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 11 Bond films, appears in Crossplot.

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.

Two Lapel Buttonholes on a Double-Breasted Jacket

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A buttonhole in each lapel on Roger Moore’s Douglas Hayward blazer in For Your Eyes Only

Why do double-breasted jackets and coats often have a buttonhole at the top of each lapel whilst single-breasted jackets and coats only have a buttonhole at the top of the left lapel? It is because double-breasted jackets and coats symmetrically have both buttons and buttonholes down the left and right sides whilst a single-breasted jacket or coat only has buttons down the right side and buttonholes down the left side. The buttonholes at the top of the lapels reflect what’s below. Though peaked lapels on a double-breasted jacket never fold over and close like single-breasted notch lapels sometimes do on sports coats, pea coats and some double-breasted overcoats—like the greatcoat—are able to fasten up to the top. These coats do have a button on each side either under the collar or at the top of the chest for the lapels to fold over and fasten to. The two buttonholes on a double-breasted coat are carried over from these more functional garments.

A buttonhole in each lapel on Pierce Brosnan's double-breasted overcoat

A buttonhole in each lapel on Pierce Brosnan’s double-breasted Brioni overcoat in Tomorrow Never Dies

Dimi Major put a buttonhole in each lapel of George Lazenby’s double-breasted car coat and blazer in On Her Majesty’s Secret Service. Douglas Hayward made Roger Moore’s double-breasted blazer in For Your Eyes Only, his double-breasted suit jacket in Octopussy and his double-breasted dinner jacket in A View to a Kill with a buttonhole in each lapel. Brioni put a buttonhole in each lapel in Pierce Brosnan’s double-breasted blazer in GoldenEye and in his double-breasted overcoats in Tomorrow Never DiesThe World Is Not Enough and Die Another Day. Sean Connery’s, Roger Moore’s and Pierce Brosnan’s naval uniform jackets and Roger Moore’s naval greatcoat all have a buttonhole on each lapel, and the greatcoat’s lapels can close to the top. Daniel Craig’s greatcoat in Quantum of Solace also has a buttonhole in each lapel, and like Roger Moore’s greatcoat it can close to the top.

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A buttonhole only in the left lapel in Roger Moore’s double-breasted Cyril Castle suit jacket in The Man with the Golden Gun

Cyril Castle, however, only put a single buttonhole in the left lapel in Roger Moore’s double-breasted chesterfield and silk suit jacket in Live and Let Die and Roger Moore’s double-breasted suits, blazer and white dinner jacket in The Man with the Golden Gun. A single lapel buttonhole on a suit jacket discards the ancestry and symmetry of having two lapel buttonholes for instead considering only the actual usage of a suit jacket’s lapel buttonhole: the boutonnière. Even when there is a buttonhole in both lapels, only the left buttonhole should be used for a boutonnière if you are so inclined to wear a boutonnière.

Daniel Craig’s Billy Reid pea coat in Skyfall also only has a lapel buttonhole on the left, which takes into account the reality that even if the lapels were closed, only the left side would actually fasten over to a button on the right. There wouldn’t be a jigger button at the top of the coat like there is at the waist. Since the Billy Reid pea coat has peaked lapels and no buttons at the top, it actually can’t close at the top like a traditional pea coat could anyway.

No lapel buttonholes

No buttonholes in the lapels of Roger Moore’s double-breasted Angelo Roma dinner jacket in Moonraker

Angelo Vitucci didn’t put any lapel buttonholes in the two double-breasted dinner jackets in The Spy Who Loved Me and Moonraker and the double-breasted blazer in Moonraker. This is the coward’s solution for those who can’t decide if a double-breasted jacket should have a lapel buttonhole in the left lapel or both lapels. Though history and symmetry says there should be a buttonhole in each lapel of a double-breasted jacket, it’s not a faux pas to have one buttonhole only in the left lapel. No lapel buttonholes at all ends up looking cheap and leaves no place to wear a flower.

M’s Green Smoking Jacket

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In On Her Majesty’s Secret Service, M (Bernard Lee) wears a modern take on the smoking jacket in dark green velvet. Traditional smoking jackets have a frog closure—a button or toggle that fastens through an ornamental braided loop—but M’s smoking jacket is updated with a conventional button and buttonhole. Smoking jackets are meant for private wear, either as an alternative to the dinner jacket or as a garment for lounging. M wears his for the latter purpose when tending to his butterfly collection.

M-Smoking-Jacket-2M’s double-breasted, shawl-collar smoking jacket has four buttons with one to button, the same style as his dinner jacket is Goldfinger. It is cut with natural shoulders, roped sleeveheads and a draped chest. M’s smoking jacket has one button on the cuffs rather than the customary ornamental braid that would accompany a frog closure on the front, but the jacket follows tradition with jetted pockets and a non-vented skirt. The black velvet lapels contrast with the body of the smoking jacket, but the buttons are covered in the body’s green velvet. The jacket could essentially be called a velvet dinner jacket, but M wears the jacket in the manner of a smoking jacket.

M-Smoking-Jacket-3Under the jacket, M wears an ecru shirt with a spread collar, button cuffs and a plain front. Around his neck and under the shirt he wears a day cravat in an ancient madder print in brown, red and chartreuse on white. His trousers are dark grey and probably flannel. Though we don’t see M’s footwear, the natural choice for this outfit would be a pair of velvet Albert slippers with quilted linings and leather soles.

Emile Leopold Locque’s Questionable Suit

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Questionable taste is often the sign of a villain. Emile Leopold Locque, played by Michael Gothard in For Your Eyes Only, wears a suit that’s just as suspicious as his octagonal-framed glasses. Locque’s light grey flannel double-breasted suit looks too warm to be comfortable where people alongside him are pleasantly swimming and sunbathing. The suit jacket has four buttons on the front with two to button, and the button stance is low, following the 1980s trend. The shoulders are straight and narrow, and the chest is clean and closely-fitted with a little give over the shoulder blades in back. The most questionable part of the suit is the fishmouth “cran Necker” notch lapels, a style that’s rarely made by tailors outside of France. There is nothing wrong with the lapels themselves, but notch lapels of any kind don’t belong on a double-breasted jacket. Notch lapels on a double-breasted jacket are neither an attractive nor a balanced look, and, combined with the jacket’s narrow shoulders, they give this suit an emasculating look. Double-breasted jackets with notch lapels were trendy in the late 1970s through the mid 1980s. Roger Moore wears a double-breasted blazer with notched lapels two years earlier in Moonraker, and the notch lapels place that blazer amongst the worst of James Bond’s clothing.

Emile-Locque-Double-Breasted-Suit-2Locque’s suit jacket also has the unusual, sporty feature of three patch pockets—two hip and one breast—with safari-jacket-style, buttoned pocket flaps. This is another element that puts this suit into questionable taste. The jacket also has deep double vents and three buttons on the cuffs. Though the style of the jacket is odd and not in the best taste, the jacket fits quite well. The back and sleeves drape cleanly, though the low button stance causes some fit issues in the front. The trousers have slightly flared legs with a lapped seam running down the outside of each leg.

The clothes that Locque wears with the suit, by contrast, are very tasteful. The pale blue shirt has a moderate spread collar, square two-button cuffs and a front placket. The black knitted silk tie, tied in a four-in-hand knot, is the literary James Bond classic and is a good complement to this somewhat sporty suit. Locque’s socks are grey to match the suit, and his shoes are black.

Peter Lorre’s Le Chiffre

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In the 1954 “Casino Royale” television play on CBS’s Climax!, the legendary Peter Lorre became the first actor to play Le Chiffre. Lorre wears a warm-weather dinner jacket like the dinner jacket Barry Nelson wears as Bond, but Lorre’s double-breasted dinner jacket is slightly lighter than Nelson’s buff (pale yellow-brown) or burma (pale red-brown) dinner jacket. Lorre’s dinner jacket is probably light buff, with lapel facings in a similarly-coloured satin silk. Anything but a self facing on a warm-weather dinner jacket’s lapels is not traditional, and it may have been trendy in the 1950s. The satin lapels add an unnecessary flashiness to the dinner jacket, but the flashiness is appropriate for a Bond villain.

Le-Chiffre-Dinner-Jacket-HomburgLorre’s dinner jacket has four buttons with one to button, and the two rows of buttons are evenly spaced about and below the waist. The jacket has natural shoulders with roped sleeveheads, and the jacket’s chest is clean but cut with a little fullness. This contrasts with the large shoulders, oversized fit and low button stance of Barry Nelson’s dinner jacket, which now looks very outdated. The natural shoulders and clean fit keep the corpulent Peter Lorre from looking any larger than he needs to, whilst the classic proportions and higher button stance keep the 5’3″ Lorre from looking any shorter than he needs to. He may be very short, and nothing can hide that, but he still looks as menacing as always.

The jacket also has three buttons on the cuffs, jetted pockets and no vent. The type of buttons on the jacket is difficult to determine, but they are dark and very shiny like black mother of pearl. Lorre wears traditional black trousers—which probably have a black stripe down each leg and are supported by braces—with the dinner jacket. The white dress shirt has a point collar, double cuffs and a wide placket. The black bow tie is in a thistle shape. Briefly, Lorre carries a black homburg hat with him, and you can see it on the table in the photo above.

Notice the different dinner jacket

Notice the different dinner jacket

In Lorre’s final scene, he wears a different, but very similar, dinner jacket. Either the original dinner jacket was damaged, or this dinner jacket is an accidental continuity error. This jacket doesn’t flatter Lorre nearly as well as the original dinner jacket does, which is because the new dinner jacket has larger shoulders and a lower button stance like Barry Nelson’s dinner jacket has. The lapels are darker and narrower, and the lapel peaks point more upwards than outwards like the original jacket’s lapels do. The buttons are white or cream. The top of the trousers shows at the bottom of the dinner jacket’s opening.

Robbie Coltrane as Valentin Zukovsky wears a very similar dinner jacket in The World Is Not Enough.

Jaws: The Azure Double-Breasted Blazer

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Jaws, played by the 7’2″ Richard Kiel, should be one of the scariest Bond villains, considering his imposing size and fierce metal teeth. However, his clumsiness and sometimes unfashionable clothing choices contribute to the comic relief side of the character. Jaws’ azure blue double-breasted blazer in The Spy Who Loved Me takes away some of Jaws’ ferociousness. Though light blue blazers were common in the 1970s, they weren’t then and aren’t now particularly fashionable. The light colour makes Jaws look less threatening than dark colour would. The blazer is probably made of polyester, though it holds up well though a car crash off a cliff and being literally kicked off a train. Jaws simply brushes the dirt off himself after these incidents and walks away undamaged and unwrinkled.

Jaws-Blazer-2The double-breasted blazer is a good choice for a tall man like Jaws because the rows of buttons help break up his height, and the longer length of Jaws’ blazer shortens the perceived leg length to ground him. The ideal length of a blazer or suit jacket should be half the distance from the base of the neck to the ground, but Jaws’ blazer is longer than that. Though Jaws is already a bulky man, the shoulders of his blazer are built up and out to make him look even more imposing. The blazer has polished solid brass buttons; there are four with two to button on the front and three on each cuff. The blazer also has three open patch pockets, wide peaked lapels without buttonholes, and double vents. Apart from the too long sleeves, the blazer fits quite well. And considering Richard Kiel’s size, the blazer is probably made bespoke for Jaws by a costumier.

Jaws-Ecru-ShirtJaws’ trousers are dark grey and have a dart on each side in the front and two darts on each side in the rear. They have a slightly flared leg, slanted side pockets, no rear pockets and zip-style side-adjusters. Under the blazer, Jaws wears an ecru shirt with a fashionably large point collar that has a generous amount of tie space. The shirt’s rounded single-button cuffs are attached to the sleeves with gathers. The shirt’s placket is stitched 1/4″ from the edge to match the collar and cuff stitching. The back of the shirt is tailored with darts. Jaws’ tie is cream with a light blue, black and beige crescent pattern. It is tied in a four-in-hand knot, and Jaws takes a moment to fix his tie after he is kicked off a train. Jaws’ shoes are black derbies.

The Persuaders: A Sporty Striped Suit

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Though Roger Moore wears the flashiest clothes of his career playing Lord Brett Sinclair in The Persuaders, the suits are also amongst the best-tailored and best proportioned of any of Moore’s suits. Cyril Castle, who made Moore’s suits for The Saint and for his first two Bond films, made the suits for The Persuaders. Castle experimented with fashion trends more than most Mayfair tailors did, but at the time The Persuaders was made in 1971 the narrow styles of the 60s were out and the wide styles of the 1970s hadn’t fully taken hold yet. The suits in The Persuaders instead get their flashiness from unconventional colours and patterns along with the occasional odd detail. Roger Moore himself is responsible for all the flashiness, and he is credited with designing Lord Sinclair’s clothes.

Persuaders-Cream-Stripe-Suit-3The episode of The Persuaders titled  “Nuisance Value” features a very unique striped double-breasted suit, and the cloth is what makes it most remarkable. It has a cream base with thick light brown stripes, and medium grey pinstripes are closely spaced in-between the light brown stripes. The medium grey pinstripes also border each light brown stripe. Though striped suits are ordinarily thought of as business suits, this isn’t a typical pinstripe, rope stripe or chalk stripe suit. These stripes unquestionably have a sportier look, and such a sporty suit is appropriate for the Lord Brett Sinclair character who wears suits for fun.

Persuaders-Cream-Stripe-Suit-2The suit jacket is cut in Cyril Castle’s usual double-breasted style. It has six buttons with two to button, and the jacket is cut with an extemely narrow wrap (the overlap in front). The narrow wrap makes the buttons very close together horizontally compared to their farther vertical distance to give the jacket more vertical lines and help slim the slightly heavyish Moore. The jacket has softly-padded shoulders, roped sleeveheads, a lot of fullness in the chest and a nipped waist. The peaked lapels are made in the Tautz style, in which the top edge of the lapel points horizontally rather than angles up. The lapels are on the wider side of classic width, and, as usual for Castle, there’s only a buttonhole in the left lapel. Double-breasted jackets traditionally have a buttonhole in each lapel since both sides of the jacket fasten. Like on the jackets that Moore wears in his first two Bond films, this suit jacket has flared link-button cuffs, slanted pockets and deep double vents. The buttons are smoked dark grey mother of pearl, which add some additional flash to the suit. The suit trousers have a dart on each side of the front, and an offset jetted frogmouth pocket cuts through the dart. The trousers legs are tapered to the knee and straight from the knee down. Moore wears the trousers with a belt.

Persuaders-Cream-Stripe-Suit-4Under the suit Moore wears a peach-coloured shirt from Frank Foster. It has a spread collar, placket and button-down cocktail cuffs that fasten around the wrist with a single button. Peach isn’t a traditional colour for formal shirts, but it’s similar to the classic ecru only a little darker and with a hint of pink. The champagne-coloured tie is a couple shades darker than the shirt, and it pulls out the light brown stripes in the suit. It is tied in a four-in-hand knot. When Moore opens his jacket we can see that the tie is too short and wider than the lapels, but since most of the tie is obscured inside the jacket—and the jacket should always be kept fastened—neither of the tie’s problems actually matter.

Persuaders-BootsMoore’s zip boots are even more fashionable than the colour of his shirt or the pattern of his suit. The boots’ light brown colour fits the Spanish setting and complements the warm colours in the rest of the outfit. The height of the boots is difficult to describe, since they are taller than ankle boots but shorter than mid-calf. They have a square toe and leather soles. Like most of Moore’s shoes, these zip boots are likely Italian-made. Zip boots are ordinarily too casual to wear with a suit, but the sporty nature of this suit makes zip boots almost appropriate.

Persuaders-Grey-Stripe-SuitThis cream, brown and grey-striped suit could easily be confused for another very similar suit that Moore wears in The Persuaders. In the same episode Moore wears another suit that is in the same pattern, but it has a light grey base with thick dark grey stripes instead of a cream base with light brown stripes. Like the cream-based suit, the grey-based suit also has medium grey pinstripes. Both suits have the same cut and same details, except the grey suit has a larger wrap than the cream suit has. Moore wears the all-grey suit with an open-collar black shirt, and a black silk day cravat is tied inside the collar but hangs outside the shirt. He also wears black slip-on shoes, which echo the black shirt and go well with the greys in the suit.