The Naked Face: A Needlecord Suit

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In the 1984 film The Naked Face, Roger Moore plays psychiatrist Judd Stevens who dresses in seasonal autumn clothing in the Anglo-American tradition. I previously wrote about Moore’s blue and beige barleycorn tweed jacket in The Naked Face, and most of the clothes in the film follow in a similar vein. Of all the tailored clothing in the film, only a light brown needlecord suit appears to be made by Moore’s regular tailor at the time, Douglas Hayward. Hayward made Moore’s beautiful tailored clothing for For Your Eyes Only, Octopussy and A View to a Kill. This suit is more casual than what Hayward made for the Bond films, and, though the cut is the same as what Moore wore as Bond at the time, it’s probably not a suit Bond would wear. Needlecord, also known as pinwale, is a fine wale cotton corduroy that is perfect for autumn in Chicago, where the film takes place.

The-Naked-Face-Needlecord-Suit-4Like Roger Moore’s Douglas Hayward suits in his last three James Bond films, this suit jacket is cut with a clean chest and natural shoulders with gently roped sleeveheads. The button-two jacket also has the same low button stance and is identically detailed to most of Moore’s Bond suit jackets with flapped pockets, three buttons on the cuffs and double vents. The suit trousers are also like Moore’s trousers in his Bond films at the time: they have a straight leg and frogmouth pockets and are worn with a belt. Apart from the jacket’s low button stance, the suit looks timeless.

The-Naked-Face-Needlecord-Suit-2All of Moore’s shirts in The Naked Face are made by his regular shirtmaker Frank Foster, who made shirts for Moore in all of his Bond films. Moore wears this suit with two different shirts: a blue and white hairline stripe shirt with a spread collar—which is very similar to the shirt he wears with his navy suit in Octopussy—and an ecru shirt with a button-down spread collar. The button-down collar is much wider than the typical American button-down collar, but it still has a gentle roll. This is possibly what Roger Moore’s button-down collars in A View to a Kill would look like if worn buttoned with a tie. Both shirts have a placket with Foster’s identifying stitching close to the centre and extra-rounded single-button cuffs. Though the buttons aren’t clearly seen on these two shirts’ cuffs, another blue and white hairline stripe shirt in the film has a large cuff button like on Foster’s “Lapidus” tab cuffs. It’s possible that these two shirts also have the same large button on the cuffs.

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Notice the poorly-ironed shirt collar. On collars with a sewn interfacing, they can easily bunch up at the stitching. Judd Stevens is well-dressed, but he isn’t faultless like James Bond

With this suit Moore wears a grey-purple knitted wool tie with flat ends. Wool ties go especially nice with corduroy since they complement the rustic, autumnal look, and they have more contrast with corduroy than they do with the other traditional pairings like flannel and tweed. Knitted wool ties are slightly less formal than knitted silk ties, which makes them a great match for such a casual suit like corduroy. The tie’s colour, grey with a hint of purple, is rather dull compared to the rest of the outfit and slightly washes out Moore’s warm complexion. Moore ties it in a four-in-hand knot, and the knot ends up quite wide due to the tie’s bulk.

Moore’s slip-on shoes and belt are dark brown, and the belt’s brass buckle goes well with the light brown colour of the suit. Moore wears dark brown leather gloves with the suit.

The-Naked-Face-Camel-OvercoatOver the suit, Moore wears a single-breasted camelhair overcoat. The full-length overcoat hits just below the knee, which keeps Moore decently warm in the cold and windy Chicago. Like the suit, it has natural shoulders with roped sleeveheads. The overcoat has set-in sleeves, three buttons down the front, swelled edges, straight flapped hip pockets, a welted breast pocket, three buttons on the cuffs and a single vent. He wears the collar turned up for extra warmth. He also keeps warm in a light brown wool flat cap, something James Bond would never wear. They’re associated with older working class men, a category Bond is never associated with. With the cap and large glasses on, Moore looks nothing like James Bond. Over the suit and under the overcoat, Moore drapes a a checked Burberry—or Burberry-style—scarf around his neck. The scarf’s base colour is pale green, the scarf’s check has navy and sky blue stripes lengthwise with black and cream stripes crosswise, and the scarf has a navy lengthwise overcheck and a rust-coloured crosswise overcheck.

Though Roger Moore’s needlecord suit in The Naked Face may not be something James Bond would wear, it’s an elegant suit for informal cool-weather wear. The outfit has a timeless look that would look just as great during this autumn season as it did thirty years ago.

Layer Cake: The Kilgour Navy Suit

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In Daniel Craig’s “screen test” for James Bond, the 2005 film Layer Cake, he wears a ready-to-wear navy suit from Kilgour. The suit was designed by Kilgour’s creative director Carlo Brandelli in his signature style. Brandelli, a London-born fashion designer, interior designer and artist, joined Kilgour in 2004, left in 2009 and returned again in 2013. The style of the suit recalls traditional Savile Row but at the same time updates it with a distinctive sleek, modern look. The suit jacket has single-button front with the button at the waist, and the jacket’s quarters gently cut away below the button. It is cut with a clean chest, a nipped waist and lightly-padded shoulders with roped sleeveheads. The jacket is detailed with a single vent, slanted flap pockets and four buttons on the cuffs. The jacket’s buttons are made of black horn.

Layer-Cake-Kilgour-Navy-Suit-4The suit trousers have a medium rise so they sit only about two inches below the jacket’s button. The rise is high enough to prevent the shirt from showing the jacket’s single button. The trousers have a darted front, straight leg, slanted side pockets and “DAKS top” side adjusters with three mother of pearl buttons.

Layer-Cake-Kilgour-Navy-Suit-3Daniel Craig’s shirt is pale blue and has a moderate spread collar, double cuffs and a front placket.  Though the collar and cuffs are stitched 1/4-inch from the edge, the rather narrow placket is stitched 3/8″ from the edge. The placket is just like what Thomas Pink makes, and this shirt and the others in the film could possibly be from there. If this shirt isn’t from Thomas Pink, it is certainly English in origin. The navy tie has a raised woven honeycomb texture, which looks like the “Astaire” tie that Thomas Pink used to sell. Craig’s shoes are black leather high-vamp slip-ons with an elastic strip across the instep under the tongue.

The entire colour scheme of the outfit is very Bond-like, and all the blue brings out the best in Daniel Craig’s warm, spring complexion and blue eyes. Though the clothes are ready-to-wear, they fit well except for when the jacket’s collar stands away from the neck. Daniel Craig looks great in the English style and proves in Layer Cake that he can look very much the part of James Bond.

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The James Bond clothes and pose

In 2011, I wrote about the cream suit Daniel Craig wears in the final scene of Layer Cake.

Assignment K: A Double-Breasted Suit by Douglas Hayward

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Stephen Boyd stars as Philip Scott in the 1968 spy thriller Assignment K, and throughout the film he wears suits by Douglas Hayward. Douglas Hayward tailored Roger Moore’s suits for For Your Eyes Only, Octopussy and A View to a Kill, and he also made suits for Michael Caine, Terence Stamp, Steve McQueen and many other stars. One of the four suits that Boyd wears in Assignment K is a medium grey worsted flannel double-breasted suit. Worsted flannel is can be lighter in weight than the traditional woollen flannel, but being flannel it still has a fuzzy nap. The serge weave is visible under the nap on a worsted flannel, whilst no weave is visible on a woollen flannel. Worsted flannel has a sleeker look than woollen flannel does, but the nap keeps him warm in West Germany’s winter.

Assignment-K-Double-Breasted-Suit-2Boyd’s double-breasted suit jacket has the traditional arrangement of six buttons with two to button, and it is tailored with natural shoulders, a clean chest and suppressed waist. The jacket’s peaked lapels are made in the Tautz style, which means they have a horizontal gorge. They look slightly less formal than standard peaked lapels that point up towards the shoulder. The jacket also has double vents, three buttons on the cuffs, flapped pockets and a royal blue lining. The suit trousers’ legs taper to the knee and are straight from the knee to the plain hem. Not much of the the trousers’ legs are seen, but if they match Boyd’s other suit trousers in the film they have frogmouth pockets and are worn with a belt. The front does not have pleats, but it is probably darted.

Assignment-K-Charcoal-OvercoatBoyd’s sky blue shirt is likely made by Frank Foster. It has a wide spread collar, square double cuffs attached to the sleeves with shirring, rear side pleats, rear darts and a placket stitched close to the centre. Boyd wears two different ties with this suit: the first is solid silver and the second is solid black. Boyd’s shoes are black. Over the suit, Boyd wears a charcoal melton wool overcoat, which he wears over every suit in the film. The coat is three-quarter length to just above the knee. It has three buttons down the front, three buttons on the cuffs, slanted flap pockets and a rear vent. Like the suit jacket, the overcoat has natural shoulders. With the overcoat, Boyd wears dark grey suede gloves.

Assignment-K-Double-Breasted-Suit-3Assignment K has a few connections to James Bond besides both using tailor Douglas Hayward. The director of this film Val Guest, directed parts of the Casino Royale spoof a year earlier. Assignment K also features the actor Jan Werich, who was originally cast as Ernst Stavro Blofeld in You Only Live Twice. Producer Albert Broccoli and director Lewis Gilbert of You Only Live Twice decided that Werich was not right for the villainous role and replaced him with Donald Pleasence.

Evelyn Tremble: The Gun Club Check Suit

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Once Evelyn Tremble (Peter Sellers) becomes one of the many James Bonds in the 1967 spoof Casino Royale, he starts dressing better. His gun club check suit is an excellent example of the improvement in his wardrobe. The gun club check is black and red on a white ground, and in these colours and a small scale it works well as a casual city suit rather than the sporty country suit one would expect out of a gun club check. Little of the suit jacket is seen, but it is certainly made by the same tailor who made his second dinner suit. This button three suit jacket has the same straight shoulders and fishmouth “cran Necker” notch lapels that the dinner jacket has. The suit jacket has flapped pockets, three buttons on the cuffs and probably double vents.

Peter-Sellers-Check-Suit-2Much more of the suit trousers than the suit jacket are seen. The trousers are very much of their time, with a darted front and frogmouth pockets. The leg is tapered to the knee and straight from the knee to the hem. The rear right pocket is jetted with a button through it whilst the rear left pocket has a flap. The trousers have a fairly traditional rise.

Peter-Sellers-Check-Suit-3Since Sellers wears this suit without the jacket more than he does with the jacket, his shirt becomes the main focus of the outfit. And it deserves to be the main focus because it’s beautifully-made and well-fitted.The shirt is made of cream voile with a double layer in the front so it is not sheer like the back and sleeves are. It has a spread collar, a front placket and a darted back with side pleats. The double cuffs have the link holes close to the fold, and the outer edge of the cuff has a large curve like on Sean Connery’s cocktail cuffs. The cuffs are attached with shirring. The shirt is possibly made by Frank Foster, who made shirts for Peter Sellers in other films. With the outfit, Sellers wears a dark brown knitted tie that he sometimes keeps tucked into his trousers. The trousers are held up with black textured leather belt that clashes with Sellers’ burgundy shoes, and it’s the only mistake he makes in what’s a rather elegant and Bond-like outfit.

The Russia House: Blazer and Duffle Coat

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In the 1990 film The Russia House, Sean Connery plays Bartholomew “Barley” Scott Blair, the head of a British publishing film turned spy. Though the character is a spy, he’s nothing like James Bond. Connery dresses how an older man in Britain would traditionally dress, and he wears layers to withstand Moscow’s cold weather. Connery’s wardrobe in the film consists of V-neck jumpers, knitted ties, informal outercoats, a navy suit, a checked jacket and a navy blazer.

Connery-Russia-House-Blazer-2Connery’s button two navy blazer has natural shoulders that go against the trendy large shoulder of 1990, but slightly wide lapels and the moderately low gorge and button stance reflect the fashions of the time. Though blazers ordinarily have vents in the rear due to their sporty nature, this one reflects the fashions of 1990 and has no vent. Like Connery’s navy blazer in Dr. No, this blazer also has an open patch breast pocket and open patch hip pockets, swelled edges and two buttons on the cuffs. This blazer’s buttons are brass. Bonhams in Knightsbridge auctioned the blazer on 16 June 2009 for £120. The blazer was made for Sean Connery by the costumiers Angels.

Connery-Russia-House-Duffle-Coat-2Under the blazer, Connery wears a medium grey sleeveless, V-neck jumper, which both keeps Connery warm and makes the outfit more casual. Connery’s dark green corduroy trousers have double forward pleats and are worn with a brown alligator-texture belt. The ecru shirt has a point collar, rounded single-button cuffs, a front placket and rear shoulder pleats. Connery wears a knitted tie with red and navy horizontal stripes, and it’s most likely tied in a half windsor knot. Connery’s shoes are dark brown.

Connery-Russia-House-Duffle-CoatOver the blazer, Connery wears a camel-coloured, heavy woollen duffle coat. The duffle coat is a casual coat characterised by its toggle closure. Connery’s coat has four wooden toggles that fasten with rope, and they go down the front from the collar to the waist. The coat is knee-length without a vent in the rear, but no vent is needed when the coat is free to spread apart in front below the waist. The coat has shoulder patches, two open patch pockets, buttoned straps on the sleeves and a hood. There are straps to button around the neck that connect with elastic around the back of the neck. Connery also keeps warm with an olive wool or cashmere scarf and a brown felt fedora with a centre dent, front pinch and brown ribbon.

The Rocketeer: A Purple Dinner Jacket

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1991’s The Rocketeer is one of the few films to feature Timothy Dalton in well-tailored 20th century clothing. Since the film takes place in 1938, what Dalton wears is more costume rather than clothing. However, not all of the clothing is accurate to the late 1930s. Dalton plays movie star and Nazi villain Neville Sinclair, who wears a muted dark purple dinner jacket that is fitting for his character. Purple is quite an unusual colour for a dinner jacket, but it’s not unusual for a smoking jacket, an ancestor of the dinner jacket. I don’t know if purple dinner jackets were popular in the late 1930s, but purple had seen a rise in popularity a few years before The Rocketeer was made. Jack Nicholson famously wore a purple suit as the joker in Batman two years earlier, and Miami Vice popularised purple and lavender clothes for men. A purple dinner jacket is less formal than the traditional black or midnight blue jacket, which makes it an acceptable—but nevertheless flashy—choice for a night out as Sinclair wears his.

Rocketeer-Purple-Dinner-Jacket-2The purple dinner jacket is cut with straight shoulders, roped sleeveheads and a clean chest. The jacket is full-cut, but it still fits well and isn’t a size too large like the jackets in Licence to Kill are. The jacket drapes elegantly without any extra folds of cloth. The wide, dark purple silk peaked lapels elegantly roll down to the jacket’s single button. The buttons are covered in the same dark purple silk that the lapels are faced in. The jacket has no vent, jetted pockets and three buttons on the cuffs. The black trousers have double reverse pleats and the traditional black silk stripe down each leg.

Rocketeer-Purple-Dinner-Jacket-4The black brocade waistcoat is one of the least historically-correct parts of this outfit. The waistcoat has five buttons with the bottom left open, peaked lapels and a full collar. A proper evening waistcoat, which is low-cut with three or four buttons, would have been worn at the time rather than a high-buttoning daytime-style waistcoat in a fancy evening cloth. Sinclair’s white-on-white stripe dress shirt has a point collar, double cuffs and a placket with two black onyx studs. His bow tie is black barathea silk in a batwing shape. His shoes are patent leather.

Rocketeer-Purple-Dinner-Jacket-3Sinclair also wears a red boutonnière pinned to his lapel. Besides looking unsightly, pinning a boutonnière to a silk lapel can easily damage the facing. Ideally, the boutonnière’s stem should be stuck through the lapel’s buttonhole and held in place by a loop sewn on the back of the lapel. One should only resort to pinning a boutonnière when the lapel has no buttonhole. But there is a buttonhole hiding behind Sinclair’s boutonnière, so he has no excuse for pinning it to his lapel.

Marnie: A Glen Check Suit Appropriate For Bond

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In honour of Sean Connery’s 84th birthday earlier this week, let’s look at a glen check suit he wears in Alfred Hitchcock’s Marnie that’s quite befitting for James Bond. The lightweight black and white glen check cloth is in a hopsack weave, and it’s very similar to the cloth of the glen check suit that Connery wears in Goldfinger. However, the two-and-two—or puppytooth—section of the glen check has a smaller repeat. The cloth is approximated in the diagram below.

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The button three suit jacket has narrow lapels that roll through the top button but not down to the middle button. The jacket is cut with a full chest, natural shoulders and roped sleeveheads, and it has no vent, three buttons on the cuffs and pockets with very narrow flaps. The buttons are grey horn, as opposed to the grey plastic buttons that are on Sean Connery’s worsted Anthony Sinclair suits for Bond. Not much of the trousers can be seen, but they most likely follow the other suit trousers in the film and have double forward pleats, turn-ups and button-tab side-adjusters.

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The white shirt—it looks cream, but I suspect that’s due to the way the film is treated because all of the colours have been warmed—has a spread collar, rounded single-button cuffs and a placket stitched close to the centre like on Frank Foster’s shirts. The narrow black repp tie—which isn’t as interesting as the textured dark grenadine ties Sean Connery often wears as Bond—anchors the overall light-coloured outfit by giving the outfit the necessary contrast to flatter Connery’s cool, high-contrast complexion. Because the tie is so narrow, it’s difficult to tell if the symmetrical knot he is using a Windsor or Half Windsor knot. Connery secures his tie with a tie bar that is mostly obscured by his jacket, slightly angled downward and placed about an inch below the jacket’s top button.

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Gold: Dressing Up a Bold Shirt

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Gold features Roger Moore in a James Bond-esque story but in a slightly more flamboyant wardrobe. Like Moore’s navy double-breasted suit in Gold, the beige jacket in that film could have been picked straight out of Live and Let Die or The Man with the Golden Gun. The jacket—perhaps made of a silk and linen blend—is tailored by Cyril Castle in the same style as the single-breasted suits that Moore wears in his first two Bond films. The button two jacket has softly-padded shoulders, a swelled chest, a nipped waist and medium-width lapels. It is detailed with slanted pockets, deep double vents and flared link cuffs. The tan wool trousers, though similar in value, contrast in texture and hue. have a darted front, a coin pocket below the waistband and a slightly flared leg.

Gold-Beige-Suit-2The shirt is where Moore breaks from Bond style. It has a rust and navy check on a cream ground. Whist the pattern is bolder than something Bond would wear, the shirt has the same spread collar and cocktail cuffs that Moore’s Frank Foster shirts in Live and Let Die have. Such a bold shirt needs a simple tie, and Moore wears a solid rust-coloured tie that pulls out the rust in the shirt’s check. He ties it in a four-in-hand or a double-four-in-hand knot. Though the tie works well with the jacket and shirt, the bold shirt could keep the outfit interesting without a tie. This is the kind of outfit that can be worn well without a tie, but the tie keeps the outfit “tied” together. With the suit, Moore wears dark brown shoes, a wide dark brown belt and aviator sunglasses.

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