The exact cloth of Sean Connery’s blue suit in Goldfinger and Woman of Straw is a difficult one to make out. It’s a heavy cloth and has a mottled appearance, so it’s certainly a woollen. But is it tweed or flannel? It has a subtle stripe effect that suggests the cloth is woven in a herringbone weave, so I thought it could be a herringbone tweed. But in herringbone tweeds the weave is well-defined and easy to see. In a woollen flannel, however, the nap mostly obscures the weave, which is the case with Connery’s blue suit. So, could it be herringbone flannel?
I never saw or even heard of herringbone flannel until a reader of The Suits of James Bond who is a fan of the Connery Bond suits found a Fox Brothers herringbone flannel cloth in his search for a cloth to replicate the blue suit. Fox Brothers is one of England’s most well-known manufacturers of flannel, and their Char Blue Herringbone Jacketing flannel is a close match to what Connery’s blue suit in Goldfinger is made of. The cloth is a 500/530 gram or 18 oz weight and is featured under Fox’s jacketing range. It is based on a cloth from the 1930s, when practically all suits were made from heavier cloths than what most suits are made from today. Though it’s labelled a jacketing, it makes a good suiting for cold weather. It would have been a more typical weight for a winter suit in the 1960s when Connery wore his suit. Connery’s blue suit indeed looks to be quite heavy, especially compared to his usual lightweight worsteds. However, I’d guess that Connery’s suit is made from a cloth slightly lighter than this one. The herringbone pattern on Connery’s suit looks larger than this cloth’s pattern, and his suit is a richer blue than Fox’s char blue. Whilst it may not be a perfect match, it is the closest I’ve seen to Connery’s suit and gives insight to what Connery’s suit is likely made of.
The Fox Brothers cloth is code FS405 B2237/84 and can be purchased online at The Merchant Fox.
Frogmouth pockets in Goldfinger
Frogmouth pockets, also called western pockets or full top pockets, were popular on trousers in the 1960s and 1970s. As opposed to traditional on-seam or slanted pockets that are accessed from the side, frogmouth pockets are accessed from the front like pockets on jeans. But unlike pockets on jeans, frogmouth pockets are not curved. They are slightly slanted down across the front, and offset down from the waistband so the pocket is in the middle of the hips rather than on top of the hips. On lower-rise trousers the frogmouth pockets don’t need to be offset from the waistband. Unlike side pockets, frogmouth pockets don’t flare open trousers that fit tightly across the hips. Frogmouth pockets aren’t very fashionable today, but with the popularity of jeans and tight trousers it’s surprising that the frogmouth pocket hasn’t made a comeback. Though the style naturally goes with today’s trends, they will continue to look dated to the 1960s and 70s unless they come back into mainstream fashion.
Douglas Hayward trousers in For Your Eyes Only
Sean Connery’s brown cavalry twill trousers in Goldfinger and Thunderball have frogmouth pockets, as do some of his casual trousers. Douglas Hayward, who made Roger Moore’s suits in his 1980s Bond films, put frogmouth pockets on Moore’s suit trousers. They can be seen on the grey flannel suit in For Your Eyes Only and on the black trousers worn with the white dinner jacket in Octopussy.
Notice the dart above the pocket.
Whilst pleated trousers can’t have frogmouth pockets, both flat front and darted front trousers can. Frogmouth pockets and darts aren’t often seen together, but Sean Connery’s grey trousers in You Only Live Twice have a dart above the middle of the frogmouth pockets. Darts can also be along the front edge of the pocket, which is how the brown trousers in Goldfinger are made, and it may be the case for Moore’s Hayward trousers too. Roger Moore’s trousers in The Persuaders have offset jetted frogmouth pockets that cut through the front dart, which is in the middle above the trousers’ leg crease.
Who is wearing the trendier suit in Goldfinger, James Bond or Q? Except for narrow lapels and covered buttons, Bond’s blue suit is classic in every way. Q’s (Desmond Llewelyn) solid brown tweed suit, however, has many features that date it to the 1960s. Like Bond’s suit jacket, Q’s suit jacket has narrow lapels, but it also has narrow pocket flaps that are placed rather low. The short double vents are another 1960s detail. But perhaps the most outdated part of the suit is the way the quarters are cut. The front of the jacket cuts away below the waist as it ordinarily would, but the curve of the front edge into the hem has a very small radius that’s almost—but not quite—a sharp corner.
The suit’s overall silhouette, however, is a classic button two jacket with natural shoulders and just a little drape in the chest. The jacket also has swelled edges and 2-button cuffs. The trousers likely have single or double forward pleats, which were the common suit trouser styles in England at the time. They are finished with turn-ups. Q’s suits almost always have fit problems, and on this suit the collar stands away from the neck and the sleeves are too long. This is because actor Desmond Llewelyn has round shoulders and needs his jackets to be cut longer in back to be balanced. He’s not an easy man to fit.
Q’s cream shirt has a spread collar and double cuffs. His tie is black with narrow burgundy stripes and a narrower white pencil stripes below each burgundy stripe. If it is a regimental tie, can anyone identify it? His shoes are brown, which match the overall town-and-country look of the outfit.
It’s time again to look at one of Sean Connery’s Goldfinger suits in its original setting in Woman of Straw. Both Goldfinger and Woman of Straw end with Sean Connery in the same charcoal grey woollen flannel, three-piece suit. This slightly rustic suit does just as well in Woman of Straw‘s country setting as it does in Goldfinger‘s dressier setting of Bond on his way to meet the president. It’s Connery’s usual Anthony Sinclair suit. The button two jacket has natural shoulders with roped sleeveheads, a full chest and a nipped waist. It has four buttons on the cuffs, jetted pockets and no vent. The waistcoat has six buttons with five to button, though Connery fastens the bottom button. Because the bottom button is not meant to close, the bottom of the waistcoat bunches up rather unattractively. The trousers have double forward pleats and button side adjusters.
The shirt and tie differ slightly from what Sean Connery wears in Goldfinger. The elegant white shirt has a self-stripe pattern, which is either created by a mini-herringbone weave or a fancy white-on-white weave. Due to the country context the mini-herringbone is more likely since it’s not as formal as a white-on-white stripe. The shirt has a spread collar, front placket and double cuffs with rounded corners. The black satin tie is a little formal for a woollen flannel suit, but at the same time it creates a pleasant contrast with the texture of the flannel suit. It is tied in a small four-in-hand knot. Like in Goldfinger, Connery wears a white linen handkerchief in his breast pocket, but here it’s folded in a single point instead of in a TV fold. His shoes are black.
Sean Connery wears two stylish double-breasted overcoats in Woman of Straw that didn’t make it into Goldfinger. Over this charcoal flannel suit he wears a very dark navy double-breasted, knee-length overcoat. It has six buttons with three to button, narrow notched lapels and slanted hip pockets. The overcoat is cut with natural shoulders, has set-in sleeves and is slightly shaped through the body. There’s no name for this style of overcoat, but nevertheless it is a very elegant coat. With the overcoat Connery has a dark hat with a white lining, but it’s difficult to what type of hat it is or what colour it is. A trilby would be most likely considering the relative informality of the coat and flannel suit, and it could be the same brown trilby that Connery wears in Goldfinger or one similar to it.
The brown suede shoes that Sean Connery wears with his hacking jacket and cavalry twill trousers in Goldfinger and Thunderball are something people often ask me about. Thy are 2-eyelet derby shoes in what essentially looks like a short chukka. The soles are dark brown rubber. The suede uppers, rubber soles and thicker laces make these more casual—but also more versatile—shoes. They work well with informal country wear like in Bond’s case, but they could just as easily be at home with a pair of jeans. They have a slight edge of formality over chukka boots, which allows them to be dressed up a little more whilst at the same time they can still be relatively casual shoes.
My best approximation of the style of this shoe.
Daniel Craig wears very similar shoes with his grey linen suit in Casino Royale.
Like most of the clothes in Woman of Straw, Sean Connery’s black dinner suit almost exactly resembles its counterpart in Goldfinger. It has notch lapels, a single-button fastening and no vents. The biggest difference are that the lapels on this dinner jacket are narrower than the ones in Goldfinger. This dinner jacket also adds gauntlet cuffs like Connery previously wore in Dr. No and From Russia With Love. Connery wears it in the same fashion as he does in Goldfinger: a small, private dinner. Just like the older men Bond has dinner with in Goldfinger, the older Ralph Richardson in this scene wears a shawl collar dinner jacket.
The dress shirt has a spread collar, small pleats on the front, mother of pearl buttons down the placket and double cuffs. Connery wears it with a narrow black bow tie and a white linen pocket handkerchief folded with a single point. If he is wearing a waist covering, it can’t be seen.
Though not in his manner, Oddjob makes a convincing servant in his dress. He wears black lounge, the same type of outfit that Bond wears for his wedding. The black button-three jacket has a high button stance and high lapel notches, which are more flattering to the shorter man that Oddjob is. The jacket has has three-button cuffs and jetted pockets and no vent. The jacket has some fit problems in the chest and shoulders, but a servant wouldn’t likely be wearing a bespoke suit anyway. Oddjob wears a matching five-button waistcoat, and he fastens all the buttons.
The cashmere stripe trousers in grey tones—originally from morning dress—are commonly worn with black lounge. Oddjob’s trousers have double forward pleats and plain hems. His white shirt has a wing collar, front placket and double cuffs. Though the wing collar was once worn with morning dress—like the striped trousers are—it is too formal for black lounge. A wing collar also should not be worn with a four-in-hand tie—though it once was the norm. The inappropriate mixing of formalities is what identifies Oddjob as a servant. His black, military-like derby shoes are also not up to the same formality as black lounge.
Oddjob’s black, flat-crowned bolwer hat—his most famous accessory made by Lock & Co.—is unusual for a servant, but it is the perfect match for his black lounge outfit. Two examples of the hat used in the film have been sold at auction. The first was sold at Christie’s in South Kensington on 17 September 1998 for £62,000. The second was sold by Julien’s Auctions in June 2006 for $33,600.
In Dressing the Man, Alan Flusser defines drape as:
The manner in which a garment hangs from the shoulder or waist. For example, the English drape (or English lounge) is an intended style feature of men’s jackets or outercoats pioneered in the early 1920s by the Prince of Wales’s maverick tailor Frederick Scholte, inspired by the guards coat; it is characterized by fullness across the chest and over the shoulder blades to form flat vertical wrinkles for form, comfort, and the impression of muscularity. The draped silhouette dominated men’s tailored fashions throughout the 1920s and 1930s.
The classic drape cut has large, padded shoulders and a nipped waist, to emphasise and build upon a man’s V-shaped torso. Sean Connery’s Anthony Sinclair suit jackets were cut with a mild amount of drape, though his jackets do not have the built-up shoulders of the classic drape suit. Though Cyril Castle made some of Roger Moore’s suits in The Saint with a draped chest, the drape was mostly absent from his Bond suits. The extra chest fullness practically serves Bond, by not only offering extra ease in movement but also better concealing his PPK. Even though the chest is larger than usual, it doesn’t mean the suit is a size larger. Very few tailors still do a drape cut, and even Anderson & Sheppard who was once known for their drape now mostly cuts a trim, clean chest. Drape has a markedly old-fashioned look that isn’t in line with today’s trim fashions. Still, English tailors use drape in the most basic definition of the term: they allow the cloth to hang from—but also conform to—the body rather than cling to it.
A drape cut in The Saint