Crossplot: A Double-Breasted Pinstripe Suit from The Saint

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Roger Moore’s 1969 film Crossplot is like a cross between an episode of The Saint and a James Bond film. Moore plays talent scout Gary Fenn, who is identical in appearance to The Saint character Simon Templar except he has a more fashionable haircut that’s combed forward with longer sideburns. The Cyril Castle suits—an iridescent blue and red dinner jacket, a navy pinstripe double-breasted suit and a charcoal multi-stripe suit—and shirts in the film were taken straight out of Moore’s wardrobe for the final season of The Saint, which had just ended production.

The same suit in the episode of The Saint "The Scales of Justice"

The same suit and shirt, but with a grey tie, in the episode of The Saint “The Scales of Justice”

The navy double-breasted pinstripe suit, which this article will focus on, first appeared in The Saint‘s sixth series episode “The Time to Die” and later in “The Scales of Justice”. The suit’s cloth has very closely-spaced white pinstripes on navy, which from a short distance mixes with and mutes the navy to give the suit a semi-solid charcoal blue effect rather than a classic navy pinstripe look. Suits with closely-spaced pinstripes were something Roger Moore wears throughout The Saint and later wears in Moonraker.

Crossplot-Navy-Pinstripe-Suit-2The suit jacket is four-button double-breasted with two to button. It is similar to the classic six button double-breasted jacket but lacks the two vestigial buttons at the chest. Like Cyril Castle’s usual double-breasted suits, this one has a narrow wrap—or overlap—for a slimming effect on Moore. It is cut with natural shoulders and a full chest. It has narrow peaked lapels, which aren’t quite as narrow as the notched lapels Moore wears on his single-breasted suits in Crossplot and The Saint. The narrow peaked lapels are a little more flattering than his ultra-narrow notched lapels. The suit jacket is rakishly detailed with single-button gauntlet—or turnback—cuffs, slanted hip pockets with narrow flaps, and double vents. The suit trousers have a darted front, cross pockets and a tapered narrow leg, and they are worn with a black belt.

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Moore’s cream shirt is made by Bond-series shirtmaker Frank Foster in the same style as all of the shirts that Moore wears in the final series of The Saint. The shirt’s spread collar is larger in proportion to the tie and lapel width. Fashion typically dictates that shirt collar point length and tie and lapel width should match, but it’s usually more flattering to wear a collar that matches the face rather than the jacket’s lapels. The shirt has two-button cocktail cuffs, a plain front and a darted back. The shirt length is short compared to the traditional length of a tucked shirt, but in Frank Foster’s typical manner the shirt’s hem is only slightly curved and has vents on the side.

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The secretary ties Moore’s tie in a four-in-hand knot around her own neck, loosens it and then places it around Moore’s neck. It is solid light blue, and unstylishly Moore wears a matching light blue silk handkerchief in his breast pocket. But it is placed in the pocket in an unstudied two-point fold. It look as if he just stuffed it in his breast pocket and the two points formed naturally, but that is most likely not the case. Moore wears black socks, and his shoes are black slip-ons.

Crossplot-Navy-Pinstripe-Suit-BoxersSince we get to see Roger Moore dress into the suit, we get a look at parts of his outfit under the suit we don’t ordinarily get to see. Though we never get to see what James Bond wears under his trousers, Roger Moore’s underwear in Crossplot may give us a clue. When he changes his trousers we see his boxer shorts. They are light blue—perhaps purposely matching his tie—and probably a fine cotton poplin, which is one of the most comfortable types of woven cloths to wear as boxers.

Crossplot-Navy-Pinstripe-Suit-ShowerUnfortunately, the suit is ruined and shrunk in Crossplot when Moore is pushed off a boat into the water. Because of he is a gentleman, he leaves his suit, shirt and tie on when taking a shower to warm up when in the company of a lady.

For an additional James Bond connection, Bernard Lee, who plays M in the first 13 Bond films, appears in Crossplot.

The Saint: A Classic Safari Jacket

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Roger Moore wore the safari jacket before he was James Bond and before the late 1960s when Yves Saint Laurent and Ted Lapidus made it a fashion item. In the 1965 episode of The Saint titled “The Sign of the Claw”, Moore wears a mostly traditional British safari jacket, which is probably in the classic khaki. The episode takes place in the Malayan jungle, where the tropical climate and British colonial history makes the safari jacket an entirely appropriate piece of clothing.

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Moore wears a leather utility belt over the safari jacket’s belt.

The safari jacket has four buttons down the front plus a button at the collar. The shirt-style, two-piece point collar is stitched close to the edge. The front of the jacket has four button-down-flapped patch pockets. The upper two pockets each have a box pleat in the middle, and the lower two pockets each have bellows for extra usability. Though the jacket is slightly shaped with a dart on either side in the front, a belt made of the same cloth as the jacket cinches the waist. The belt has a shiny metal two-prong buckle. The jacket’s long sleeves have square-cornered button cuffs. The back has a long, deep inverted box pleat from the bottom of the yoke to the belt, and a long single vent from the belt to the hem. Of course, the jacket wouldn’t be a proper safari jacket without the obligatory shoulder straps.

Saint-Safari-Jacket-BackThough this safari jacket closely follows the traditional model, it breaks from tradition in one area. Instead of begin made from military cotton drill, this jacket is likely made from a linen and silk blend. It looks softer and lighter than cotton drill, it has a few slubs and it shows some wrinkles. Though the cloth may not be typical for a safari jacket, the jacket is still more classic compared to the slightly more modern safari clothes that Roger Moore wears in The Man with the Golden Gun, The Spy Who Loved Me, Moonraker and Octopussy.

The trousers possibly match the jacket, but since this episode is black and white, the match is difficult to make out. Under the jacket’s collar, Moore wears a silk day cravat, which is probably cream. It is not a practical item, but Moore plays a gentleman who almost always keeps his neck covered. Moore’s shoes are taupe suede 2-eyelet desert boots. At one point in the episode, Moore wears a dark leather utility belt over the jacket’s belt.

For some James Bond-related trivia, this episode features Burt Kwouk, who was in Goldfinger and You Only Live Twice.

The Saint: Dressing Down the Navy Blazer

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Compared to most sports coats, which are at home in the country, the navy blazer is better suited at seaside and resort towns. However, the single-breasted navy blazer is one of the most versatile sports coats, and due to its solid navy colour it can just as effectively be dressed up in the city as it can be dressed down at a resort. Roger Moore playing Simon Templar shows a great example of the latter when he wears his blazer in the 1965 episode of The Saint titled “The Spanish Cow”.

Casual-Navy-Blazer-2In the first through fourth series of The Saint from 1962 to 1965, Moore often wears a button three, lightweight wool navy blazer with straight flapped pockets, a ticket pocket, three buttons on the cuffs and a single vent. Tailor Cyril Castle made no less than two examples of such a blazer made since it got more wear than any other item of clothing in the show. The blazer in “The Spanish Cow” isn’t much different than the blazer that Moore wears in the first episode of The Saint three years earlier in 1962, except the shoulders are softer and the lapels are just a little narrower. The fashionably narrow lapels, however, look disproportionately narrow and are somewhat unflattering on Moore.

Casual-Navy-Blazer-3So how does Moore dress down his navy blazer? Underneath the blazer he wears a light-coloured camp shirt with a straight, untucked hem. The shirt has a one-piece camp collar that stands up nicely inside the blazer’s collar, which is the key to successfully wearing any shirt other than a formal shirt under a jacket (unless you like to wear t-shirts under your jackets). And because the shirt has a camp collar and not a more formal collar, Moore doesn’t have to worry about people thinking he forgot his tie. In the 1960s, wearing a formal shirt without a tie wasn’t done. It wasn’t something that Simon Templar or James Bond ever did in the 60s, unless you count Sean Connery’s pink shirt in You Only Live Twice. Moore’s trousers are stone-coloured cotton and have either a flat front or darted front and a plain hem. He wears canvas slip-on shoes with white rubber soles, and he matches his white socks to the soles of his shoes. Essentially, Moore put his tailored blazer on top of a very casual outfit, and it works successfully. The blazer’s soft, natural shoulders help it to work better when worn casually.

Simon Templar mentions the name of his shirtmaker in a conversation with the “South of France” police chief Colonel Latignant—a recurring character played by Arnold Diamond—when Latignant comments on the shirts in Templar’s suitcase:

Templar: And how is the most efficient chief of police in the South of France?

Latignant: That depends.

Templar: Oh—on what?

Latignant: On your behaviour in the South of France.

Templar: My behaviour everywhere is impeccable.

Latignant: So is your taste in shirts. These are magnificent.

Templar: Sulka makes them for me in London.

Colonel Latignant (Arnold Diamond) holding one of Moore's Sulka shirts

Colonel Latignant (Arnold Diamond) holding one of Simon Templar’s Sulka shirts

The Saint: The Light Brown Three-Piece Suit

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One of Simon Templar’s favourite suits to wear when travelling to climates warmer than Great Britain’s is a light brown worsted three-piece suit. Roger Moore wears this suit tailored by Cyril Castle in many episodes of The Saint‘s fifth series, including the final episode of that series featured here titled “The Gadic Collection” when Templar travels to Istanbul. The suit jacket resembles others that Moore wears in this season of The Saint. The jacket is a button three, and the lapels roll gently at the top button. The jacket is cut with natural shoulders and a draped chest, which gives the suit a more relaxed look for the warmer climate. The flapped hip pockets are slanted, and the breast pocket has a flap to give this suit a sportier look, whilst narrow lapels and narrow pocket flaps reflect the contemporary 1960s trends. The jacket has turnback “gauntlet” cuffs with a large single button, and there are double vents at the rear.

Saint-Light-Brown-Suit-2Under the jacket Moore wears a button six waistcoat, and he fastens all six buttons. Unlike most other waistcoats in The Saint, which have a straight bottom, this waistcoat has the traditional pointed bottom. The waistcoat also has notched lapels and four welt pockets. The back of the is in a medium brown lining and has a waist-adjusting strap. Though three-piece suits are often associated with increased formality, a waistcoat is just as appropriate with a dark city worsted as it is with a sportier suit like this lightweight brown suit.

Saint-Light-Brown-Suit-3The suit’s trousers have a darted front, cross pockets, belt loops and two rear pockets. At different points in the episode the belt loops can be seen used with a brown belt and unused. Ideally the trousers worn with a three-piece suit would be without belt loops and supported by side adjusters or braces. The belt creates an unsightly bulge under the waistcoat. The leg is tapered with a plain hem. Moore wears his usual cream shirt with this suit, and the shirt has a spread collar, double cuffs and a plain front. The shirt is possibly from Sulka, who Templar mentions in an earlier episode of The Saint, or Washington Tremlett, whose shop was next-door to Cyril Castle’s. Moore’s long relationship with Frank Foster most likely didn’t start until the following series of The Saint.

Saint-Light-Brown-Suit-4Moore wears two ties with the suit. The first tie is olive green satin silk, which is the tie that Moore typically wears with this suit. After Templar discards his olive tie he dons a solid brick red repp tie. Both ties are tied in a small four-in-hand knot with a dimple. Moore’s tan socks and brown short boots follow the outfit’s earth-toned colour scheme. The boots are like shorter chelsea boots with elastic gussets on the sides.

The cream shirt, olive tie and light brown suit flatter Roger Moore’s warm spring complexion better than the common cool, dark city colours do. People often criticise Moore for wearing brown suits in his 1970s Bond films because those people associate brown suits with fashion trends from that decade, and brown suits were indeed popular at that time. But Moore didn’t wear them just because they were fashionable in the 1970s, and he didn’t only wear brown suits in the 1970s. Per this article, he wore brown suits in the 1960s, and he wore them in the 1980s too. Roger Moore wore brown suits because they looked good on him.

The Saint: Three-Piece, Shawl-Collar Dinner Suit

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Tonight is the only night of the year many people wear a dinner suit. In the two-part episode of The Saint titled “The Fiction Makers”, Roger Moore wears a three-piece dinner suit, something only Pierce Brosnan to date has worn as James Bond. “The Fiction Makers” was filmed as part of Series 5, so the clothes stylistically follow the others from Series 5, but it was aired in December 1968 as part of Series 6 and later released as a feature film. The midnight blue dinner suit tailored by Cyril Castle has a deep lustre that means it must be made of mohair. The dinner jacket has natural shoulders with roped sleeveheads. It is a button one, with the button elegantly placed low about two inches below Moore’s natural waist. The narrow midnight blue satin shawl collar gently rolls down to the button and lacks the belly of a typical shawl collar. The dinner jacket follows black tie tradition with jetted pockets and no vent. The cuffs button three and have midnight blue satin gauntlet cuffs. All of the buttons are covered to match the lapels.

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The button three waistcoat matches the midnight blue mohair dinner jacket and also has midnight blue satin silk shawl lapels. The buttons are spaced apart a little more than they traditionally are on an evening waistcoat—about 2″ apart like on a regular daywear waistcoat instead of 1.5″ inches apart—making the front a little taller. It’s commonly said that waistcoats go better with peaked-lapel dinner jackets and cummerbunds go better with shawl-collar dinner jackets. The formality of the waistcoat does indeed better match peaked lapels, and the angular shape of the waistcoat “V” complements the angles of peaked lapels. But there’s also nothing wrong with wearing a waistcoat with a shawl-collar dinner jacket. A U-shaped waistcoat goes well with a shawl collar dinner jacket, though Roger Moore’s waistcoat has a regular V-front. However, Moore’s waistcoat has rounded shawl lapels that match the dinner jacket’s shawl collar, helping to connect the two pieces. The waistcoat’s straight bottom also does away with the angles the typical waistcoat has at the bottom, helping it to better complement the shawl-collar dinner jacket.

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The trousers, of course, match the dinner jacket and waistcoat. The trousers have tapered legs, cross pockets and a midnight blue satin stripe down the side of each leg. The white dress shirt has a spread collar, double cuffs and a pleated front with mother-of-pearl buttons down the placket. Moore’s bow tie is midnight blue satin silk to match the facings on the dinner suit.

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The Saint: Dressing Down Tweed

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Roger Moore wears a smart casual outfit of a tweed jacket with a polo neck jumper in a fifth series episode of The Saint titled “The Death Game”. The jacket is made in a grey tweed with a small check and is in a button-three cut with a little drape and natural shoulders. It has the trendy 1960s details of narrow lapels, short double vents and single-button cuffs. The open patch pockets allow this jacket to be worn more casually.

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The polo neck jumper is made in beige cashmere. The trousers are light grey wool, most likely in a cavalry twill weave. They have a narrow, tapered leg with plain bottoms. The hem is short with no break because of the narrow leg, and to compensate for the short length Moore wears black, short boots with elastic gussets on the sides. Though black boots go well with grey trousers, brown would be better suited for the country setting and casual nature of the outfit.

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The Saint in Full Evening Dress

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Also known as white tie, full evening dress is now worn primarily at state dinners, very fancy balls and a select few other occasions. For many occasions where it was once worn, black tie has now replaced it. Though James Bond never wears full evening dress, Roger Moore wears it in the 1962 episode of The Saint titled “The Charitable Countess.” The focus of full evening dress is the evening tailcoat. Bond has in fact worn a different type of tailcoat: a morning coat. Like the morning coat, the evening tailcoat has a waist seam and tails in the back. The evening tailcoat is either black or midnight blue, with black satin silk peaked lapels. Moore’s tailcoat, made by Cyril Castle, is cut with natural shoulders and roped sleeveheads, just as Moore’s lounge coats are. The front is double-breasted with three buttons down each side, but the front panels do not meet or fasten. Though not all tailcoats have breast pockets, Moore’s evening tailcoat has a welt breast pocket, adorned with a white linen handkerchief. There are four buttons on each sleeve, and all of the buttons on the tailcoat are in covered satin silk.

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The trousers have a long rise, double forward pleats and a silk braid down the side of each leg. Because the trousers sit so high it’s necessary that they are held up with braces. Though we don’t see Moore with the tailcoat off, he is most likely wearing braces. The single-breasted waistcoat is made of white cotton marcella. It is low cut with three mother of pearl buttons and square-cut lapels, and it is most likely backless. The shirt’s front has a stiff marcella bib to match the waistcoat. The front of the shirt closes with two mother of pearl studs. The shirt has a stiff, detachable wing collar and single link cuffs (stiff, single-layer cuffs to wear with cuff links). The bow tie is also white cotton marcella to match the shirt and waistcoat. Moore wears the most traditional accessories with his evening wear: a black plush silk top hat and white kidskin gloves. However, he goes a step too far and carries a walking stick.

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This is a perfect example of full dress. The only mistake is that in some scenes Moore is wearing the bow tie behind the collar points. The bow tie should always be in front of the collar points. More recently Roger Moore wears full evening dress in the 2011 television feature A Princess for Christmas, but it’s a most atrocious example of the style in every manner. It looks rather like a rental and fits very poorly. Full dress is very difficult to fit well when not bespoke, especially since the waistline of the tailcoat, the bottom of the waistcoat and the waist of the trousers all need to fit perfectly. The tailcoat’s waistline should mirror the waistline of the person wearing the tailcoat, though it can be adjusted to make one look taller or shorter. The waistcoat needs to be shorter so it does not show below the jacket’s waistline. And the trousers need to sit extra high on the waist so they are completely covered by the waistcoat. Cyril Castle fits all three parts perfectly for Moore.

See Black Tie Guide for more on full evening dress.

Drape

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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.

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A drape cut in The Saint