The Persuaders: A High-Buttoning Green Suit

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For his character Lord Brett Sinclair to wear in The Persuaders, Roger Moore designed some very unique and innovative pieces of tailoring that went beyond the fashion of the day. One of these pieces is a high-buttoning green suit tailored by Cyril Castle with an equestrian and military heritage, featured only in the 1971 episode “Take Seven”. Rather than try to be creative with an unflattering fit or awkward proportions, like most fashion designers have done over the past half century, this suit is creative through its unconventional colour, historical cut and unusual details. Though these elements altogether make this suit look like a piece of costume, it’s a fascinating study in creative tailoring.

The unusual colour of this suit can be described as rifle green, which comes from the uniform of rifle regiments. Rifle green is a statelier and richer colour than a lighter and warmer army green, but still it has a long military heritage. The suit’s medium-heavy cloth is woven in a herringbone weave and has wide but subtle rust-coloured stripes. Though Moore wears this suit in the heart of London, being green automatically labels this a country suit. At least Moore visits Hyde Park wearing this suit, where it harmoniously blends with the greenery. Anywhere, rifle green has the benefit of being one of the most flattering colours to Moore’s warm spring complexion.

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This suit is hanging onto the “New Edwardian” from the 1960s and has taken nothing from the trends that had emerged by the start of the 1970s. Rather than take on the flamboyance of the 1970s, this suit has a flamboyance all of its own. The lapels are a balanced width and wider than lapels on a 1960s suit would have been. Though it’s inspirations are clear, this suit is ultimately too peculiar to look dated to any time. The suit jacket takes its high buttoning from the Edwardian era, when lounge coats usually had three or four buttons down the front in a higher stance than in more modern times. This button three suit jacket places the bottom button just below the natural waist, and the foreparts are cut away below that button. Because the foreparts are only cutaway below the high bottom button, and because the bottom button is up near the waist, all three buttons can be fastened. One a typical button three jacket, the middle button is near the waist and the bottom button is on a cutaway portion of the jacket so it not designed to fasten. Fastening the bottom button on an ordinary button three jacket (or button two jacket, for that matter) pulls the jacket out of shape and restricts the legs. The cut of this jacket has much in common with the button two “paddock” style jackets that the Duke of Windsor was known for wearing, where either both buttons or only the bottom button would be fastened.

Moore’s suit jacket is almost like a short version of the high-buttoning Edwardian morning coat—a garment that was originally designed for riding a horse—and the cutaway in the front of this jacket would spread apart nicely on horseback. If the colour of this suit didn’t already place it in the country, the equestrian cut would. The structure follows the traditional British equestrian and military cut. The jacket has straight shoulders, a clean and full chest for a strong polished-marble look, a nipped waist and a flared skirt. This cut has a sporty look, but the structure gives it a rather formal and martial look too.

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This jacket also has many sporty and equestrian details, such as swelled edges, steeply slanted hacking pockets and a flapped breast pocket, which is slanted down towards the side of the jacket instead of up towards the shoulder. The jacket’s most important equestrian detail is the long single vent, which balances the cutaway in front. This is Moore’s second jacket in The Persuaders, and in any of his appearances, with the flared link-button cuffs he would go on to wear on his jackets throughout his first two James Bond films. This detail was supposedly his idea that he pitched to tailor Cyril Castle. The jacket’s buttons are smoke mother of pearl, which give a more urbane look to this country suit. The excellent fit gives credence to this unusual suit, though the sleeves are noticeably an inch too short.

The suit trousers, cut by Cyril Castle’s and Anthony Sinclair’s apprentice Richard W. Paine, have jetted cross pocket on the front, and a dart centred on either side of the front cuts through each front pocket. The trousers have narrow straight legs, an elegant look from later 1960s fashion.

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This suit’s fancy details and unusual equestrian cut are reminiscent of and in the spirit of suits that Patrick Macnee’s character John Steed in The Avengers wore. Some of his high-buttoning Pierre Cardin suits in the first colour series were very similar in style, and a navy high button two suit made by Hammond & Boyle from the same series came close as well. It’s certainly not the kind of suit James Bond would wear, and it’s not the kind of suit the the average man could wear either. The suit’s jacket would work as a fancy riding jacket, but few people need that. It’s too structured and buttoned-up to work as a casual piece today, but even in navy it would also be too unusual to work as a dressy suit, neither for business nor for social use. Though few people would have use for anything like this suit, there’s much to be learned from and admired about this distinctive piece.

With this suit, Moore wears a pale yellow shirt made by Frank Foster that has a spread collar and button-down cocktail cuffs that fasten with a single button. The jacket’s too-short sleeves show off the shirt’s special cuffs. The tie has wide dark blue and dark green stripes and is tied in a four-in-hand knot. This is the Inns of Court Officers Training Corps regimental tie, and the tie signifies that former army officer Lord Brett Sinclair was a part of this regiment. Moore’s shoes are black calf monk shoes with a square apron toe. He wears black socks to match his shoes.

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In later episodes of The Persuaders “The Old, the New & the Deadly” and “Read & Destroy”, Roger Moore wears an almost identical suit in a much lighter and more olive shade of green.

The Saint: A Blue Tweed Jacket

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For the first color series production of The Saint, Roger Moore takes full advantage of the color and wears a steel blue tweed sports coat made by his usual tailor Cyril Castle. Moore first wears this jacket in the fifth series episode “The Man Who Liked Lions” and later during the fifth series in “The Persistent Patriots” and “The Fast Women”. He wears it in two sixth series episodes, “The Fiction Makers” and “The House on Dragon’s Rock” that were actually part of the fifth series production. It is worn the most in “The House on Dragon’s Rock”, and the outfit Moore wears with it is what is featured in this article. The episode first aired on 24 November 1968.

Moore’s tweed is woven in a twill weave with a blue ground and has white flecks. It looks similar to a donegal tweed, but donegal is woven in a plain weave rather than a twill. Blue tweeds are somewhat unorthodox, being a country cloth in a city colour. Tweeds are traditionally in earthy colours—the brown and green families—or in neutral greys. Because a blue tweed jacket is an anomaly, a blue tweed jacket must be worn carefully. In the country, it should be avoided in autumn when browns completely dominate nature. In the country in winter it can fit in with the snow so long as the blue is muted. In spring, however, any blue can look good anywhere. Though tweeds aren’t traditionally worn in the city, a blue tweed jacket is a solid choice for casual wear amongst the concrete and steel.

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This jacket is Moore’s only jacket with two buttons in the entire run of The Saint, apart from an unfortunate ivory dinner jacket with two buttons that he wears in the early episodes of the series. Compared to his typical button three jackets from The Saint, this button two jacket makes Moore look less top-heavy and more balanced. The jacket is cut with a swelled chest and a closely nipped waist for an athletic look. The shoulders are lightly padded with roped sleeveheads, but the shoulders look more built-up than they are due to the heavy tweed. The jacket is detailed with double vents, single-button gauntlet (turnback) cuffs and straight flap pockets with a ticket pocket. The jacket has swelled edges on the lapels, the collar, the front edge, the pocket welt and flaps and the gauntlet cuffs. The jacket’s buttons are black horn, though brown horn would have been a more fitting choice due to the rustic look and warm tones Moore wears with the jacket.

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A close look at both sides of the jacket’s gauntlet cuffs—or turn back cuffs—from “The House on Dragon’s Rock”. The gauntlet cuff is a separate piece attached to the cuff.

In “The House on Dragon’s Rock”, Moore wears this jacket with medium grey flannel trousers that have a darted front, frogmouth pockets and straight legs. In some other episodes he wears tan twill trousers with this jacket, and almost any neutral trousers can pair well with a steel blue jacket. All shades of grey can work, from a light ash to a deep charcoal. Though black trousers won’t clash with this jacket, they will make the blue pop in a bold way, whilst charcoal trousers will give a similar look that is softer and more elegant. Anything in the brown family can work, from a light beige to a dark chocolate. Though cream and white trousers wouldn’t necessarily go with a cool-weather tweed jacket, they would be perfect with a steel blue linen or silk jacket in warm weather. Olive trousers, though often considered neutral, don’t work so well with a blue jacket. As triadic colours, blue and olive compete with each other when there are large amounts of both colours.

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Moore’s ecru shirt has a moderate spread collar, plain front and double cuffs. The narrow tie has wide brick red and grey stripes separated by narrow black stripes in the classic British direction, and it is tied in a four-in-hand knot. Moore’s shoes are dark brown short chelsea boots.

Remington Steele: Checked Jacket with Throat Latch and Elbow Patches

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In the fifth episode of Remington Steele, titled “Thou Shalt Not Steele”, Pierce Brosnan wears a sporty checked tweed jacket with a jumper and knitted tie. Brosnan also wears this jacket in five subsequent episodes. The jacket is black and cream, most likely in a two-and-two check. A two-and-two check alternates two light yarns (cream in this jacket) and two dark yarns (black in this jacket) in both the warp and the weft of an even twill weave, and it’s the section of a Glen Urquhart check opposite the houndstooth (four-and-four) section. All else equal, a two-and-two check would be half the size of a houndstooth check, and its shape is simpler and boxier. It is possible that the check on Brosnan’s jacket may have more than just these two colours, but I believe that this is essentially what the check is.

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A black and cream two-and-two check

The jacket is typical of the early 1980s and has a low—but not excessively low—gorge (lapel notch) and two buttons on the front in a low stance. The shoulders are strong, but narrow, with a pagoda shape and a lot of padding. The jacket has a lean chest and a suppressed waist, which gives this jacket a very elegant shape. When combined with the pagoda shoulders, the jacket’s silhouette endows Brosnan with a more powerful, but not unnatural, look.

This jacket has a number of sporty details. One of the most unusual and sportiest is the throat latch, which is also known as a storm tab. It allows the collar to be closed across the front of the neck when turned up. They’re often in the form of a separate piece of fabric that buttons onto the back of the collar and sticks out from the left side of the collar. The throat latch on this jacket is a permanent feature, and it’s in the form of a grey cord loop that extends from the left side of the collar.

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Sporty leather buttons and elbow patches trim this jacket. The buttons are braided leather in black to match the black in the jacket as well as provide contrast with the jacket’s overall colour. The elbow patches are grey-brown suede so they blend in with the jacket. The jacket’s hip pockets are open patch pockets and the breast pocket is a welt pocket. There are three buttons on the cuffs and double vents at the rear.

Brosnan leaves his jacket open. Either it’s too fitted to be able to button with a jumper underneath or Brosnan simply wants to show off his jumper. The fancy striped wool jumper is grey and cream to complement the jacket, but being grey instead of black gives some contrast with the jacket. It has a deep V-neck to show off the tie. The trousers are charcoal—either lightweight flannel or a medium-weight worsted—and have a flat front and straight legs.

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Under the jumper, Brosnan wears a pale blue poplin shirt with a point collar, narrow placket and rounded double cuffs. The point collar is worn with a gold collar bar of the slide-on variety. Some people feel that a slide-on or clip-on collar bar is to clip-on braces as a collar pin is to a button-on braces. They feel that a slide-on collar bar is a cheap approximation of a proper collar pin. However, Brosnan’s slide-on collar bar gets the job done—it pops the tie out from the collar—without damaging the shirt. True collar pins do indeed damage collars when they poke holes through the cloth, and after repeated use the damage is noticeable. A slide-on collar bar is good for beginners who aren’t sure if they want to commit to the damage a proper collar pin inflicts on the shirt. Brosnan, however, is not a beginner and should be using a proper collar pin.

Brosnan wears the double cuffs with the cuffs extended—not folded—and fastened like single-link cuffs, but it works because the cuffs are very short for double cuffs. There is an unused set of link-holes close to the base of the cuff. The sleeve length is likely meant for a man with shorter arms to accommodate the cuff folding in half, which would end up being less than two inches wide. The cuff unfolded as Brosnan wears it is approximately 3 1/2 inches wide.

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I’ve said before that jumpers and kissing cuffs (when the ends of the cuff meet back-to-back rather than overlapping) don’t pair well together. The snug cuffs on the jumper don’t match the shape of the shirt’s cuffs, and the jumper’s cuffs are stretched out by the shirt’s cuffs. Here the shirt’s cuffs extend past the jumper’s to show the cufflinks, and the jumper’s cuffs are usually obscured under the jacket sleeves. Though wearing a jumper with kissing shirt cuffs isn’t ideal, this is a creative way to pair a jumper with such shirt cuffs. A sleeveless jumper would have been better for this outfit.

The tie is grey knitted silk and tied in, surprisingly, a full windsor knot. Brosnan knots his tie in a scene in this episode. He ties the tie with the wide blade much longer than the narrow blade, which allows him to tuck the wide blade into his trousers for a neat look under the jumper. Tying the tie further up means that the tie will be narrower in the knot area and will create a smaller knot. The small windsor knot on Brosnan’s tie has a very clean look, which can be difficult to achieve with a four-in-hand knot on a knitted tie. Brosnan finishes the outfit with a puffed silver satin silk pocket square that complements the greys in the outfit whist contrasting them in texture.

Preferably, the belt and shoes should match the jacket’s black leather buttons. However, matching all leathers is not required and Brosnan decides to pair this informal outfit, not inappropriately, with brown shoes and a brown belt. A black belt and black shoes may have been a better choice, especially since Brosnan wears this outfit in the evening, but the brown belt and shoes dress down the outfit.

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“Thou Shalt Not Steele” is the first episode of Remington Steele to feature Pierce Brosnan’s then-wife Cassandra Harris, who played Countess Lisl von Schlaf opposite Roger Moore in For Your Eyes Only a year earlier .

The Saint: A Black-and-White Hopsack Suit with a Double-Breasted Waistcoat

Roger Moore in "Simon and Delilah", with Lois Maxwell who plays Miss Moneypenny in the first 14 Bond films

Roger Moore in “Simon and Delilah”, with Lois Maxwell who plays Miss Moneypenny in the first 14 Bond films

In a number of fifth series episodes of The Saint—including “The Helpful Pirate”, “The Convenient Monster”, “The Angel’s Eye”, “The Persistent Patriots”, “Simon and Delilah” and “A Double in Diamonds”—Roger Moore wears a black and white hopsack three-piece suit. The overall look of the cloth is a medium-dark grey with a lot of sheen. The sheen suggests a wool and mohair blend, which was very popular in the 1960s. Mohair often came in these tone-tone hopsack weaves in the 1960s because the iridescent two-tone look accentuates the natural sheen of mohair. Hopsack—a basketweave—is also a popular weave for mohair because the open weave takes advantage of mohair’s cool-wearing properties.

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With a tie-clip microphone in “Simon and Delilah”

Cyril Castle, who tailored Moore for The Saint, The Persuaders, Live and Let Die and The Man with the Golden Gun, cut this suit. Like all of Roger Moore’s suits in The Saint‘s fifth series, this suit’s jacket has a button three front. The jacket is cut with softly padded shoulders, roped sleeveheads, a draped chest and a suppressed waist. A low button stance serves, along with the drape, to make Roger Moore’s chest look more masculine and imposing. The considerably narrow lapels add to this effect and make the entire look overdone.

For a dressier look, this suit jacket has the minimalist touches of jetted pockets and no rear vent. Like on most of the jackets in the fifth series, the cuffs are gauntlet cuffs with a single button. The suits’s trousers have a darted front, no belt, frogmouth pockets and narrow, tapered legs with plain hems.

Moore reaches into the pockets of his double-breasted in "The Angels Eye"

Moore reaches into the pockets of his double-breasted in “The Angels Eye”

The double-breasted waistcoat has six buttons in a keystone formation with three to button. A double-breasted waistcoat is an unusual piece and is more formal than a single-breasted waistcoat. It’s perfect for evening formal dress and morning dress, but it’s equally appropriate on a dressier lounge suit such as this shiny mohair suit. It’s certainly a dandyish piece and serves as a way to stand out from the crowd, but it doesn’t draw much more attention than a single-breasted waistcoat would, especially if the jacket is kept buttoned. It lends a rather old-world look to this suit, but since the suit is very modern with narrow lapels and narrow trousers it doesn’t have enough weight to make the suit look old-fashioned.

Notice the gauntlet cuffs, in "SImon and Delilah"

Notice the gauntlet cuffs, in “SImon and Delilah”

A suit like this is too bold for standard business dress. Mohair is too shiny and thus flashy, and the double-breasted waistcoat is too unconventional. These elements also make the suit too formal for the office. However, it is perfect for a fancy evening out or to wear to a day or night wedding, either as a guest or as the groom. Though mohair is a cool-wearing cloth and good for warm weather, the extra layer of a waistcoat gives this suit a wider temperature range.

Moore coordinates this suit with two different tie and shoe combinations. The shirts are always ecru, and many or all have white hairlines stripes. The shirts have a moderate spread collar, plain front and double cuffs. The collar has a tall stand but short points. In “The Helpful Pirate”, “The Convenient Monster” and “The Angel’s Eye” Moore wears a narrow medium grey satin tie and black slip-on shoes with elastic. In “The Persistent Patriots”, “Simon and Delilah” and “A Double in Diamonds” he wears an narrow olive satin tie and medium brown slip-on shoes with elastic. Moore knots his ties with a small four-in-hand knot.

The suit jacket buttoned in "The Convenient Monster"

The suit jacket buttoned in “The Convenient Monster”. With the jacket buttoned the double-breasted waistcoat doesn’t look so unusual.

In “Simon and Delilah” Moore wears a tie clip with a microphone built in (pictured second from top). A tie clip is typically unnecessary with a waistcoat because the waistcoat keeps the tie in place. Sometimes the waistcoat doesn’t do this job as well as it should and a man may still want a tie clip to keep his tie perfectly in place. In that case, the tie clip should be worn under the waistcoat. It belongs approximately three-quarters of the way down the tie and away from the face. Of course, a microphone would be less effective under the waistcoat. Ideally a two-piece suit should have been chosen for this scene. On the other hand, the waistcoat means that the tine clip is higher and thus in better sight for the viewers of the show.

Though he usually wears dark grey socks with this suit, in “The Persistent Patriots” Moore wears this suit with beige socks—which coordinate with the shirt more than they do with the suit. Though they by no means clash with the outfit, light-coloured socks can draw attention to the feet when attention should be drawn to the face.

Beige socks with this suit in "The Persistent Patriots"

Beige socks with this suit in “The Persistent Patriots”

James Bond Brings Back the Turtleneck

Spectre Teaser Poster

If Daniel Craig’s fashion sense is anything to go on, the turtleneck has boldly returned. Craig had the power to return shawl collar cardigans to the forefront of fashion after wearing them as James Bond in Casino Royale and Quantum of Solace, and he will no doubt do the same for the turtleneck after wearing three in Spectre.

The turtleneck, also known as the polo neck or roll neck, is a knitted jumper that has a close-fitting high collar that rolls over to cover the neck all around. An alternative to the turtleneck is the shorter and more modern mock turtleneck, which does not fold over. Turtlenecks saw their heyday in the 1960s and 1970s, while mock turtlenecks ruled in the 1990s. Both the true turtleneck and the mock turtleneck are returning in Spectre.

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Daniel Craig wears a dark charcoal grey fine gauge mock turtleneck made of cashmere and silk from British company N.Peal on the teaser poster for Spectre with charcoal tick-patterned trousers and a shoulder holster. This look immediately recalls the 1973 film Live and Let Die, in which Roger Moore wears a black full turtleneck with black trousers and shoulder holster. Craig’s dark grey version better flatters his fair complexion and adds more subtle interest in updating the look. In the film, Craig will be wearing a dark blue-grey suede Racer Jacket from John Varvatos over the mock turtleneck to conceal his gun.

Both Daniel Craig in Spectre and Roger Moore in Live and Let Die were inspired to wear this look after Steve McQueen famously wore a dark blue turtleneck sweater with a shoulder holster as police lieutenant Frank Bullitt in the 1968 film Bullitt. This look is only seen briefly at the end of the film since he is usually wearing a brown herringbone, elbow-patched tweed jacket to hide his gun and holster. Bullitt‘s poster and publicity stills, which are without the jacket, are what made the look so iconic. Not only does Daniel Craig copy McQueen’s turtleneck and shoulder holster look in Spectre, but he also wears the same brown suede Sanders & Sanders “Playboy” chukka boots that McQueen wears in Bullitt.

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Steve McQueen in Bullitt

Before Steve McQueen wore the turtleneck and holster in Bullitt, it was a popular look for agents in the television series The Man from U.N.C.L.E. Robert Vaughn first wore this look as Napoleon Solo in the 1965 episode “The Four-Steps Affair”, but David McCallum’s character Illya Kuryakin is more famous for the look and first wore it in the following episode “The See-Paris-and-Die Affair”.

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David McCallum as Illya Kuryakin in “The See-Paris-and-Die Affair”

Besides the charcoal grey mock turtleneck, Daniel Craig wears another mock turtleneck in Spectre under a dark grey nylon-front knitted wool blouson from Tom Ford while on his mission in snowy Austria. This example, which is also from N.Peal, is identical to the dark charcoal grey piece, except it is made in a vivid medium shade of blue called “Lapis Blue”.

Daniel Craig wears a third turtleneck in Spectre from N.Peal in a colour they call “Fumo Grey”, which is a light and warm shade of grey. This turtleneck is the more traditional full roll-neck style and is designed for warmth. It is cable-knitted and in a heavier Mongolian cashmere. Craig wears it under a heavy navy wool zip-front blouson in the Austrian Alps.

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N.Peal turtleneck in “Fumo Grey” from Spectre

Spectre and Live and Let Die are not the only two James Bond films to feature turtlenecks. Sean Connery introduced the mock turtleneck to the Bond in the 1967 film You Only Live Twice when he wears a grey top to infiltrate the SPECTRE volcano headquarters. Sean Connery wears full turtlenecks in Diamond Are Forever with his brown tweed jackets. In On Her Majesty’s Secret Service, George Lazenby wears orange and white turtlenecks as part of his golf and ski outfits, respectively.

Roger Moore undoubtedly holds the status as the turtleneck James Bond. In The Spy Who Loved Me he wears a navy turtleneck as part of his naval battle dress, and in Moonraker he wears a cream turtleneck under a double-breasted navy blazer. The 1981 Bond film For Your Eyes Only is tied with Spectre for featuring the most turtlenecks. In this film, Moore wears his turtlenecks under a shearling blouson and a ski jacket in the Italian Alps as well as under a lightweight blouson in Greece. Until Spectre, Die Another Day was the last Bond film to feature a turtleneck. Pierce Brosnan wears a heavy cashmere cable-knit mock turtleneck from the Scottish company Ballantyne, now liquidated, in the 2002 film.

Bond's last turtleneck in Die Another Day

Bond’s last turtleneck in Die Another Day

This article was originally published in 20 Minuten.

What Kind of Underwear Would Bond Wear?

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Sea island cotton boxer shorts from Turnbull & Asser, likely what Ian Fleming had in mind for James Bond, and maybe what he wore himself

We see James Bond in swimming trunks, pyjamas and dressing gowns, but we never see James Bond in his underwear in the films. There’s a slight peak of it in Casino Royale, but we can’t tell what kind it is. Bond most likely has varied his underwear styles throughout the decades. Ian Fleming specified “nylon underclothes” in the novel Diamonds Are Forever, which have great drying properties. In The Man with the Golden Gun novel, Fleming wrote about a different, more luxurious type of underwear:

Bond then took off his clothes, put his gun and holster under a pillow, rang for the valet, and had his suit taken away to be pressed. By the time he had taken a hot shower followed by an ice-cold one and pulled on a fresh pair of sea island cotton underpants, the bourbon had arrived.”

The “sea island cotton underpants” are undoubtedly referring to the woven boxer short style, since old-fashioned men in Britain at the time wore little else. The cotton material would be similar or identical to Bond’s sea island cotton shirts that Fleming specified. Some shirtmakers make boxer shorts to match their customers’ shirts. Sean Connery and Roger Moore most likely also wear woven boxer shorts as Bond, considering that was traditionally what men wore in Britain. Roger Moore can be seen in cotton boxer shorts in the 1969 film Crossplot, which took its wardrobe from Moore’s television show The Saint. Connery’s and Moore’s trousers have enough fullness in the thighs to accommodate boxer shorts.

Sean Connery wearing cream boxer shorts and a white vest in Never Say Never Again

Sean Connery wearing cream boxer shorts and a white vest in Never Say Never Again

In the unofficial James Bond film Never Say Never Again, Sean Connery wears cream boxer shorts with a white vest (also known as an A-shirt). Bond had just discarded his dinner suit to escape on a bicycle, so he must have been wearing these clothes under his dinner suit. The British ordinarily aren’t fond of undershirts, and Bond almost never wears them. To blend in as an American in Fleming’s novel Live and Let Die, Bond wears “nylon vests and pants (called T-shirts and shorts)”. However, the “nylon underclothes” that Fleming writes about in Diamonds Are Forever may also include vests.

Sunspel Stretch Trunk

Stretch trunk underwear from Sunspel

Underwear is a very personal garment and there’s no way we can guess the different styles of underwear that Bond has worn throughout the series apart from following what the trends were at any given time. Trends in underwear sometimes followed trends in trousers. Boxer shorts were very popular in the 1980s and 1990s when full-cut trousers were popular. However, in a 1985 episodes of Remington Steele titled “Forged Steele”, Pierce Brosnan wears white knitted cotton briefs.

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The James Bond Dossier announced last month that Sunpel, who made some of Daniel Craig’s polos and t-shirts for Casino Royale, has provided their stretch cotton brief and their stretch cotton low waist trunk (a short boxer brief) for Daniel Craig to wear in Spectre. This underwear is made of a 92% cotton and 8% elastane blend so it has more stretch than a pure cotton knit. Neither the brief nor the trunk has a front opening. Briefs and trunks are necessary for Daniel Craig since loose boxer shorts would bunch up under his tight trouser legs and prevent the trousers from hanging smoothly over the thighs.

What kind of underwear do you think Bond would wear?

Stretch brief underwear from Sunspel

Stretch brief underwear from Sunspel

Noble House: A Cream Silk Suit for Leisure

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Only a year after he finished Remington Steele, Pierce Brosnan played Hong Kong tycoon Ian Dunross in the 1988 television miniseries Noble House. Besides Brosnan, Noble House stars two other actors from the James Bond series, John Rhys-Davies (The Living Daylights) and Burt Kwouk (Goldfinger and You Only Live Twice). Brosnan plays and dresses as Dunross similarly to how he plays and dresses as Steele, though Dunross’ clothes are devoid of the 1980s fashions that dominated his later Steele wardrobe and would plague James Bond in Licence to Kill a year later. For leisure in Hong Kong, Brosnan wears a cream silk suit in Noble House.

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The cream suit jacket has three buttons and a different cut than the other suit jackets in Noble House and has a more relaxed look to go with the suit’s more relaxed nature. The shoulders are soft and natural but have a little padding. The shape of the lapels and other small details are identical to on the other suits in the mini-series, meaning this suit is either made by the same tailor or is from the same brand. The other suits are most likely meant to look like they are made by an English-influenced Hong Kong tailor, though this cream suit looks more American.

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The back of the jacket is gently shaped but perfectly fitted

The suit jacket lacks front darts in the American Ivy League style, thus the front looks boxy. The chest is very lean and the waist is full. The back of the jacket, however, is suppressed to give the jacket a clean and flattering shape. The traditional American Ivy League style has three buttons with the lapels rolled to the middle button—called a three-roll-two—so that the jacket looks like a button two jacket. This jacket, however, is not made in that style. The lapels on this button three suit jacket only roll gently through the top button and are not pressed all the way down to the middle button, but the lapels roll slightly past the top button when the jacket is button. The jacket is detailed with flapped pockets, three buttons on the cuffs and a single vent.

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The suit’s trousers have a medium rise and double reverse pleats, which are stitched down about an inch at the top to direct the fullness to the hips and keep the pleats neat. Though pleats are not part of the Ivy League style like the undarted suit jacket is, the popularity of pleated trousers in the late 1980s means that they accompany this suit jacket. The trousers have on-seam side pockets and one rear pocket on the right. The legs are gently tapered with plain hems. The trousers are worn with a medium brown belt.

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Brosnan’s blue multi-stripe shirt is classic, but it is also what was popular in the 1980s. The cotton is medium blue, possibly end-on-end, with navy, yellow and light blue pencil stripes, spaced about 3/8″ apart. The shirt has a point collar, double cuffs and a front placket. The collar, cuffs and placket have 1/4″ stitching. Brosnan’s tie is red with dark blue repp stripes bordered by olive repp stripes. The striped tie pairs well with the striped shirt because the stripes are of different scales and different intensities. The tie’s stripes are in the American directions—down from the right shoulder to the left hip. If the stripes have any meaning in the UK, the American direction negates the meaning of the pattern. As there is no keeper, each blade of the tie hangs freely. When the tie flips up in the wind, a Polo Ralph Lauren label can be seen under the tie. It is possibly that other piece of clothing that Pierce Brosnan wears in Noble House could also be from Polo.

Brosnan matches a dark blue patterned silk pocket square to the dark blue stripes in the tie and in the shirt. Brosnan also matches his red socks to the base colour of his tie. The shoes are medium brown suede derbys.

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Notice the “POLO by Ralph Lauren” label on the back of the tie

The Persuaders: A More Conservative Charcoal Three-Piece Suit

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Though Roger Moore often dresses flamboyantly as Lord Brett Sinclair in his early 1970s television show The Persuaders, not all of his clothes are entirely adventurous or fashion-forward. One of Moore’s more conservative pieces of clothing in The Persuaders is a charcoal track-stripe three-piece suit, which he wears in eight episodes. The track stripes are pairs of white or light grey pinstripes, spaced close together. Roger Moore designed his clothes for The Persuaders, and for this one he kept the cloth more conservative. Cyril Castle, Moore’s tailor for The Saint and his first two James Bond films, made the suit.

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This cut of this suit is similar to Roger Moore’s suits in The Saint, but the jacket has been updated from the 1960s with wider, more balanced lapels and a higher button stance that gives the suit jacket a timeless look. The jacket has a very British cut with softly padded shoulders, a full chest and a nipped waist. The front buttons three with a medium low stance that has a balanced and flattering look on Roger Moore’s figure. The jacket is detailed with three buttons on the cuffs, slanted pockets and a single vent.

The suit’s waistcoat has six buttons with five to button. The bottom of the front edge starts to curve away above the bottom button, thus the bottom button and buttonhole do not line up. The waistcoat also has notched lapels and two welt pockets.

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Moore wears a gold chain from one waistcoat pocket to the other. This should mean that Moore has a pocket watch in one waistcoat pocket and a fob in the other, but Moore is wearing a gold wristwatch. Either Moore has both a wristwatch and a pocket watch, or the waistcoat’s chain is purely decorative.

The suit’s trousers are made by Cyril Castle’s trouser maker at the time, Richard Paine. They have jetted cross pocket on the front, and a dart centred on the front of each side cuts through the pocket. There is a button-through pocket on either side in the back. The trousers have a narrow straight leg, following 1960s fashion. Though Moore often dresses flamboyantly in The Persuaders, he wouldn’t adopt the flared looks that became popular in the late 60s until Live and Let Die. The trousers also have belt loops, but Moore doesn’t wear a belt, and the waistcoat keeps the belt loops covered. The trouser waist fits well enough that a belt is not needed.

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Moore’s lilac poplin shirt, made by Frank Foster, has a spread collar, a plain front and button-down cocktail cuffs that fasten with a single button. Lilac shirts are very versatile, and the colour flatters Moore’s warm complexion. The tie is navy with sets of wide cream, champagne and gold stripes, and it is tied in a four-in-hand knot. The shoes are black monk shoes with an apron front.