Comparison: Suit Trousers in the First Two Bond Films

Connery-Trousers

Connery’s suit trousers in Dr. No

Throughout the 1960s, Anthony Sinclair tailored all of Sean Connery’s suit trousers in the same style. They have double forward pleats, the traditional English-style pleats that opens towards the fly. The leg is tapered and has approximately 1 3/4″ turn-ups. The trousers’ waistband has an approximately 2 1/2″ square extension that keeps the front of the waistband straight, and it closes with a hidden clasp so there are no buttons visible on the front. Inside, the trousers are secured with two buttons and a zip fly. The sides of the waistband have button-tab “Daks tops” side adjusters with three buttons—usually made of smoke mother-of-pearl—on each side. The side pockets are on the side seams, and there is one button-through jetted pocket in the rear on the right side.

Connery's updated suit trousers in From Russia with Love

Connery’s updated suit trousers in From Russia with Love

Though all of Sean Connery’s suit trousers in Dr. No, From Russia with Love, Goldfinger, Thunderball and You Only Live Twice are made with the same features, the trousers’ cut was updated after the first Bond film, Dr. No. The change can be seen in the second Bond film, From Russia with Love. The rise in Dr. No is extremely high by today’s standards, and it was even high for 1962. A year later for From Russia with Love, Sinclair lowered the rise slightly to correspond with the new lower button stance on his suit jackets. The rise is still high for today’s fashions, but it doesn’t look quite as old-fashioned. The cut was also trimmed down overall. The deep pleats seen on the Dr. No trousers were made shallower for From Russia with Love, and as a result the trousers fit closer around the hips and thighs. Though this updated fit continued through the 1960s, by You Only Live Twice Connery’s pleated trousers were markedly unfashionable and old-fashioned.

Plastic Buttons

Grey plastic buttons on the three-piece glen check suit in Goldfinger

Grey plastic buttons on the three-piece glen check suit by Anthony Sinclair in Goldfinger

Plastic buttons are currently held to be less desirable than buttons made of natural materials, but when Sean Connery was James Bond in the 1960s they were the standard choice for lounge suits amongst England’s best tailors. Almost all of Sean Connery’s Anthony Sinclair suits in his 1960’s Bond films have thin, plain, glossy plastic buttons, and most of Roger Moore’s Cyril Castle suits and sports coats in Live and Let Die and The Man with the Golden Gun have the same type of buttons. Though it may seem illogical to put inexpensive plastic buttons on bespoke garments, there are reasons to why plastic buttons were used.

Connery-Plastic-Buttons

Dark grey plastic buttons on an Anthony Sinclair dark grey flannel suit in Dr. No. The smooth texture of the buttons does not fit with the fuzzy texture of the flannel cloth.

The uniform look of plastic buttons matches the clean look of worsted suiting, and some people believe that horn buttons look too rustic for a city suit. Plastic buttons also can be made in virtually any colour, so they are typically matched with or used in a slightly darker shade than the suit. In the 1960s and 1970s, synthetics were not so taboo in quality clothes the way that they are now. Tailors may also have liked how plastic buttons were thinner than other choices. Douglas Hayward, who typically used horn buttons, used grey plastic buttons on both Roger Moore’s grey flannel suit in For Your Eyes Only and on his grey tweed jacket in A View to a Kill since horn is not found in a flat medium grey, and he wanted to match the buttons to the suit. These grey plastic buttons, however, have a matte finish like horn instead of the shiny finish buttons that Sinclair and Castle used.

Plastic Buttons on Daniel Craig's suit in Casino Royale

Plastic Buttons on Daniel Craig’s Brioni suit in Casino Royale

Timothy Dalton’s suits in Licence to Kill, not surprisingly, have plastic buttons. Most of Pierce Brosnan’s and Daniel Craig’s Brioni suits—worn in GoldeneEye, Tomorrow Never Dies, The World Is Not Enough, Die Another Day and Casino Royale—also have plastic buttons. Not all plastic buttons are created equal. Brioni’s plastic buttons both look nicer and are more durable than the average plastic buttons. This is not to say they are just as good as natural materials, but the plastic buttons give the makers of Brioni suits the look they want.

Urea buttons on Timothy Dalton's suit in The Living Daylights

Urea buttons on Timothy Dalton’s Benjamin Simon suit in The Living Daylights

Timothy Dalton’s suit buttons in The Living Daylights are another kind of plastic, made from urea. These urea buttons mimic horn but often have a more pronounced grain. Unlike horn buttons, which due to nature can never be identical to each other, the grain of urea buttons will often match each others. If the buttons look like horn but are suspiciously identical, they can’t possibly be authentic horn. The grey buttons on the black-and-white pick-and-pick suit in Skyfall are similar fake horn in urea.

A Mostly Classic Ivory Dinner Jacket

Diamonds-Ivory-Dinner-Jacket

Whilst an ivory dinner jacket is appropriate in a Monte Carlo casino, it’s not so appropriate in a Las Vegas casino unless you’re James Bond. Bond wears one in Diamonds Are Forever at a Las Vegas casino where most people dress down. Apart from Bond’s wide bow tie and the wide pocket flaps on his dinner jacket, this is a classic warm-weather black tie outfit. It looks especially traditional compared to the flamboyant black dinner jacket Bond wears later in the film. The ivory dinner jacket has the same cut as the other Anthony Sinclair jackets in the film have: a clean chest and natural shoulders with roped sleeveheads.

Diamonds-Ivory-Dinner-Jacket-2The button one dinner jacket has medium-width peaked lapels with a very high gorge. Today you can find examples of peaked lapels where the peaks rise up above the shoulders, but the peaks on the dinner jacket are about as high as peaks can tastefully be. The jacket’s hip pockets are slanted with large flaps, a utilitarian pocket style that is out of place on a dinner jacket. The slant gives easier access to the pockets on horseback, and flaps keep items inside the pockets. However, the benefits of slanted and flapped pockets are unnecessary on a dinner jacket, and such a sporty pocket doesn’t have the elegance of a straight jetted pocket. The dinner jacket also has deep double vents, which are another practical sporting element added to this dinner jacket that breaks from tradition, but Bond’s dinner jackets have often had double vents. There are four buttons on the cuffs, and all of the buttons on the jacket are white mother-of-pearl.

Diamonds-Ivory-Dinner-Jacket-3With the jacket, Bond wears black trousers with a darted front, tapered legs and a satin stripe down each leg. The white-on-white stripe shirt from Turnbull & Asser has a spread collar, double cuffs and pleated front with mother-of-pearl buttons down the placket. Connery’s bow ties always followed the trendy width, and his wide black satin silk bow tie in Diamonds Are Forever is no exception. Since Bond keeps his jacket buttoned, we can’t tell if he wears a cummerbund with this dinner jacket like he does with his black dinner suit later in the film. In the unlikely event that he is wearing a cummerbund here, it probably isn’t the same fancy cummerbund that he wears with the black dinner suit. He wears the same black patent leather two-eyelet derby shoes that he later wears with the black dinner suit.

Comparison: Grey Suits in Dr. No and Diamonds Are Forever

Dr. No, left, and Diamonds Are Forever, right

Dr. No, left, and Diamonds Are Forever, right

Anthony Sinclair tailored almost all of Sean Connery’s suits in the James Bond series, from Dr. No in 1962 to Diamonds Are Forever in 1971. The overall cut of Connery’s suits didn’t change much throughout the 1960s, but by 1971 there was a noticeable change in style. We will take a closer look at this change using the light grey suit from Dr. No and a similar light grey suit from Diamonds Are Forever, to at least keep the cloth constant. The shoulders—the foundation of a suit’s silhouette—are the same in both 1962 and 1971: natural with roped sleeveheads. The chest, however, is different. The Dr. No suit has a draped chest whilst the Diamonds suit has a much cleaner chest.

Dr-No-Grey-Suit-3The most obvious difference between the Dr. No and Diamonds suits is the lapel width. The lapel width isn’t exaggerated in either case, but it is noticeably wider in Diamonds than it is in Dr. No. The lapels were narrower in Connery’s other 1960s Bond films, but they were also a different shape. The gorge—the seam where the collar meets the lapel—is much steeper in Dr. No than it is in any of Connery’s other Bond films.

Hip pocket flaps also follow the lapel width. Though none of the suit jackets in Dr. No have pocket flaps, many of the suits in Connery’s subsequent Bond films throughout the 1960s have narrow pocket flaps that reflect the decade’s narrow lapel width. Wide pocket flaps in Diamonds reflect the new decade’s wide lapels, and the suits in Diamonds Are Forever feature the widest pocket flaps of the entire Bond series. In addition to have fashionably wide flaps, the pockets are also slanted, following a popular trend that had been around since the mid 60s. The pockets in Dr. No are placed unusually low, and pockets that low would look even more odd if they had flaps. The pockets are below the jacket’s bottom button, whilst ordinarily they are at the level of or just a little higher than the bottom button. The pockets in subsequent Bond films are higher.

The jacket’s button stance is lower in Diamonds than it is in Dr. No. For From Russia with Love, the button stance was lowered, and it stayed lower in all of Connery’s Bond films through Diamonds Are Forever. The button stance in Dr. No is both more in line with today’s trends and more classically proportioned, but the lower button stance certainly lends a stronger appearance by emphasising the chest and Connery’s V-shaped torso. Because the lapels and tie are wider in Diamonds Are Forever, the button stance doesn’t really look so low. The low button stance in From Russia With Love through Thunderball emphasised Connery’s athletic build, whilst in You Only Live Twice and Diamonds Are Forever it helped make his no-longer-athletic body look more athletic.

Diamonds-Are-Forever-Grey-Suit-2The length of Connery’s double vents increased over time. The vents in Dr. No are roughly 8 inches, which followed the trend towards short vents. They are still a practical length compared to the ultra-short double vents on Jack Lord’s suit in Dr. No. Connery’s vents increased to about 10 inches two years later in Goldfinger, and they are around 12 inches deep in Diamonds. The trend towards deeper vents started in the late 1960s and continued to the early 1980s. Deep double vents are both slimming and heightening because they create vertical lines that extend the line of the leg. Connery needed as much help as he could get in Diamonds, and the deeper double vents are indeed flattering.

Another detail that could easily go unnoticed is that the colour of the buttons has changed. The grey plastic buttons in Dr. No match the suit whereas the dark grey horn buttons in Diamonds contrast with the suit. The darker buttons in Diamonds look nice but they draw attention to Connery’s waist, which isn’t one of his better areas.

Dr-No-Grey-Suit-2The change in trouser style is one of the biggest changes from Dr. No to Diamonds. In the 1960s, all of Connery’s suit trousers have double forward pleats, whilst in Diamonds they have a small dart on in front of the side pocket on either side. The rise is a little shorter in Diamonds than in Dr. No. The rise was lowered after Dr. No when the jacket’s button stance was also lowered. The legs in both Dr. No and Diamonds both have a trim and tapered cut, though the leg in Diamonds is tapered a little less. The bottoms in Dr. No were finished with turn-ups whilst the bottoms in Diamonds are finished with a plain hem. Only before in Goldfinger did Connery wears his suit trousers with plain hems.

Diamonds-Are-Forever-Grey-Suit-3The Turnbull & Asser shirts didn’t change much between Dr. No and Diamonds. Obviously, the white shirt in Dr. No has gone to cream in Diamonds. The collar got a little taller and the collar points got a little longer, but not by much. The shirts still have the same cocktail cuffs, though Connery only fastens the first button in Diamonds to allow the cuff to roll over the second button. The ties follow the lapel width, and the tie in Dr. No is navy grenadine whilst the tie in Diamonds is black with varying ribs.

Frogmouth Pockets

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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.

Moore-Frogmouth-Pockets

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.

Connery-YOLT-Frogmouth-Pockets

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.

Danger Man: Black Tie Without a Dinner Suit

Faux-Black-Tie

In the 1965 Danger Man episode titled “The Ubiquitous Mr. Lovegrove”, John Drake dresses in faux black tie. He wears a dark lounge suit with black tie accessories, something that should only been done when travelling light. However, this episode takes place at home in London, and Drake owns a dinner suit, so it doesn’t make sense for Drake to be wearing a lounge suit as a dinner suit. Black and navy suits are the best to wear in this situation, with charcoal working not quite as well. Danger-Man.co.uk has some colour stills from this episode, and the suit appears to be dark forest green. If the colours are accurate, it’s a flashy colour for a lounge suit, but since it’s not going to be mistaken for a business suit it works better in this situation. The suit also has a self-stripe, which elevates the dressiness.

Faux-Black-Tie-2The jacket buttons two and has natural shoulders with roped sleeveheads, four buttons on the cuffs, jetted pockets, and no vent. The last two details make this suit work better for dressy evening wear. Peaked lapels would also help make a lounge suit work better for makeshift black tie, but this suit has notched lapels since single-breasted suits with peaked lapels weren’t so common in the 1960s. Drake wears the suit jacket with two pairs of trousers. The first pair matches the jacket, and it has double forward pleats and belt loops that are hidden under the cummerbund. The second pair, which looks lighter than the jacket and is probably dark grey, has a flat front. Anthony Sinclair, who also made Sean Connery’s suits in the Bond films, likely tailored this suit as he made many clothes for John Drake actor Patrick McGoohan.

Faux-Black-Tie-3Drake wears proper black tie accessories with the suit. The dress shirt has a bib, spread collar and double cuffs in cotton marcella, and the collar and cuffs have edge stitching. The body of the shirt is a white-on-white stripe and the buttons are black to resemble studs. Drake’s bow tie is black silk but the cummerbund is a fancy patterned silk, and it is possibly in a colour other than black. The shoes are black plain-toe derbies. Early in the episode Drake wears a boutonniere in his lapel buttonhole.

Apart from Patrick McGoohan sharing the same tailor as Sean Connery, this episode has another connection with James Bond: Desmond Llewellyn, who played Q in 17 Bond films, appears in this episode.

An Unused Brown Pinstripe Suit

DAF-Brown-Pinstripe-Suit-not-used

Clothes are often made for film productions that are either never used or made as a gift for the stars. Diamonds Are Forever features a staggering seven lounge suits, three sports coats and three dinner jackets. It is the most tailored clothing that Bond wears in any one film, but Sean Connery’s tailor Anthony Sinclair made even more clothes than that for Diamonds Are Forever. Sinclair also made a chocolate brown pinstripe worsted two-piece suit at the same time as he made the rest of the suits, but it didn’t feature in the film. It has a button two jacket with slanted flap pockets, and it most likely has double vents like the rest of the suits in the film have.

The suit was sold at Christie’s in South Kensington on 17 September 1998, and it can be seen in the picture above from the Christie’s catalogue on the right beside the black dinner suit and cream linen suit, both also from Diamonds Are Forever. This brown pinstripe suit sold for £575, which is considerably less than the selling prices of the suits that Sean Connery actually wears in the film.

Woman of Straw: The Charcoal Flannel Suit and Navy Overcoat

Woman-of-Straw-Grey-Flannel-Suit

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.

Woman-of-Straw-Grey-Flannel-Suit-2The 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.

Woman-of-Straw-Navy-OvercoatSean 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.

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