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

The Saint: Funeral Suit and Coat

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Roger Moore’s Simon Templar is well-dressed to a funeral in the Series 6 episode of The Saint, “Legacy for the Saint.” To keep warm in the cemetery he wears a charcoal grey car coat. The coat’s length is a few inches above the knee but is still considerably longer than a suit jacket so it can be worn over it. A car coat is shorter than the typical overcoat to make it easier when entering and exiting a car. Topcoats are often shorter as well, but they are also lighter and Moore’s coat is not. We don’t see much of the coat in “Legacy for the Saint,” but it makes another brief appearance in “The Time to Die.” The coat is cut with natural shoulders, buttons three, and has 3 buttons on the cuffs and a single vent.

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The Saint in a charcoal car coat

Under the coat Moore wears a three-piece suit made by Cyril Castle in charcoal with a very narrow-spaced light grey stripe. The suit coat has softly-padded shoulders, a draped chest and nipped waist typical of Castle’s tailoring, and like all of Moore’s single-breasted suits in The Saint this one buttons three. The suit coat is characteristic of the 1960′s Neo-Edwardian style, with narrow notched lapels, slanted flap pockets, double vents and single-button gauntlet cuffs. The length of the jacket is slightly shorter than the typical length, though not nearly as short as fashionable jackets today. The waistcoat buttons six with notch lapels and a straight bottom. And in his waistcoat pockets he wears a pocket watch with a fob chain. The trousers have a darted front with plain hems.

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Moore’s ecru Frank Foster shirt has a spread collar, plain front and cocktail cuffs, and this is the first episode we see Moore wearing cocktail cuffs. The turnback of the cocktail cuffs in The Saint has a much wider spread compared to the cuffs he wears later in the Bond films. They have some similarities to the Turnbull & Asser cuffs Sean Connery wore, but these lay flatter, as Foster prefers.

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Though Moore does not often wear black, the funeral setting of the episode makes this the time to include black into the outfit. Moore wears a narrow, black satin silk tie and a black silk pocket handkerchief folded with two points. A black suit for a funeral is not necessary, and for someone who isn’t an immediate family member of the deceased a black suit can come off as excessively somber. Templar wears the perfect amount of black for attending a friend’s wedding. And the shoes are black as well, of course.

The Saint: Relevant to Skyfall?

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As Roger Moore celebrates his 85th birthday today, we look at some very relevant tailoring from his past. A blue-grey, subtle Glen Urquhart check suit first featured in the fifth series episode of The Saint “The Helpful Pirate” has quite a few similarities to the suits Daniel Craig wears in Skyfall. The similarities are the obvious ones: three buttons down the front, very narrow lapels, a shorter jacket length (though Moore’s isn’t as short as Craig’s), a single vent and flat front trousers—Moore’s are actually darted, but it’s the same idea—with a tapered leg. This suit is unique in The Saint in that it’s the only one that stylistically bridges the more traditional suits from the first four series to the more rakish suits in the fifth and sixth series.

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The overall cut is where 1966 and 2012 differ. Cyril Castle’s suit jacket for Moore has natural shoulders whilst Tom Ford’s suit jacket for Craig has slightly built-up shoulders. Moore’s jacket has a full, draped chest whilst Craig’s has a cleaner, close-fitting chest, but both have a lot of waist suppression. Moore’s trousers have a higher rise than Craig’s, and the legs are narrow but not skin-tight. Moore’s jacket has the added details of single-button gauntlet cuffs and a ticket pocket.

Roger Moore Suit-The Helpful Pirate

Moore wears the suit with an ecru shirt with a spread collar and double cuffs. A grenadine tie knotted four-in-hand makes a connection to the Bond films, though Moore’s is an aubergine purple, a colour Sean Connery never wore. Moore wears black slip-on shoes and ecru socks, unusually I suppose to match the shirt.

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In another connection to Bond, Vladek Sheybal, who played SPECTRE agent Kronsteen in From Russia with Love, is featured in this episode.

The Saint: Pleated Back Sports Coat

In the 5th series of The Saint, Roger Moore wears a unique sports coat with a pleated back, tailored by Cyril Castle. This outfit in particular is seen in the episode “The Convenient Monster.” The fabric is a grey and cream tweed herringbone. The 3-button sports coat has natural shoulders and a crooked cut, which puts more fabric to the front of the coat in front of the neck point showing less shirt and raising the collar. Moore buttons the top 2 buttons, which serves to keep him warm outdoors in Scotland. A heavy tweed jacket is always best in a 3- or 4-button front that buttons to the top because they are meant to be worn outdoors in cold weather or indoors in old, drafty homes.

Notice the pleats above and below the belt

The back has a belt and two pleats above and below the waist on each side, with no vents. The jacket is detailed with swelled edges, 1-button barrel cuffs and four flapped pockets. The two hip pockets are slanted down and the two breast pockets are slanted up. The flaps are narrow to match the narrow lapels. The double, flapped breast pockets and belted and pleated back place this coat in the sporting tradition, though the lack of a vent means this coat is not meant for riding.

Tan Cavalry Twill

The ecru shirt has a spread collar and double cuffs. Moore wears an olive satin tie, tied in a four-in-hand knot. Moore’s trousers are tan cavalry twill, which is a heavy fabric characterized by double twill wales. Moore wears black socks and black slip-on shoes with elastic gussets, though black is at odds with the rest of the outfit where earth tones dominate. But black shoes are neutral and can be worn with anything, despite them not being the most stylish option.