The Love Punch: A Double-Breasted Summer Sports Coat

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In 2013, Pierce Brosnan starred in The Love Punch as a divorced man opposite Emma Thompson, who plays his ex-wife. They team up to seek revenge on a businessman who stole their pensions. The film opens with Brosnan at an outdoor summer wedding reception wearing a cool grey-green double-breasted sports coat with cream trousers and an open-neck shirt. Brosnan’s outfit has a sporty and casual look that a man of any age can wear, and it lends a youthful look to the 60-year-old Pierce Brosnan. Though his outfit is stylish, he’s dressed down more than the other men at the wedding, who are wearing summer suits and ties. Brosnan, however, is the only man who isn’t sweating.

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Brosnan’s jacket is an unusual colour, but the cool, muted shade of green flatters Brosnan’s cool complexion, and green fits in with the outdoor surroundings. The cloth is woven in a hopsack weave, but the composition of the cloth is difficult to determine. It is likely a blend and could be made up of two or three fibres, including wool, linen, cotton or silk. The double-breasted jacket is the traditional button two, show three configuration, and Brosnan fastens both buttons. That is by all means allowed on a double-breasted jacket, but only fastening the top button would have better matched the casual way he wears this jacket.

The jacket certainly must be Italian in origin, and it’s probably an altered ready-to-wear piece. It has narrow, softly padded shoulders with gently roped sleeveheads and a short length, which is meant to resemble—but not entirely copy—a Neapolitan look. The jacket has flat-felled seams on the pack and sleeves and prominent pick stitching done by hand on the other seams and edges  to give it a casual look. Just because it’s double-breasted, that doesn’t mean it needs to be a formal jacket. The buttons contrast the jacket in beige corzo nut. The jacket is detailed with rounded open patch pockets, four buttons on the cuffs and double vents. There is a buttonhole in each peaked lapel.

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Brosnan’s cream trousers are likely made of linen and have a flat front. His cream shirt is possibly a cotton and linen blend, and it has a cutaway collar, plain front and rounded button cuffs. Brosnan wears the collar and first button undone and spread open to keep cool. He wears a puffed cream linen or cotton handkerchief in his breast pocket.

There is much uncertainly in the article concerning what these clothes are made from. Brosnan’s clothes all look very neat and crisp, which is easy to accomplish when an actor is mostly standing still. Filmmaking wardrobe techniques can easily account for the absence of linen’s characteristic wrinkling. The jacket’s stitching makes it unlikely to be 100% wool, but its smooth drape means that it’s likely not all linen or cotton.

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Cubby Broccoli’s Dinner Suit at the 54th Academy Awards

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At the 54th Academy Awards® in 1982, Roger Moore presented James Bond series producer Albert R. “Cubby” Broccoli with the Irving G. Thalberg Memorial Award. This award is given to “creative producers, whose bodies of work reflect a consistently high quality of motion picture production”. Moore wears his black Douglas Hayward dinner suit from For Your Eyes Only as he presents the award to Broccoli, who is wearing a dinner suit most likely made by Moore’s former tailor Cyril Castle. Broccoli probably went to Castle for a dinner suit at the time Castle was making suits for Moore for the Bond films. Since Castle only worked on Live and Let Die and The Man with the Golden Gun, this dinner suit would have been made between 1972 and 1974.

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Compared to Moore’s matte wool dinner suit, Broccoli’s dinner suit has a sheen that suggests it is a blend of mohair and wool. Broccoli’s single-button dinner jacket has satin silk-faced peaked lapels, satin silk-covered buttons, double vents and jetted pockets. The dinner jacket has many signs that it was made by Castle due to the similarities it shares with Moore’s suit jackets from his first two Bond films. The jacket’s shoulders are softly padded with gently roped sleeveheads. The peaked lapels are wide and cut with no belly, as Castle usually cut his peaked at that time. The cuffs are the same kissing link-button cuffs that Moore wore at the time. The front darts extend through the hip pockets to the bottom of the jacket, just as on the jackets Castle cut for Moore. The jacket has some waist suppression, but the silhouette looks different than Moore’s because of Broccoli’s girthier figure. The back of the jacket needs to be let out, and bespoke suits such as this are typically made with a large seam allowance to accommodate weight gain. Though wide lapels should recall the 1970s, wide peaked lapels on Broccoli help give breadth to his shoulders to balance the lack of a waist.

Not much of the dinner suit’s waistcoat can be seen, but it is made in the same cloth as the rest of the dinner suit. Though waistcoats for black tie should be low-cut and thus almost entirely covered by the jacket, this waistcoat is high-cut with four or five satin silk-covered buttons. Whilst it breaks from protocol, this waistcoat has satin silk shawl lapels to show that its maker is still aware of proper evening waistcoats and has purposely chosen to differ from what is traditional. Castle may have thought that a higher-cut waistcoat was more flattering on Broccoli. The dinner suit’s trousers have straight legs and a satin silk stripe down each side.

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The white dress shirt has a spread collar, pleated front and double cuffs. Two square black onyx studs with a white square in the centre show on the front shirt, and the cufflinks are of a similar design to the studs. Double cuffs have the same shape as the kissing link-button cuffs on the dinner jacket. Though what Broccoli is wearing is not incorrect, Moore’s barrel-fastening cocktail cuffs from his first two Bond films are a better match with these jacket cuffs because the shapes do not compete. Broccoli’s bow tie is a black satin silk butterfly, which matches the material of the lapels. It does not, however, match the width of the wide lapels and helps bring the 1970s dinner suit into the 1980s.

Watch Broccoli receive the award at the ceremony in 1982:

A high-resoution image of Broccoli in his dinner suit can be found on a page about the 54th Academy Awards on Oscars.org.

Mr Hinx’s Brown Suit in Spectre

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Sometimes the henchman in James Bond films are dressed better than their bosses, and Mr Hinx in Spectre, played by Dave Bautista, is one of these henchman. Bautista’s suits are tailored in an English style by London tailor Timothy Everest, who also tailored Ralph Fiennes and Christoph Waltz for Spectre. Bautista said about Hinx in an interview with Entertainment Weekly, “I really fought hard to not get typecast as your big, dumb muscle-head … But I wasn’t expecting the elegant wardrobe, the very manicured look.”

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Hinx’s final scene in the film is an intense fight on a train travelling through Morocco, and for this scene he wears a three-piece suit that Everest says is made of beige Capri wool. I could not find much information on what capri wool is, but Versace sells clothes made from a blend of wool, cotton and polyester in an open weave that they call “Capri wool”. Though I can’t imagine a great tailor such as Timothy Everest would care to work with a cloth blended with polyester, polyester’s wrinkle resistance looks great on camera. Hinx’s suit looks very crisp for a lightweight suit, so perhaps it does have a small amount of polyester. And though Everest calls the suit beige, it’s darker and richer, more of a light brown. The light brown colour helps Bautista’s dark, warm complexion shine whilst also fitting in with sandy Morocco.

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Bautista is a huge, muscular man, and this type of body is very difficult to fit. Since he is always in motion, the fit of his suit cannot be judged from what we see in the film. The button two jacket is tailored in an English fashion with straight shoulders and roped sleeveheads. Padding in the shoulders of Hinx’s suit jacket is used to straighten the shoulders rather than to build them up. The padding helps the cloth to drape over his shoulders neatly and elegantly. The jacket is detailed with double vents, slanted flap pockets and four buttons on each cuff.

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The suit’s waistcoat has five buttons, spaced apart to cover Bautista’s large frame. Six buttons with closer spacing would have looked more elegant. Hinx fastens the bottom button, which lines up with its corresponding buttonhole. However, the bottom of the waistcoat pulls in, and the waistcoat does not have the cleanest lines as a result. Though the armholes of the waistcoat are cut in an ordinary manner, they accentuate Bautista’s broad and muscular shoulders that burst out of the armholes when we see him without the jacket. Removing the singed jacket removes the sophisticated menace from Hinx’s appearance and replaces it one of pure menace. Without the jacket on, the shiny copper satin back of the waistcoat is revealed, flashiness that identifies him as a villain. The jacket is also lined in the same copper satin material.

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Hinx’s suit trousers are cut with a flat front and tapered legs that have plain bottoms. The trousers have slide-buckle side-adjusters, slanted side pockets, one rear button-through pocket on the right.

Hinx’s shirt is a microcheck, probably in grey and white. It has a wide but short spread collar and rounded single-button cuffs. The shirt’s buttons contrast the shirt in brown. Hinx’s tie is grey with black lines and white dashed lines horizontally across it. He ties it in a four-in-hand knot. Hinx’s socks are light brown and his shoes are chestnut brown that fasten with monk straps and have Dainite studded rubber soles. The shoes have a sleek, modern English last with a chiselled toe that make Bautista’s large UK size 12 feet look elegant. Though Crockett & Jones only takes credit for supplying Daniel Craig’s shoes for Spectre, these shoes resemble their Monkton model. The Monkton does not come with Dainite soles, but it’s entirely possible that Crockett & Jones made the shoes especially for Bautista with Dainite soles.

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Kronsteen’s Mod-Inspired Tonik Suit

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SPECTRE agent Number 5 Kronsteen, played by Polish actor Vladek Sheybal in From Russia with Love, is a natty dresser who is very comfortable in his own sense of style. When he is first seen at a chess tournament, he is wearing a Mod-inpsired dark blue Tonik suit. Tonik is a two-tone cloth in a lightweight blend of mohair and wool that has a vibrant sheen, and it is most famously made by Dormeuil, who owns the name Tonik. This cloth was very popular with Mods. The tone-tone look of Kronsteen’s suit is likely from a blend of medium blue and black yarns. Though his suit resembles what many younger people were wearing in 1963, the suit does not look inappropriate on 40-year-old Kronsteen. This is because the suit has a mainstream look overall with a few Mod inspirations.

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The suit jacket has three covered buttons—a popular Mod detail—down the front, and Kronsteen buttons the top two. The shoulders are padded and follow the natural shoulder line, and the jacket is cut with narrow lapels, a lean chest and very little waist suppression. The hip pockets are jetted and there is a single covered button on each cuff. The rear is not clearly seen, but the jacket likely has a short single vent or possibly no vents. The suit trousers have pleats, tapered legs and plain hems.

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Kronsteen’s cream shirt is likely silk and has a plain front without a placket. The shirt’s short point collar and double cuffs are stitched on the edge. Though black bow ties are best worn only with black tie, Kronsteen wears one as his signature look. It’s a narrow batwing diamond shape, possibly in a barathea weave. Kronsteen wears a black silk handkerchief in his breast pocket that is folded with the corners up and then rolled over. His shoes are black lace-ups.

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James Bond’s Uniform: The Grey Suit

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James Bond may be most associated with wearing black tie, but he wears more grey suits than anything else in the film series. The grey suit could easily be called the film Bond’s uniform. Because grey suits are so common, they are not particularly memorable. After all, spy whose cover is a businessman does not want to dress memorably. Grey suits, however, do not have to be bland or boring, and even a wardrobe of all grey suits can be a very exciting thing when there are light greys and dark greys, and solids, semi-solids, checks and stripes. James Bond wears five different grey suits in From Russia with Love alone, and four out of the five are very different from each other. The right shade of grey can fit into any season or any location, and any shade of grey can work in any pattern. Bond wears some form of the grey suit in every film except in The Spy Who Loved Me.

Because grey is neutral and does not stand out, a grey suit can be worn almost anywhere. For this reason, a charcoal grey suit is the best first suit to have in one’s wardrobe. Its neutrality gives it a slight edge above navy for one’s first suit, though navy also makes for an excellent first suit.

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Solid Grey Suits

Grey suits should never be a flat, completely solid grey. Though most of James Bond’s grey suits are without a pattern, they all have some form of texture to prevent them from being flat and boring. The most common texture on Bond’s solid grey suits is woolen flannel, which is a warm, fuzzy cloth without a visible weave. Bond wears charcoal or dark grey examples in Dr. No, From Russia with Love, Goldfinger, Thunderball and Diamond Are Forever and a medium grey flannel suit in For Your Eyes Only. Grey flannel cloths are typically woven from yarns spun in multiple shades of grey to give the cloth a livelier look than a single flat grey would. The grey flannel suit was once known as the uniform of the average, conforming businessman, and it helps Bond blend in with other businessman as part of his cover. But Bond’s grey flannel suits are all far from the average man’s suit. In a sharp cut and rich cloth, the grey flannel suit is a valuable piece in any stylish man’s wardrobe.

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For warm weather, Bond wears light grey plain-weave topical worsted wool or worsted and mohair blend suits in Dr. No, Diamond Are Forever and Live and Let Die. These have a stylish business look for warm weather. Like with the flannel suits, these tropical worsted suits are woven in from yarns spun of multiple shades of grey to breathe life into what would otherwise be a very plain cloth. In Bond’s darker charcoal worsted suits, the cloths are also woven in multiple shades of grey. Bond’s charcoal suit at the beginning of The World Is Not Enough has brown and blue mixed in with the grey yarns for an even more interesting cloth that still looks charcoal overall.

Bond has worn solid grey suits in non-wool cloths that use texture to bring life to the grey suit. The charcoal dupioni silk suit in From Russia with Love, the dark grey dupioni silk suit in Live and Let Die and the elephant grey dupioni silk suit in Moonraker have textured slubs for interest. The light grey linen suit in Casino Royale has interest from both a textured open weave and the worn rumples of linen. In The Man with the Golden Gun, Moore wears two charcoal mohair-blend suits that have sheen to prevent the charcoal suits from looking flat.

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Semi-Solid Grey Suits

Along with his solid grey suits, Bond wears many patterned grey suits, either woven in black and white or woven in different shades of grey. The most subtle of these patterns is the pick-and-pick, which is also known as sharkskin. Rather than rely on mottled yarns for a varied grey, the semi-solid pick-and-pick uses two different yarns to subtly give the cloth a more interesting appearance without a noticeable pattern. In From Russia with Love Bond wears a subtle pick-and-pick in black and grey, and in Skyfall he brings back the pick-and-pick suit in black and white. Bond also wears semi-solid grey herringbone suits woven in black and white, for a similar effect to pick-and-pick. These can be seen in You Only Live Twice and The Living Daylights. Semi-solid suits are appropriate for business, but they stand out more than solid grey suits.

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Checked Grey Suits

The glen check is the next step up from pick-and-pick and herringbone in moving away from solid. The glen hopsack check that Bond wears in grey and white in his famous three-piece suit in Goldfinger as well as in less memorable black-and-white two-piece suit in Diamonds Are Forever is a very subtle check and still a semi-solid like pick-and-pick. Larger than the glen hopsack check is the plain weave glen check that Bond wears in black and cream in Dr. No and in black and grey in From Russia with Love. These are amongst the first patterned grey suits that Bond wears, and from a distance the pattern is hardly noticeable. In From Russia with Love, Bond also wears a black and white Glen Urquhart check suit, which is a larger check woven in a twill weave. The Glen Urquhart check suit comes back in Skyfall in black and grey. A suit with a larger check has more limited use in business than a smaller check does. Checks in a larger scale with more contrast are less formal than checks in a smaller scale with less contrast. In From Russia with Love, the black and grey plain-weave glen check suit is more formal than the black and white Glen Urquhart check suit. The former could more easily be worn in a business context whilst the latter would be a better choice to wear to a daytime social event.

Bond also wears grey suits with windowpanes, for something sportier than his usual business-like suits. The first grey windowpane suit he wears comes in the form of a blue overcheck on a black and white Glen Urquhart check suit in On Her Majesty’s Secret Service. The second in GoldenEye is a more businesslike iridescent charcoal suit with a subtle blue windowpane. The last in The World Is Not Enough is a black and grey cheviot tweed suit with a blue windowpane.

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Striped Grey Suits

For the ultimate business look, Bond wears grey suits with stripes. They are all variations on the grey suits mentioned above, just with stripes added. These include a medium grey flannel suit with white chalk stripes in The Man with the Golden Gun, dark grey worsted rope stripe suits in Octopussy and Skyfall, and a medium grey and charcoal herringbone suit with white track stripes in Spectre.

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One reason why Bond wears so many grey suits is that so much can easily be done with grey. Not all of the variations in grey suits can easily be done in blue or brown. Light shades of blue have a decidedly less serious look than light grey and can be hard to pull off. Stripes traditionally don’t mesh with brown suits, since brown is a country colour and stripes are for the city. Grey suits are versatile, adaptable and timeless, and it’s easy to see why grey is Bond’s favorite colour for his suits.

Suitings for the Setting

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There are two ways to choose the colour suits we wear. One way is to wear what best flatters our complexion. The other way is to dress according to our surroundings, which considers the physical location, its climate and the season. This is the most traditional way men pick the colours they wear, particularly their suits. Just as there are four general types of complexions, the same four types each correspond to a location and a season.

Winter and the City

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Suits for the city reflect the cold-looking grey stone and metal and the blue asphalt of the city, hence grey and blue are the suit colours worn there. Because it is where business is conducted, the city is a formal place, and blue and grey suits may have become the most formal colours for suits due to their association with the city. And since the city is a formal place, the blues and greys of the city are dark, serious shades like navy and charcoal. City greys can be in lighter shades than city blues since medium grey retains an austere look whilst medium blue looks more festive. Black is traditionally reserved for more formal clothes than lounge suits, and because of this it will not be discussed along with blue and grey suits. City suits are typically in smooth, dressy cloths such as serge, herringbone and plain-weave worsteds as well as in woolen and worsted flannels. For more luxurious city suits, mohair, cashmere and silk may be blended in with the wool. City suitings are, for the most part, the only suitings that appropriate with pinstripes and chalk stripes.

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These dark, cool colours of city suits belong to the winter season, which feels as dark and cold as the stone and metal of the city. The colours of the city fit in well anywhere that is dark and cold. These colours can be worn quite appropriately outside of the city in the winter, and grey tweed is an example of this for winter in the country.

Timothy Dalton wears a navy suit with grey chalk stripes in The Living Daylights

Timothy Dalton wears a navy suit with grey chalk stripes in The Living Daylights

Dark, cool city colours best flatter people with a “winter” complexion, which is a cool complexion with a high contrast between the skin tone and hair. James Bond classically has this sort of complexion, and it is exemplified by Sean Connery, George Lazenby, Timothy Dalton and Pierce Brosnan. Bond usually wears classic city suits when at the office and around London. Sean Connery’s navy worsted suit in From Russia with Love, George Lazenby’s navy herringbone suit and flannel chalkstripe suit in On Her Majesty’s Secret Service, Roger Moore’s charcoal rope stripe worsted suit in Octopussy and Daniel Craig’s grey herringbone track stripe worsted, silk and mohair suit in Spectre are all solid examples of suits to wear in the city.

Autumn and the Country

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The colours of country suits are earth tones from nature, and the trees tell us what colours to wear when surrounded by nature. Tree trunks are brown, and brown is at the core of country suits. We generally think of leaves as green, hence another country colour. In autumn, leaves turn red, orange and gold, and these in turn are also country colours. The most traditional country suits are in shades of brown, olive and rust, which reflect the colours of the country but aren’t as bold as the colours of autumnal foliage. Country suits have more texture than city suits to reflect the textures found in nature, and they also need to be in harder wearing cloths to withstand country pursuits such as riding and shooting. Because the British countryside is a cool place, country suits are traditionally heavier suits. Often they are made in hearty tweed, cavalry twill, covert twill and whipcord wools. Cotton corduroy in a great choice for more casual suits in the country.

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Though autumn is a cool season, autumn and country colours are warm and best flatter people with a warm complexion, particularly one with a high contrast. Auric Goldfinger has the classic complexion that looks best in country colours.

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George Lazenby’s brown tic-pattern tweed suit in On Her Majesty’s Secret Service and Roger Moore’s brown donegal tweed suit in Moonraker are classic country suits. Pierce Brosnan exchanges browns for something cooler and wears a charcoal windowpane tweed suit in the Scottish countryside in The World Is Not Enough. Charcoal is more flattering to his cool skin tone than earth tones are, and because it is wintertime, Brosnan’s wintry charcoal is appropriate in a country tweed. James Bond wears very few country suits throughout the series, partly because the classic Bond’s cool complexion doesn’t look good in country colours and partly because heavy country suits tend to look old-fashioned.

Summer and the Tropics and Desert

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Though the tropics are wet whilst the desert is dry, both are hot places where light-coloured suits are worn so they reflect the heat of the sun rather than absorb it. The suits worn in the tropics and desert are in light, neutral colours such as light grey, tan, beige and cream. Lighter muted blues such as air force blue are also excellent in the tropics, though they may look too colourful in the desert.

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Suits for the tropics and desert foremost need to breathe. Warm-weather wool should be high-twist in an open plain weave, such as tropical wool or, ideally, fresco. Twills should generally be avoided, though gabardine has the right look in the tropics for those who can bear the heat. Mohair and linen are the fibres that are best-known for their cool-wearing properties. The former is perfect for dressier suits whilst the latter is better for the most informal of suits because it wrinkles the moment it is donned. Cotton poplin is also popular for warm-weather suits, but its only advantage is that it is inexpensive. Though it feels light, it doesn’t breathe as well as open-weave wool, mohair or linen, and at the end of the day it only looks marginally less wrinkled than linen looks. It also wears out more quickly than other warm-weather suitings and isn’t worth being made as a bespoke suit.

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The colours of summer suits best flatter someone with a light, low-contrast and muted complexion. Grey is best for people with a cool complexion like Sean Connery, whilst tan, beige and cream are best for people with a warm complexion like Roger Moore. Sean Connery wears a light semi-solid grey mohair suit in the tropical Bahamas in Thunderball, and he wears a light grey tropical wool suit in the Las Vegas desert in Diamonds Are Forever. Also in Diamonds Are Forever, Connery wears a classic summer cream linen suit in Las Vegas. Roger Moore continues with a light grey tropical wool suit in Live and Let Die when visiting the tropical island of San Monique, but he switches to a more flattering (colour-wise) cream polyester suit in Moonraker that looks appropriate in sunny Rio de Janeiro but surely must wear warm. Pierce Brosnan darkens Bond’s tropical suit with tan linen suits in GoldenEye and Die Another Day. Daniel Craig brings back the light grey suit in linen in Casino Royale when arriving in the Bahamas.

Spring and the Mediterranean

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The Mediterranean is a colourful region with beautiful weather, and the suits to wear in the Mediterranean and regions with a moderate mediterranean climate reflect this. Blue suits in medium shades like marine blue and air force blue recall the sea and the sky. Brown, tan and cream suits recall the sand of the Mediterranean beaches. These warm colours fit the sunny yet moderate weather of the region.

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The rich, warm and bright colours of mediterranean suits follow the essence of spring and best flatter people with a low-contrast warm complexion. For those with cooler complexions, medium grey—particularly in checks—fits in with the moderate weather. Mediterranean and spring suits are typically in medium weight worsteds, from lighter serge to gabardine to fresco. Cloths with a sheen, such a mohair and silk, are also excellent for mediterranean areas since they take full advantage of the sunny weather.

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Sean Connery wore many medium-grey-toned glen checks throughout his Bond films, including two in the mediterranean Istanbul in From Russia with Love. He also wears a grey pick-and-pick suit in Istanbul in From Russia with Love, which Daniel Craig wears in a lighter tone when Bond returns to Istanbul in Skyfall. Roger Moore wears classic warm-toned mediterranean suits, not only because he spends a lot of time in the Mediterranean in his Bond films but also because these mediterranean colours best flatter his warm complexion. His suits include a marine blue mohair suit in Beirut in The Man with the Golden Gun, a light brown dupioni silk suit in Sardinia in The Spy Who Loved Me, a grey dupioni silk suit in Venice in Moonraker and a light brown gabardine suit in Corfu in For Your Eyes Only. In A View to a Kill, Moore wears a tan gabardine suit in San Francisco, where there is a mediterranean climate. In Spectre, Daniel Craig wears a medium blue Prince of Wales suit in Spectre in Mexico City that reflects the region’s moderate weather.

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These are all only guidelines as to the best cloths to wear in different locations during the different seasons. All four of the categories presented have some overlap with every other category. The best-dressed man looks both in to himself and out at his surroundings when choosing his clothes. The ideal colours for us to wear need to be a compromise between what flatters our own complexions whilst fitting out with our surroundings. For example, someone with a light complexion should avoid the dark colours that dominate the city suits in favour of medium shades of blue and grey. Someone with a cool complexion should wear greys instead of tans in mediterranean regions and mute the browns of the country with taupe and grey.

Since dark city colours are the most formal, they can be made up in non-city suiting for formal occasions in other types of locations and climates. Daniel Craig’s dark and breathable midnight blue mohair tonic suit in Quantum of Solace is an example of this. Country colours can be made up into more formal city worsteds for suburban business. An example of this is the dark brown mohair suit that Sean Connery wears to the office in London in Thunderball. Because it is brown, this suit should have ideally been worn further from Whitehall. But this particular brown is very dark and mixed with black for a serious look that doesn’t stand out amongst the standard navy and charcoal. This would be a flattering choice in the city for someone with a warm complexion who doesn’t look good in the usual city colours. There are many ways to bend the guidelines presented here, and with a bit of thought one can always be well-dressed to suit both his surroundings and himself.

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The Persuaders: A High-Buttoning Green Suit

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For his character Lord Brett Sinclair to wear in The Persuaders, Roger Moore designed some very unique and innovative pieces of tailoring that went beyond the fashion of the day. One of these pieces is a high-buttoning green suit tailored by Cyril Castle with an equestrian and military heritage, featured only in the 1971 episode “Take Seven”. Rather than try to be creative with an unflattering fit or awkward proportions, like most fashion designers have done over the past half century, this suit is creative through its unconventional colour, historical cut and unusual details. Though these elements altogether make this suit look like a piece of costume, it’s a fascinating study in creative tailoring.

The unusual colour of this suit can be described as rifle green, which comes from the uniform of rifle regiments. Rifle green is a statelier and richer colour than a lighter and warmer army green, but still it has a long military heritage. The suit’s medium-heavy cloth is woven in a herringbone weave and has wide but subtle rust-coloured stripes. Though Moore wears this suit in the heart of London, being green automatically labels this a country suit. At least Moore visits Hyde Park wearing this suit, where it harmoniously blends with the greenery. Anywhere, rifle green has the benefit of being one of the most flattering colours to Moore’s warm spring complexion.

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This suit is hanging onto the “New Edwardian” from the 1960s and has taken nothing from the trends that had emerged by the start of the 1970s. Rather than take on the flamboyance of the 1970s, this suit has a flamboyance all of its own. The lapels are a balanced width and wider than lapels on a 1960s suit would have been. Though it’s inspirations are clear, this suit is ultimately too peculiar to look dated to any time. The suit jacket takes its high buttoning from the Edwardian era, when lounge coats usually had three or four buttons down the front in a higher stance than in more modern times. This button three suit jacket places the bottom button just below the natural waist, and the foreparts are cut away below that button. Because the foreparts are only cutaway below the high bottom button, and because the bottom button is up near the waist, all three buttons can be fastened. One a typical button three jacket, the middle button is near the waist and the bottom button is on a cutaway portion of the jacket so it not designed to fasten. Fastening the bottom button on an ordinary button three jacket (or button two jacket, for that matter) pulls the jacket out of shape and restricts the legs. The cut of this jacket has much in common with the button two “paddock” style jackets that the Duke of Windsor was known for wearing, where either both buttons or only the bottom button would be fastened.

Moore’s suit jacket is almost like a short version of the high-buttoning Edwardian morning coat—a garment that was originally designed for riding a horse—and the cutaway in the front of this jacket would spread apart nicely on horseback. If the colour of this suit didn’t already place it in the country, the equestrian cut would. The structure follows the traditional British equestrian and military cut. The jacket has straight shoulders, a clean and full chest for a strong polished-marble look, a nipped waist and a flared skirt. This cut has a sporty look, but the structure gives it a rather formal and martial look too.

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This jacket also has many sporty and equestrian details, such as swelled edges, steeply slanted hacking pockets and a flapped breast pocket, which is slanted down towards the side of the jacket instead of up towards the shoulder. The jacket’s most important equestrian detail is the long single vent, which balances the cutaway in front. This is Moore’s second jacket in The Persuaders, and in any of his appearances, with the flared link-button cuffs he would go on to wear on his jackets throughout his first two James Bond films. This detail was supposedly his idea that he pitched to tailor Cyril Castle. The jacket’s buttons are smoke mother of pearl, which give a more urbane look to this country suit. The excellent fit gives credence to this unusual suit, though the sleeves are noticeably an inch too short.

The suit trousers, cut by Cyril Castle’s and Anthony Sinclair’s apprentice Richard W. Paine, have jetted cross pocket on the front, and a dart centred on either side of the front cuts through each front pocket. The trousers have narrow straight legs, an elegant look from later 1960s fashion.

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This suit’s fancy details and unusual equestrian cut are reminiscent of and in the spirit of suits that Patrick Macnee’s character John Steed in The Avengers wore. Some of his high-buttoning Pierre Cardin suits in the first colour series were very similar in style, and a navy high button two suit made by Hammond & Boyle from the same series came close as well. It’s certainly not the kind of suit James Bond would wear, and it’s not the kind of suit the the average man could wear either. The suit’s jacket would work as a fancy riding jacket, but few people need that. It’s too structured and buttoned-up to work as a casual piece today, but even in navy it would also be too unusual to work as a dressy suit, neither for business nor for social use. Though few people would have use for anything like this suit, there’s much to be learned from and admired about this distinctive piece.

With this suit, Moore wears a pale yellow shirt made by Frank Foster that has a spread collar and button-down cocktail cuffs that fasten with a single button. The jacket’s too-short sleeves show off the shirt’s special cuffs. The tie has wide dark blue and dark green stripes and is tied in a four-in-hand knot. This is the Inns of Court Officers Training Corps regimental tie, and the tie signifies that former army officer Lord Brett Sinclair was a part of this regiment. Moore’s shoes are black calf monk shoes with a square apron toe. He wears black socks to match his shoes.

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In later episodes of The Persuaders “The Old, the New & the Deadly” and “Read & Destroy”, Roger Moore wears an almost identical suit in a much lighter and more olive shade of green.

OK Connery: Neil Connery in Black Tie

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In 1967, Sean Connery’s younger brother Neil Connery starred in an Italian spy film called OK Connery, which is also known as Operation Kid Brother and Operation Double 007, amongst other titles. Neil Connery plays Dr. Neil Connery, who is the brother of a well-known British secret agent. The film features a number of actors who had appeared in the James Bond films, such as Daniela Bianchi (Tatiana Romanova in From Russia with Love), Adolfo Celi (Emilio Largo in Thunderball), Anthony Dawson (Professor Dent in Dr. No), Bernard Lee (M) and Lois Maxwell (Miss Moneypenny). Neil Connery, who is dressed in lab coats, Scottish highland dress and dungarees in this film, also wears suits and sports coats with two buttons like his brother wears, but in shades of brown instead of greys and blues. Neil Connery’s most Bond-like outfit is his black dinner suit.

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Since OK Connery is an Italian production, Connery’s suits were most likely made by an Italian tailor. The single-button dinner jacket is cut with lightly padded straight shoulders with roped sleeveheads, a clean chest and a suppressed waist. The jacket has the traditional details of jetted pockets and no rear vent. The dinner jacket’s only concession to 1960s fashion is the narrow width of the silk-faced shawl collar. Unfortunately, the collar stands away from the neck in some shots, but that may be the fault of the way Connery donned the jacket rather than a problem with the fit. The too-long sleeves, however, are a problem with the fit. The trousers have medium-width tapered legs and likely have pleats.

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Connery’s white dress shirt has a short spread collar, double cuffs and a front bib with large pleats that fastens with shimmering mother-of-pearl studs. His narrow batwing bow tie is in black silk with crosswise ribs. Connery appears to be following his older brother’s style and foregoes a waist covering. Though his outfit is not perfect, he convincingly looks the part of James Bond’s younger brother.

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