In For Your Eyes Only, Bond briefly wears a pale yellow lightweight cotton jersey short-sleeve shirt made by Frank Foster. Pale yellow is a classic summer colour that looks great in the sun. The shirt has a large spread collar, cuffed short sleeves, a darted back and an open breast pocket with mitred corners. The shirt’s placket is stitched close to the centre like on most of Foster’s shirts, but it is also stitched on the edge of the placket since jersey doesn’t keep a crisp crease. The buttons are, of course, mother of pearl.
The stone-coloured, flat-front trousers are made either of cotton or a cotton-linen blend. Bond’s surcingle belt is off-white with black leather fittings and a brass buckle. The off-white fabric has large, length-wise ribs. In an off moment for Bond (and especially Roger Moore), his gig line is a failure. The placket, belt buckle and fly do not line up and look sloppy, causing his shirt to rumple.
Real men do indeed wear pink. Bond wears a classic pink and white gingham short-sleeve shirt on the beach in Thunderball. The shirt has a camp collar and plain front, an open breast pocket, a straight hem with side vents and shoulder pleats at the back. If you’re wearing this shirt and someone tells you you’re wearing a picnic table cloth, remind them that the classic picnic table cloth is red, not pink. The Jantzen swimming trunks are the same as what Bond wore earlier in the film, but in a mottled pink that looks like linen and worn without a belt. Bond also dons a pair of Wayfarer-style sunglasses.
Bond is introduced to us in Dr. No wearing a midnight blue shawl-collar dinner suit. In the From Russia With Love pre-title sequence, Bond (or rather a man wearing a James Bond mask) wears a very similar dinner suit, though it is not the same one as I previously though it was. The dinner jacket has a 1-button front, jetted pockets and satin gauntlet cuffs with 4 buttons. The collar is narrower and has less belly than the Dr. No dinner suit, giving this dinner suit a more modern look. It’s difficult to tell if this one has vents, but probably not. The trousers have double forward pleats. The pleat-front shirt has mother-of-pearl buttons and double cuffs, and the placket stitching suggests a maker other than Turnbull & Asser. The bow-tie is also different. Instead of the pointed ends from before, this bow-tie is a narrow standard batwing shape with straight ends. Bond again wears a white linen handkerchief folded in his breast pocket.
This week celebrates the 45th anniversary of the release of You Only Live Twice. In the film, Bond visits Japan wearing a suit in a lighter shade of blue than navy that is ideal for summer. In certain scenes, this suit has quite a shine and suggests a mohair/wool blend. Mohair and high twist wool are two of the best-performing suitings for warm weather because they breathe well and are great at resisting wrinkles. This is a unique Anthony Sinclair suit with its 1-button front, but as always it has natural shoulders with roped sleeveheads, a full chest and a gently suppressed waist. The jacket is detailed with a single vent, flapped pockets and 4-button cuffs. The trousers have double forward pleats, button side-adjusters and turn-ups.
Bond wears the suit with a sky blue poplin shirt from Turnbull & Asser that has a spread collar and cocktail cuffs. For a touch of Fleming, Bond wears a knit tie in a four-in-hand knot, but in navy rather than Fleming’s black. This is the only time Connery wears a knit tie outside of Goldfinger. The shoes are black grain leather, plain-toe slip-ons, probably with elastic connecting the quarters across the instep. Grain leather isn’t often seen in black since its rustic look is better suited with brown and burgundy country shoes. Bond brings along a navy felt trilby, which must surely be too warm to wear in what appears to be warm weather in Japan based on other clothes in the film. Overall this is one of the most Fleming-esque outfits of the series, and Fleming himself would surely approve of every part of the outfit except the shirt sleeves (Fleming preferred short sleeves, even with suits).
Roger Moore is all too often accused of wearing leisure suits, but only does this powder blue number from Live and Let Die qualify. The jacket alone could easily have been from the 1960s, but wearing it with matching flared trousers turns it into a classic leisure suit. The jacket has a front and back yoke, turn-down collar, two button-flap patch pockets and 1-button cuffs. The jacket is a little longer than waist-length, and the bottom width can be adjusted with buttoned tabs. The flat-front trousers are worn with a surcingle belt. The belt is a cream web with brown leather ends and a brass buckle. Similar to denim clothing, this leisure suit has rivet buttons and flat-felled seams.
Moore wears only a white knit vest under the jacket, tucked into his trousers. His shoes are navy suede-effect slip-ons. This casual outfit is one of the most dated of the series and unlike Moore’s suits has just about no redeeming qualities. The best part of the outfit is the classic surcingle belt.
Roger Moore’s final film before The Persuaders and his tenure as James Bond was one of his most dramatic and finest performances of his career. In The Man Who Haunted Himself Moore plays a businessman named Harold Pelham who wears the same old-fashioned city uniform to the office every day. The suit is a traditional 3-piece charcoal pinstripe worsted with a 3-button jacket, and it’s cut with a draped chest, suppressed waist and soft shoulders with roped sleeveheads. The jacket has 4-button cuffs, flapped pockets and a single vent. By this time (1970), the Savile Row standard rear for a suit jacket was the double vent, though single vents were still more traditional for single-breasted jackets. Moore’s regular tailor Cyril Castle most likely tailored this suit.
The waistcoat has 6 buttons with 5 to button. The trousers break from tradition and have a darted front and narrow legs. Only the most conservative dressers were still having their trousers made with pleats in the 1970s. Though pleats would fit the Pelham character, Roger Moore never wore pleats, even in the early 60s when they were still the default style. The trousers are also worn with a belt, another break from tradition. They are cut without a break and sit on top of black short ankle boots, the most modern part of the outfit.
The shirt—with its starched detachable spread collar—is the most traditional part of Pelham’s outfit. A detachable collar is able to be laundered and starched separately so the rest of the shirt doesn’t end up so stiff. It’s a more formal style than an attached collar, but unfortunately starching a collar properly is almost a lost art that few outside of London can perform. Detachable collars are attached to the shirt with a stud at the front and a stud at the back. Pelham’s collar is plain white whilst the tunic shirt is white with a narrow-spaced self stripe. The shirt has a tunic collar, rounded double cuffs and shoulder pleats. Frank Foster may have made this shirt, and the pink shirt with cocktail cuffs that Pelham wears at the end shows that Foster’s work was present in this film. The tie is black with red stripes that are about the same size and space apart as the suit’s pinstripes. Striped ties with a striped suit work best when the stripes are different scales, but Pelham is not wearing this tie because of how it coordinates with the suit. Because Pelham always wears the same tie to work it probably has a certain meaning to him. The stripes denote an association, and if anyone knows what it is I’d be interested to know. It’s probably not his club since nobody else at his club is wearing the same tie.
Like traditional London businessmen, Pelham wears a black bowler hat and carries an umbrella. The umbrella has a grey canopy with a curved whangee handle. He also wears a white linen handkerchief in his breast pocket folded with one point.
Pelham places his umbrella and bowler hat in the rear seat of his Rover