons, so that excludes navy or black buttons in plastic or corozo. Horn buttons in any medium to light shades of brown work. Unpolished horn gives the jacket a less assuming look whilst polished horn whilst polished horn, particularly in light shades, can give a shiny gold effect closer to traditional blazer buttons. Smoke mother-of-pearl buttons are great on navy odd jackets and give a blazer look without the metal buttons. Smoke mother-of-pearl buttons are silvery, shiny and almost look like metal, but their variegation makes them more interesting. For lighter-weight jackets in hopsack or linen, blue or white mother-of-pearl buttons are an excellent choice as well, whilst darker horn buttons may look too heavy. For doeskin and cashmere jackets, wood buttons can give the jackets are more rustic look.

Whether or not a navy jacket with non-metal buttons is technically a “blazer”, it can still be a wonderful odd jacket. If the navy odd jacket were to return to the Bond series, this is the form I could see it returning in rather than as a traditional blazer.

The details

Blazers are cut and fit the same as suit jackets. Some people prefer a looser fit for their blazers, sometimes so they can wear a jumper underneath, but there’s no rule that says a blazer should but cut differently than a suit jacket should. All of James Bond’s blazers are structured, cut and fit exactly the same as the suit jackets he wears within the same films as the respective blazers. Most of James Bond’s blazers have details that make them more than ordinary suit jackets with metal buttons. The blazers in On Her Majesty’s Secret Service, Diamonds Are Forever and Moonraker have swelled edges for a sportier look. All of Bond’s blazers have double vents to follow British tradition, though blazers in the American have single vents. The double vents are key to wearing a blazer like Bond.

Bond wears a navy blazer on his date with Miss Taro

Bond wears a navy blazer on his date with Miss Taro

The pockets on Bond’s blazers are rarely ordinary straight, flapped pockets, though that is what the single-breasted blazer in A View to a Kill and the double-breasted blazers in For Your Eyes Only and GoldenEye have. All three of Sean Connery’s blazers have open patch pockets for not only the hip pockets but for the breast pocket as well. Patch pockets are the most casual type of jacket pocket and are never found on business suits. Roger Moore’s double-breasted blazer in Moonraker has patch pockets on the hips with flaps. The breast pocket on these blazers is an ordinary welt breast pocket since an open patch breast pocket wouldn’t match the flapped hip pockets, and a flapped patch breast pocket would look rather heavy on the chest.


Many of Bond’s blazers have slanted “hacking” pockets, which are taken from the double-breasted military greatcoat rather than from the hacking jacket in the case of the blazer. Some of Bond’s blazers with slanted pockets also have ticket pockets.

When and where to wear a blazer

The navy blazer has proven to be one of the most versatile garments. In some parts of America, blazers are appropriate business dress, but they are essentially a type of sports coat and are best worn socially. Bond mostly wears his blazers socially, and he only wears a blazer to the office in Thunderball because he’s hurrying in from the country. Blazers are the most formal of all sports coats due to being a solid, dark colour. A blazer isn’t all that far off from being a navy suit jacket, which is what allows it to be worn in dressier settings. Like a navy suit, the navy blazer is great both during the day and in the evening.


Blazers have a maritime heritage and are always appropriate by the water. Bond wears blazers on tropical islands in Dr. No and Thunderball, aboard the RMS Queen Elizabeth sunken in Victoria Harbour in The Man with the Golden Gun, and in the Mediterranean in The Spy Who Loved Me, For Your Eyes Only and GoldenEye.

Blazers do not need to be worn near water. For social occasions in the city they don’t stick out too much amongst the suits. In the country they’re perfect for drinks at the country club.

What to wear with a blazer

James Bond has worn many different colours in his trouser with his blazers. The trousers worn with a blazer need to contrast the blazer to avoid looking like a mismatched suit, and thus navy, black and charcoal trousers do not pair well. Sean Connery pairs his blazers with dark grey trousers—a shade lighter than charcoal—to dress up the outfit as much as he can. The less contrast there is between the jacket and trousers the more formal the outfit is.

James Bond has worn medium grey, light grey, tan, beige, stone (light taupe) and white trousers with his blazers. Any shade of grey is a great choice for the city or a dressier look, particularly in the evening. Tan, beige and stone give the blazer a sportier and more casual look, and these colours are best worn in the daytime. White trousers, give the blazer a nautical look and should only be worn with a blazer on the water, where Bond wears his blazer with white trousers in The Man with the Golden Gun and The Spy Who Loved Me. Even when worn by the water, white trousers with a blazer can come off a costume-like. Cream and British tan are other great choices to wear that Bond has not worn with his blazers.

Navy hopsack blazer with beige cavalry twill trousers in Moonraker

Navy hopsack blazer with beige cavalry twill trousers in Moonraker

The trousers Bond wears with his blazers are always wool, in woolen flannel for greys and cavalry twill or gabardine for earth tones and white. Tropical and fresco wool, silk, linen and cotton gabardine are other great trouser materials to pair with a blazer, particularly hopsack and lighter serge blazers. Cotton chinos are acceptable with a hopsack blazer, but they should be pressed.

The options for shirts are ties to wear with a navy blazer are limitless. Bond usually wears similar shirts and ties that he would wear with a navy suit. Bond occasionally wears his blazers without a tie for a more casual look. The colour of the shoes should complement the trousers. Oxfords can dress up the outfit whilst slip-ons can dress down the outfit. The many different items that can be worn with a navy blazer to dress it up or down contribute to the incredible versatility of the garment.

The Navy Sharkskin Suit in Spectre


When James Bond enters his room at Franz Oberhauser’s desert crater lair in Spectre, he finds a blue sharkskin suit laid out on the bed for him. Bond is expected to wear this suit when joining Oberhauser for afternoon drinks. The suit from Tom Ford is in the same O’Connor model as most of the other suits in Spectre, even though this is technically not Bond’s own suit but rather one that was only provided for him. This could give an excuse for this suit’s fit problems, but that excuse doesn’t hold up considering all of the O’Connor suits in the film fit the same way.


The suiting is a 100% wool super 110s sharkskin (also known as pick-and-pick) woven with dark and light blue yarns for an iridescent look. Though there’s no mohair content in the cloth, the different blues in it give it a shiny 1960s look. Depending on lighting, the suit can look anywhere from dark navy to medium blue. In person, the suiting is brighter and more vivid than it looks on screen. This suit is perfect for social occasions, both during the day under the sun and in the evening under artificial light. The cloth is too shiny for most business.


Being the O’Connor model designed by Spectre‘s costumer designer Jany Temime and Tom Ford, the cut and details match many of the other suits in the film. The jacket has straight, padded shoulders with roped sleeveheads, a close-fitting chest, a too-tight waist and a fashionably short length. The front has three buttons with narrow lapels rolled to the middle button for a button two look. The lower foreparts are cutaway for a dynamic “X” on the front of the jacket. The jacket is detailed with a single vent, slanted hip pockets, a curved “barchetta” breast pocket and four buttons on the cuffs. The last buttonhole on the cuffs is longer than the rest, and Bond wears the last button open.

The suit trousers have a wide extended waistband, slide-buckle side-adjusters, side seams curved forward at the top with on-seam pockets, narrow straight legs and turn-ups. They have a low rise, which reveals a triangle of shirt below the jacket’s fastened button. The trousers with this suit look even shorter than the trousers in the rest of the film and don’t even touch the shoes. High-water trousers don’t serve a purpose in the desert!


With this suit Bond wears a white cotton poplin shirt with a point collar, double cuffs, a front placket and back darts, which give the shirt a close fit in the small of the back. The shirt has a close fit overall, but it’s not too tight like the suit jacket is. He matches the shirt with a folded white handkerchief in his suit jacket’s breast pocket. The tie is dark navy silk repp in a colour Tom Ford calls “ink”. It is darker than the suit, but the hue is the same as the suit’s so it matches well. The tie is 7.5 cm/3 inches wide, and it’s tied in a four-in-hand knot. Bond’s shoes are the Crockett & Jones Norwich model. They are black calf five-eyelet, cap-toe derby shoes with Dainite studded rubber soles.


Crockett & Jones Norwich

This suit is likely the same suit that is in the gun barrel sequence at the start of the film.


Some of the images here have been colour-corrected due to the filters on the film that make it look overly warm.

Ranking the James Bond Films by Wardrobe

I’ve ranked the James Bond films by wardrobe, using criteria such as how well the clothes fit, how timeless or dated they look and how iconic the outfits are. There is much opinion involved in this, so feel free to agree or disagree. This is only a ranking of the wardrobes of the Bond films and not of the films themselves.


24. Licence to Kill has easily the worst wardrobe in the entire series, with its baggy, low-gorge suits, a dinner jacket with two buttons, and oversized casual clothes. The clothes follow the fashions of the 1980s and discard the traditions established by the previous Bond films. At least the clothes avoid the pastels that were popular at the time, but not even classic navy can save these clothes.

23. Skyfall‘s clothes could have been very nice, but the suits’ shrunken fit will terribly date Skyfall in the future. Though suits that crease and pull because they are too tight are fashionable, the small suits make Daniel Craig look smaller than he is, and the tightness does nothing to show off Craig’s muscular physique. The tab collars on the shirts aren’t necessarily bad, but their fussiness is out of place on Bond. The film features an excellent selection of casual clothes, including a navy peacoat and a waxed jacket from Barbour.

22. You Only Live Twice features the least amount of tailored clothes of all the Bond films with only two briefly worn suits, but it is the first to feature Bond in a naval uniform. Bond’s camp shirts are quite forgettable, and the mock polo neck that Bond wears for infiltrating Blofeld’s volcano lair isn’t the most flattering piece.

21. The Living Daylights has rather ordinary clothes—all ready-to-wear—but classic and appropriate for the character. Unlike in Licence to Kill, the clothes aren’t fashion forward, and they look appropriate for a British agent. The clothes still have a full cut that reflects late 1980s fashion trends, but the clothes don’t look too large. But in comparison to the previous Bond films that all featured Bond in bespoke suits, the wardrobe of this film is a let down.


20. The Spy Who Loved Me brings Bond’s wardrobe fully into the 1970s, with the widest lapels and widest trouser flares of the series. The hue of the brown suit and the safari-detailed sports coat add to the 1970s look of the film’s wardrobe. The cuts of the jackets are classic Roman and fit very well, yet the 70s details unfortunately distract from that. The midnight blue double-breasted dinner suit is a highlight of the film’s wardrobe. Despite the clothes looking very dated, they all look great on Roger Moore. The naval dress uniform and greatcoat are fantastic pieces that bring up the film’s wardrobe.

19. Moonraker continues with the same wide 1970s lapels and trouser flares that Bond first wears in The Spy Who Loved Me, but the navy pinstripe three-piece suit in the office, the brown donegal tweed suit in the hunting scene and the grey dupioni silk suit in Venice hold up better than the brown suit in The Spy Who Loved Me does. The single-breasted blazer and dinner suit are similar to what Bond wears in the previous film. Moonraker‘s worst piece or tailored clothing is a double-breasted blazer let down by its wide notched lapels. Some may consider the safari suit a minus to this film’s wardrobe, but wearing it in the South American jungle is completely acceptable. The shoes he wears with it, however, could have been more appropriate.


18. Diamonds Are Forever has a wonderful variety of suits in all the classic Connery Bond colours and patterns, but the suits are let down by wide lapels and wide pocket flaps. Connery’s fluctuating weight means that some of the clothes didn’t fit him as well as they should have. The dinner jackets unfortunately have pocket flaps, and the black dinner suit is the flashiest of the series with its fancy facings. The pink tie brings the film’s wardrobe down further.

17. GoldenEye brought Bond into the 90s with full-cut tailoring, though in comparison to the baggy suits in Licence to Kill, Brosnan’s suits have clean, elegant lines. The Italian suits and flashy ties, however, make Bond look too much like a banker. The cut of the suits looks dated and the tactical gear makes Bond look more like a solider than a spy.

Pierce Brosnan's double-breasted overcoat

16. Tomorrow Never Dies has all of the same wardrobe problems that GoldenEye has, but the vicuna-coloured double-breasted overcoat and the elegant five-button double-breasted waistcoat that Bond wears with his midnight blue dinner suit bring the wardrobe up just a bit from the previous film. The naval uniform makes a welcome return.

15. The Man with the Golden Gun introduces the first of the true safari clothes to Bond. The cream tailored safari jacket is a low point of the film’s wardrobe, but sage green safari shirt isn’t so bad considering the tropical setting. The lapels are wider than in Live and Let Die, but the double-breasted chalkstripe suit that Bond wears to the office and the double-breasted ivory dinner jacket still look great, and the charcoal suits are Bond classics with a 70s twist.


14. Live and Let Die brings James Bond’s wardrobe further into the 1970s from what Sean Connery wears in Diamonds Are Forever. The jackets have narrower lapels and pocket flaps than what Connery wears two years earlier, but the tapered trouser legs have been replaced with slightly flared legs. Whilst there are two leisure suits, such as the horrendous powder blue outfit, the classic navy double-breasted chesterfield coat is one of the most iconic overcoats of the series. The tailoring fits Moore better than it fit Connery two years earlier, which easily brings Live and Let Die‘s wardrobe ahead of Diamonds Are Forever‘s.

13. Spectre‘s clothes improve from Skyfall‘s with a wide variety of colours, particularly two medium blue suits that perfectly suit Daniel Craig’s complexion. The blue Crombie coat and the black bridge coat are excellent and unique pieces for the Bond series, but they still respect the Bond clothing traditions. The casual wear in both the cold Austrian scenes and warm Moroccan scenes equally respects Bond traditions whilst keeping the clothes up to date. The only problem with Spectre is that the suits are again too tight like they were in Skyfall, but the suits don’t make Daniel Craig look as small as they did in Skyfall.

12. Die Another Day features a few nice suits and two beautiful overcoats, but some of the suits couldn’t be let out to account for Pierce Brosnan’s fluctuating weight. He wears a nice heavy charcoal polo neck jumper, but the clothing in the film doesn’t particularly stand out. The wardrobe is let down by the blue printed shirt in Cuba.


11. Casino Royale has a perfect dinner suit and some classic suits, including a unique grey linen suit with peaked lapels, but the wide trousers that Daniel Craig wears throughout the film look a bit silly today. The casual outfit that he wears in Madagascar is one of the ugliest of the series, but the navy polo shirt in the Bahamas is classic Bond.

10. Thunderball features Bond mostly in casual clothes, which vary from classic to dated. The Fred Perry polo and the long-sleeve polo jumper look great, but the camp shirts have too full a fit and look outdated today. The Jantzen swimming trunks are somewhere in between. The tailoring—which includes three suits, a sports coat and a blazer—all looks perfect.


9. Quantum of Solace features the most British-looking tailoring in Daniel Craig’s tenure as Bond, but even though the dark colours suit the mood of the film, they wash out Craig’s complexion. The casual clothes feature a shawl-collar cardigan, wonderful polo shirts and a Harrington jacket, but they’re let down by the only appearance of blue denim jeans in the series.

8. Octopussy‘s clothes have held up very well. The grey striped three-piece, tan gabardine and navy double-breasted suits by Douglas Hayward still look great today, and the ivory peaked lapel dinner jacket that Connery made famous returns in better form here than the original from Goldfinger. The safari suit makes its best appearance in the Indian jungle. Unfortunately, often Bond finds himself wearing disguises, and the number of circus costumes Bond finds himself in slightly brings down Bond’s look in the film.

7. For Your Eyes Only put Bond back into classic tailoring after the fashionable excess of the 1970s. Traditional three-piece suits and flannel suits have made a return for the London scenes, and a light brown suit appropriately makes an appearance in the Mediterranean. The excessively low button stance is the only downside to the tailoring in this film. Suede jackets and polo necks make up much of the film’s casual wardrobe, which have now returned to Bond in Spectre.


6. A View to a Kill has some of the best sports coats of the series, all worn by James St. John Smythe. The grey tweed and brown donegal tweed jackets are perfect for the country setting but not out of place for Bond either. The blue blazer is also classic Bond, and the cravat that he wears with it can just be passed off as a subtle disguise. The charcoal woollen flannel three-piece suit and tan gabardine suit both still look great today, and the morning suit is perfect. The wardrobe is only let down by the track suit, which looks horribly dated and terrible on 57-year-old Roger Moore.

5. The World is Not Enough features the best tailoring of all of Pierce Brosnan’s Bond films as well as some of the best of the series. The suits do not have the longer and baggier 90s cut that Brosnan sports in his previous two films, and there’s a larger variety of suits, including different shades of grey, blue and cream. The lack of casual wear means that there is less to look dated in this film.


4. On Her Majesty’s Secret Service has some of the most beautiful suits of the series, all with a perfect and timeless fit. Bond dresses elegantly for warm, moderate and cold weather in linen, worsteds and flannels. The only let downs are the slightly dated brown golfing outfit and the two ruffled dress shirts. The highland dress is another count against Lazenby’s wardrobe, but the good far outweighs the bad in this film.

3. Dr. No starts off with one of the greatest dinner suits of the entire series, and it establishes the high standards for Bond’s wardrobe. The tailoring has a classic and timeless English look, including three grey suits and a navy blazer. Both the tailored clothes and the casual wear, a light blue polo, still look fantastic today.

The plain-weave glen check suit in From Russia with Love

The plain-weave glen check suit in From Russia with Love

2. From Russia with Love takes the greatness of Dr. No‘s wardrobe and expands on the grey glen check and flannel suits with blue, striped and silk suits. Though there is a wider variety of suits, the sober simplicity established in Dr. No hasn’t changed. The film does a great job at proving how versatile a navy grenadine tie and a light blue shirt can be.


1. Goldfinger has a wonderful selection of tailored clothing, including the popular three-piece light grey glen check suit, the brown barleycorn hacking jacket, the elegant golf jumper by Slazenger and the first ivory dinner jacket of the series. No other Bond film has so many iconic pieces. Though not as elegant as the grenadine ties of the previous Bond films, the informal knitted ties in Goldfinger better reflect the literary Bond’s wardrobe. The film is only slightly let down by Bond’s light blue terrycloth playsuit.

The Herringbone Track Stripe Suit and Crombie Coat in Spectre


For visits to M’s office and to Q’s lab in Spectre, James Bond wears a grey herringbone track strip suit from Tom Ford. Spectre continues in the long history of Bond films where Bond dresses in stripes in London. This suit’s cloth exchanges the standard pinstripe and chalk stripe for a cloth with more interest in the stripe and in the weave. The cloth is woven in a narrow herringbone weave, which changes direction every 16 yarns. The cloth is woven with medium grey in the warp and charcoal grey in the weft for an overall vibrant dark grey. There is a white track stripe where the herringbone changes direction. The track stripe is two single-yarn pinstripes spaced a yarn apart. Because the stripe is part of the herringbone weave, it has a soft chalk-stripe-like appearance.


The suit is the O’Connor model designed by costume designer Jany Temime in collaboration with Tom Ford for Spectre, and it has the same cut and the same details that the other three O’Connor suits in the film have. The jacket has straight, padded shoulders with roped sleeveheads, a close-fitting chest, a too-tight waist and a fashionably short length. The front has three buttons with narrow lapels rolled to the middle button for a button two look. The lower foreparts are cutaway and reveal a triangle of shirt below the jacket’s fastened button. The jacket is detailed with a single vent, slanted hip pockets, a curved “barchetta” breast pocket and four buttons on the cuffs. The last buttonhole on the cuffs is longer than the rest, and Bond ungentlemanly wears the last button open.


The suit trousers have a wide extended waistband, slide-buckle side-adjusters, side seams curved forward at the top with on-seam pockets, narrow straight legs and turn-ups. They have a low rise and are hemmed with no break, which means they are very short and cover little of the shoes.


With the suit, Bond wears two different shirts and ties from Tom Ford. When he first visits M’s office he wears a white cotton poplin shirt with a medium-dark grey tie and no pocket handkerchief. Later when he goes to Q’s office he wears a sky blue shirt with a matching sky blue folded pocket handkerchief and a navy tie. The navy tie is a deep, rich blue and towards indigo on the spectrum. Tom Ford calls this tie “navy”, as opposed to the similar “ink” tie that Bond wears later in the film. The shirts are both in the same style and have a point collar, double cuffs, a front placket and back darts, which give the shirt a close fit. The ties both are silk repp and 7.5 cm/3 inches wide. The sky blue shirt and navy tie are much more flattering to Craig’s complexion than the white shirt and grey tie since he looks better with less contrast.


Bond’s shoes are the Crockett & Jones Norwich model. They are black calf five-eyelet, cap-toe derby shoes with Dainite studded rubber soles.

Over the suit Bond wears a navy “Crombie” coat, which is the name commonly used for a three-quarter-length chesterfield coat. Tom Ford does not use the name “Crombie” for this coat, which is trademarked by the British brand Crombie. However, this style of coat is most popularly associated with the Crombie brand. The coat is made of a luxurious 51% cashmere and 49% silk blend. It has structured padded shoulders and a darted front for a closely fitted silhouette. There are three buttons down the front, which are covered with a fly. Bond only fastens the coat’s middle button. The coat is detailed with straight flap hip pockets, a curved “barchetta” breast pocket, a single vent and three buttons on the cuffs. The collar is cotton moleskin in a slightly lighter and more vivid blue than the rest of the coat. When Bond is on his way to Q’s lab he wears a long navy scarf warpped twice around the neck and looped over in front.

The crombie coat, from a cut scene in Spectre

The crombie coat, from a cut scene in Spectre

Bond rudely keeps his coat on in M’s office but takes it off in Q’s office. Neither Bond nor M appear to be in a rush in M’s office, so he has no excuse for wearing it. It makes the same suit look more different in the two separate scenes, when Bond really should have put on a different suit the next day. In Goldfinger, For Your Eyes Only, The Living Daylights and GoldenEye, Bond wears different suits on different days for his office visits and should have continued that tradition here.

The Blue Prince of Wales Suit in Spectre


In Spectre‘s pre-title sequence in Mexico City, James Bond wears a blue Prince of Wales check wool suit from Tom Ford. A Prince of Wales check in this usage of the term is a glen check with an overcheck, which may also be called a windowpane. The glen check is medium blue and black whilst the overcheck is light blue in a more vivid tone in the warp than in the weft. A black and blue check makes this unusual compared to the more typical black and white and black and grey variations that Bond has worn in the past. The overcheck is a bold six yarns wide, which makes it the dominant pattern on the suit. Ordinarily, overchecks on a Prince of Wales check are thinner and stand out less. Because the overcheck on this suit is so dominant, it wouldn’t be inappropriate to call this a windowpane suit, but that oversimplifies what the suit’s pattern truly is.

Since the base of the suit’s cloth is medium blue and black, the colours blend together into an air force blue. The colour of the suit is still lighter and more vivid than an ordinary blue suit, but the colour looks perfect for Mexico City’s warm weather and helps Bond to stand out from the crowd during the Day of the Dead festival. The lighter blues in the suit are flattering to Daniel Craig’s warm complexion and bring out his blue eyes.


The jacket is the O’Connor model designed by costume designer Jany Temime in collaboration with Tom Ford for Spectre, with straight, padded shoulders that have roped sleeveheads, a close-fitting chest, a too-tight waist and a fashionably short length. The front has three buttons with narrow lapels rolled to the middle button for a button two look. The lower foreparts are cutaway and reveal a triangle of shirt below the jacket’s fastened button. The jacket is detailed with a single vent, slanted hip pockets, a curved “barchetta” breast pocket and four buttons on the cuffs. The last buttonhole on the cuffs is longer than the rest, and Bond wears the last button open.

The suit trousers have a wide extended waistband, slide-buckle side-adjusters, side seams curved forward at the top with on-seam pockets, narrow straight legs and turn-ups. They have a low rise and are hemmed with no break, which means they are very short and cover little of the shoes.


With the suit, Bond wears a white shirt from Tom Ford with a point collar, double cuffs, a front placket and back darts, which give the shirt a close fit. A light blue shirt would make this outfit more flattering to Daniel Craig’s complexion, but it would have to be a very pale blue so there is contrast between the suit and shirt. The stark white shirt overpowers Craig’s complexion. The tie is a silk repp in medium blue, which Tom Ford call their “blue” shade. It is 7.5 cm/3 inches wide. The blue is a close match with the hue of the suit, which makes it a good match in the classic Connery Bond mode. Bond ties it in a narrow four-in-hand knot. Bond also wears a folded white linen handkerchief in his breast pocket.

The shoes are the Crockett & Jones Norwich model. They are black calf five-eyelet, cap-toe derby shoes with Dainite studded rubber soles. The socks are a rather boring and unstylish black. Dark blue would have been a better choice, since it would extend the line of the too-short trouser legs.