Silva: Cream Jacket and Printed Shirt

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Raoul Silva, played by Javier Bardem in Skyfall, is one of the most flamboyantly-dressed villains, yet he’s a well-tailored one. His cream silk jacket fits almost perfectly, the only problem being that the sleeve are too long. It’s made by Mayfair tailor Thom Sweeney, so it’s nice to see a second character in Skyfall—the first being Gareth Mallory—wearing bespoke English tailoring. The button two silk jacket is elegantly-tailored in the English style with softly-padded shoulders, roped sleeveheads, a clean chest and a suppressed waist. The jacket is tailored with classic proportions; the lapels are a balanced width, the length covers his behind and the jacket is closely fitted but not tight. The jacket has slanted hip pockets, double vents, four buttons on the cuffs, and dark brown corozo nut buttons.

Silva-Cream-Jacket-2Under the jacket, Silva wears a waistcoat and trousers in dark olive tropical wool or mohair. The waistcoat has five buttons, and Silva unstylishly fastens the bottom button. However, if he left the waistcoat’s bottom button open the shirt underneath may be exposed since the trousers have a somewhat low rise. The trousers’ waistband is visible in the notch of the bottom of the waistcoat. The waistcoat has narrow lapels and a small, full collar that are worn flipped up. The trousers have a flat front and plain hem.

Silva-Cream-Jacket-3Silva’s shirt from Prada is the flashiest part of his outfit. The shirt’s printed pattern consists of tan tiles with a white border and navy tiles with a tan border on a black ground. The shirt has a point collar, rounded single-button cuffs and dark buttons. Silva wears the collar button and first button open. Because of how flashy the shirt is, the necktie isn’t missed. It can be awkward to wear a waistcoat without a tie, but the waistcoat’s purpose here is to tone down the outfit by covering the shirt rather than to dress up the outfit. By flipping up the waistcoat’s collar and lapels, Silva rejects the additional formality that the waistcoat would ordinarily give the outfit. This is not a way I would recommend anyone wear a waistcoat, but when you’re a Bond villain you can dress as you please.

Silva’s medium brown chelsea boots add an additional level of flamboyance to his outfit. Though chelsea boots are typically very clean and sleek, Silva’s chelsea boots have an excessive amount of brogueing and far more seams than typical chelsea boots. They have a toe cap as well as a decorative strip of leather across the vamp. Apart from brogueing on every seam, they also have a toe medallion. The boots have thick double leather soles.

Costume designer Jany Temime dressed Silva appropriately in a garish and outrageous manner that perfectly suits the insane Bond villain.

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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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The Ipcress File: Grey Tweed Jacket

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Michael Caine stars as the unsophisticated spy Harry Palmer in 1965 film The Ipcress File, produced by James Bond film producer Harry Saltzman. Palmer is quite the opposite of James Bond and lives a very unglamourous life. Unlike Bond, Palmer never looks perfect, he wears glasses, he does desk work, he wakes up alone and he shops at the supermarket. Palmer’s clothes, however, aren’t completely unlike Bond’s, but they still leave something to be desired. 1980s Bond tailor Douglas Hayward was famously Michael Caine’s tailor, but it is unknown if he made the clothes for The Ipcress File.

Broken-Twill

Broken Twill

Palmer is introduced wearing a tweed jacket in black and grey broken twill. Broken twill has a similar look to barleycorn but is also like a very small herringbone weave. Herringbone is actually a type of broken twill. A grey broken twill tweed jacket actually isn’t so far from the type of jacket Bond would wear. Palmer’s jacket is a button two with natural shoulders. It has narrow lapels with a very gradual roll, making the button two jacket look almost like a button three jacket.

Ipcress-File-Tweed-Jacket-2The jacket also has double vents, a single button on each sleeve—the jacket’s buttons are black plastic—and hip pockets with narrow flaps. Palmer sometimes wears the pocket flaps tucked in, like when he carries a folded newspaper in his hip pocket (see image at the end of the article). Keeping small items in outer pockets does enough to disturb the jacket’s lines without having items sticking out from the pockets. Palmer demonstrates the way no gentleman should carry his newspaper.

Palmer wears medium grey worsted wool trousers under the jacket. They have a darted front, slanted side pockets, an extended waistband, buckle side adjusters and a tapered leg with turn-ups. There ought to be a little more contrast between the jacket and trousers, and a shade lighter in grey would be enough to give the two pieces more separation. The trousers most likely come from the suit Palmer wears later in the film. Palmer’s black shoes keep within the city tones of the outfit.

Ipcress-File-Blue-Shirt-FlannelsPalmer’s pale blue shirt is the least refined part of his outfit. Though the spread collar has a good width, the length of the collar points is rather puny. The collar is stitched 1/8 inch from the edge rather than the traditional 1/4 inch. The shirt has square single cuffs for cufflinks. These are not the stiff single cuffs that one wears for full evening dress but instead cheap, flimsy cuffs similar to the modern convertible cuffs that can be worn either with a button or with cufflinks. Palmer’s shirt has a breast pocket, which further brings the origin of Palmer’s shirt into question.

There is one item that Palmer takes from Bond’s wardrobe: a navy knitted tie. Bond wears a navy knitted tie in Goldfinger, made just a year earlier, and he wears it again in You Only Live Twice and On Her Majesty’s Secret Service. Palmer ties his knitted tie—most likely—in a half windsor knot like George Lazenby ties his knitted ties as Bond. But unlike Bond, Palmer wears a tie bar, and it suspiciously does not keep Palmer’s tie in place.

Tie askew and newspaper in the outside hip pocket

Tie askew and newspaper in the outside hip pocket

Felix Leiter: The Tan Linen Suit

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Jeffrey Wright’s Felix Leiter may have proven to be the only one other than Jack Lord’s who can rival Bond’s style and cool demeanour. In Quantum of Solace he wears a tan linen suit that’s just as nice as any of Bond’s tropical suits. The suit jacket is probably a button two and has natural shoulders and a clean fit. The jacket also has open patch hip pockets, a welt breast pocket and a four buttons on the cuffs. The jacket’s buttons are a summery white mother of pearl. The suit trousers have a flat front and a plain hem.

Felix-Leiter-Tan-Linen-Suit-2Leiter’s white shirt has a button-down collar, front placket and rounded single-button cuffs. The button-down collar looks great open since the buttons keep the collar standing up, even with the first button of the shirt open. The button-down collar also identifies Leiter as an American, even though Cec Linder was the only Leiter to previously wear a button-down collar. The only part of this outfit that isn’t done so well are the shoes. They’re brown slip-ons with a rather bulbous toe and thick black rubber soles. But since they’re only seen in publicity stills and not in the film they’re not worth complaining about too much.

Leiter’s tan suit and white shirt outfit has similarities to the original Felix Leiter’s beige suit in Dr. No and, especially, James Bond’s tan linen suit in GoldenEye. The balanced proportions and classic fit of this suit make it one of the most timeless suits worn by any character in the Bond films.

Minister of Defence: A Flattering Three-Piece for a Corpulent Figure

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Minister of Defence Frederick Grey, played by Geoffrey Keen, is a recurring character in the six Bond films from The Spy Who Loved Me through The Living Daylights. He’s always well-dressed and very traditionally dressed for the city. Though his clothes are very sober and don’t particularly stand out, they’re remarkable in that they are always very flattering to his short and corpulent figure. Whilst tall and slim men don’t need much help to look good, a well-tailored suit can do wonders for the not so fortunate. The minister almost certainly wears bespoke suits, and they perhaps could be Geoffrey Keen’s own. For someone who is rarely in more than two brief scenes in each Bond film, it’s hard to imagine the film production would spend for a bespoke suit for each film. The Minister appears in two scenes in A View to a Kill, and he wears the same three-piece suit in both his scene at the beginning of the film and his scene at the end of the film.

Minister-of-Defence-A-View-to-a-Kill-2The Minister’s suit in A View to a Kill is dark warm grey with very closely-spaced light grey pinstripes, with about six stripes to the inch. The closely-spaced pinstripes have the effect of making the suit overall look more like medium grey. The suit jacket has a traditional English cut, with lightly-padded straight shoulders and roped sleeveheads. The chest is full cut to give the impression of a smaller waist, and the chest darts are placed further to the side than they typically would be to give a flattering shape to the Minister’s corpulent figure. The button two suit jacket has classic proportions—the lapel width, gorge height and button stance are evenly balanced and do not look dated. That balance is also key to flattering the Minister’s larger figure. The jacket has a single vent, three buttons on the cuffs and slanted hip pockets. The waistcoat has five buttons. The suit trousers aren’t seen, but double forward pleats and braces are likely.

The Minister's second appearance in A View to a Kill, with a light blue shirt and navy tie.

The Minister’s second appearance in A View to a Kill, with a light blue shirt and navy tie.

The Minister’s shirt in his first scene is cream and has a classic English spread collar with a quarter-inch of tie space and button cuffs. With the cream shirt he wears a navy tie with white dots, tied in four-in-hand knot. The Minister’s shirt in his second scene is light blue with a more moderate spread collar, and his tie is navy, again tied in a four-in-hand knot.

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 buttons in Dr. No match the suit whereas the dark grey 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.

Cool in Cuba

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On his arrival in Cuba in GoldenEye, Bond wears a linen or linen blend twill suit made by Brioni. The twill suiting is two-tone, woven with light brown and white yarns to effectively look tan overall. The twill weave helps the linen to wrinkle less than it would in plain weaves, though it’s not going to breathe as well. But since it’s linen it still wears cool. The button three suit jacket is full cut with straight shoulders. It has swelled edges, button three cuffs and straight pockets with flaps. The trousers have a wide leg with double or triple reverse pleats, and the bottoms are finished with turn-ups. Bond wears the suit trousers without the jacket on the beach and rolls up the bottoms.

Goldeneye-Tan-Suit-2Bond’s white shirt from Sulka is most likely linen or a blend of linen and cotton. This shirt has a moderate spread collar, front placket, shoulder pleats and double cuffs. Double cuffs are a little out of place with this rather casual suit, but Bond isn’t committing a faux pas either by wearing them. Double cuffs would look more congruous if Bond were wearing a tie, however, this suit is casual enough that it can work well the way Bond wears it without a tie. Bond’s shoes are medium brown brogues, which look rather heavy for such a light suit. On the other hand, the Persol sunglasses are the perfect accessory for a linen suit in Cuba.

Q’s Town and Country Style

Q-Goldfinger

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.

Q-Goldfinger-2The 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.

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