Napoleon Solo’s First Suit—1960s American Style

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Ian Fleming’s character Napoleon Solo, played by Robert Vaughn in The Man from U.N.C.L.E., is introduced in 1964 as American television’s answer to James Bond. The pilot episode of The Man from U.N.C.L.E. titled “The Vulcan Affair” became the first episode of the series and was later made into the feature film To Trap a Spy. Napoleon Solo’s first suit in this first episode is based in traditional American style, but it applies 1960s fashion trends to it. The suit overall is very much a product of 1960s fashions, and the trends of the decade pervade the suit in a much more exaggerated way than any of James Bond’s suits of the decade do. The suave American spy dresses quite a bit differently from 007.

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The suit is made of lightweight taupe wool, likely blended with mohair judging by the suit’s sheen. It is probably woven in brown and white yarns. The suit jacket is detailed in a very 1960s manner. The jacket has only a single button on the front and one button on each cuff. The narrow notched lapels are rounded rather than squared. The jacket has slanted pockets with narrow flaps, and both the lapels and the pocket flaps have swelled edges. The rear double vents are very short and about only four or five inches long.

In the American tradition, the shoulders are natural with little or no padding and the front has no darts. The lack of front darts makes the jacket look somewhat boxy, but it still fits closely and has waist suppression. The main different between a jacket with darts and a jacket without darts is that the one without darts has less fullness in the chest. Solo’s jacket has a very clean and close-fitting chest, whilst the waist is suppressed through the rear side seams and the darts under the arms. In following 1960s fashion, the jacket has a shorter-than-traditional length, but it is just long enough to cover the buttocks. This contrasts with today’s short jackets, which have no intention of keeping the buttocks covered. Vaughn has long legs, and the shorter jacket still makes him look out of proportion. The fashionably short length has the benefit of making the 5’10” Robert Vaughn look a little taller. Especially next to the 5’7″ David McCallum who plays Illya Kuryakin, Vaughn looks rather tall.

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The suit trousers have a flat front, long rise, tapered legs and no belt loops. The long rise is the most significant part of Solo’s suit that separates it from today’s suits. It is long enough to almost meet the jacket’s front button. Going against American tradition, the trousers have plain hems. The trousers also are hemmed short, making these what some call high-water or flood trousers. It’s a traditional American style to hem the trousers too short, and Solo’s are about two inches above where the trousers would meet the shoes in front. The short hem shows off Solo’s black socks.

Solo’s white button-down shirt follows traditional American style just as many parts of the suit do. Likely made of oxford cloth, the shirt has a soft button-down collar, rounded single-button cuffs and a front placket. The narrow tie is black with a pronounced diagonal rib and tied in a small four-in-hand knot. The tie is held against the shirt with small tie clip placed just above the height of the jacket’s button. The tie clip is hidden when the jacket is buttoned.

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Solo’s black shoes are an American style of shoe called longwing bluchers. Longwings have a pointed toe cap like a wing-tip, but they have wings extending the full length of the shoe. Bluchers are similar to derbys in that they have open lacing, but on bluchers the vamp and quarters are one piece, and they have tabs sewn to the front for the lacing eyelets.

When off duty, Solo removes his jacket and tie, unbuttons the shirt’s collar and dons a beige cardigan. The heavy ribbed cardigan is mid-hip-length and fits close to the body. From the collar down to the hem, the front of the cardigan has seven smoke mother-of-pearl buttons, and Solo leaves the top button open. The cuffs have four smaller buttons, like what would be found on a suit jacket. The cardigan has a turndown collar, side vents and a patch pocket on the bottom of either side of the front. The cardigan’s front edge, the collar and the top of the pockets have black piping. The unbuttoned shirt reveals a white crew-neck undershirt, which is something Americans are accustomed to wearing. When the shirt is buttoned with a tie, a crew-neck undershirt follows the base of the shirt’s collar so the outline of the undershirt’s neck does not show. With the shirt unbuttoned, however, a crew-neck undershirt is distracting.

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Though fans of certain American and 1960s fashions may appreciate this outfit, I suspect many fans of James Bond’s style will not. The fashionable and American style of Napoleon Solo differs considerably from the more traditional and English style that James Bond wears the same year in Goldfinger. After the first episode of The Man from U.N.C.L.E., Solo’s clothes became a little less fashionable, but also less interesting.

On a Bond-related note, this episode of The Man from U.N.C.L.E. features a brief uncredited—but unmistakeable—appearance of Richard Kiel (The Spy Who Loved Me‘s and Moonraker‘s Jaws) as a thug.

The Avengers: Creative Eveningwear in Red

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The first episode of The Avengers in colour, “From Venus with Love” in 1967, takes full advantage of colour by placing Patrick Macnee’s John Steed in a claret red dinner suit. I was inspired to write about this outfit after seeing Selma star David Oyelowo wear a very similar—and equally effective or ineffective, depending on your opinion—outfit at the Oscars last week. Though Steed breaks the rules of black tie, he does so in a creative way. If one is going to break the rules of black tie, breaking the rues should not turn a dinner suit into an ordinary lounge suit. More than one button on a single-breasted dinner jacket, flapped pockets and single vents (or even double vents by some standards) and very boring and pointless ways to mess with black tie tradition. If you are going to break black tie, at least be original! Steed demonstrates how to be creative with black tie, as he does with all of his tailored clothes. If you don’t like this dinner suit, which I’m sure many of you will not, there are photos of Mrs. Peel here to make this article more enjoyable.

Rather than the traditional black or midnight blue, Steed’s dinner suit is made in a colour often used for the garment that inspired the dinner jacket: the smoking jacket. Claret red is a rich colour appropriate for the evening, unlike the shades of grey that a number of men wore to the Oscars this year. Additionally, the dinner suit is made of silk, a luxurious and appropriate for evening clothes. It reflects a lot of light, making it look lighter than it is in a brightly-lit room.

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This dinner jacket follows Steed’s signature style: a button one jacket with slanted hip pockets, no breast pocket, double vents and a velvet collar. This style is partially inspired by riding jackets, but it works well for an adventurous dinner jacket. Steed’s signature style already has a single button on the front, as a dinner jacket should. The slanted pockets aren’t a big deal since they are jetted. Though the traditional dinner jacket has no vents, double vents are the more acceptable—and dressier—vent style over a single vent. The burgundy velvet collar may be the oddest part of this dinner jacket, but it’s not entirely inappropriate since it recalls the material the smoking jacket is made from. The dinner jacket has buttons covered in silk, and there is one button on each cuff.

The dinner jacket’s notched lapels are faced in burgundy watered silk to contrast them from the plain, slightly lighter-coloured silk of the dinner jacket’s body. Some may argue that notched lapels are inappropriate on dinner jackets, but they were historically worn for less formal black tie occasions, like private dinners. Since a red dinner jacket isn’t appropriate for any proper black tie occasion, notched lapels fit the dinner jacket’s uses. I would argue, however, that peaked lapels would have been a better choice, though they would take away from the dinner jacket’s intended sporting look.

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Tailor Bailey and Weatherill of Regent Street tailored this suit in a traditional English equestrian cut, with strong straight shoulders, a clean chest, a closely fitted waist and a flared skirt. The equestrian cut is similar to the military cut and has a very formal look that is appropriate for a dinner jacket. The dinner suit’s matching trousers are tailored with narrow, tapered legs and are without pleats. They do not have a stripe down the legs.

Steed not only makes bold choices with his dinner suit but also with its accessories. A pale lilac dress shirt—which may be made of silk—stays in the red family but still contrasts with the bold dinner suit. It has a wide spread collar, double cuffs and a plain front. The bow tie is red velvet, which matches the dinner jacket’s collar rather than lapels. Proper black tie means that the bow tie must be black, but since so many other rules are broken here it doesn’t really matter. Steed’s socks are dark burgundy and his chelsea boots are black. Chelsea boots work well for black tie because of their sleek plain-toe, side-gusset design, and they look neat with the narrow trouser legs.

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Ultimately, John Steed’s claret red dinner suit would be best worn for a “creative black tie” dress code, or by the host an intimate black tie dinner. It breaks the rules of black tie in creative ways, but it perhaps breaks the rules so much that it doesn’t even resemble a dinner suit much anymore. Nevertheless, it is suit inspired by black tie that certainly looks like it is meant to be worn in the evening, and for that it is a successful design. The outfit’s contrast of intense and muted colours has the same effect as the traditional black tie outfit’s black and white contrast. Steed may not be dressed conservatively like James Bond in an episode with a Bond-inspired title, but not all spies need to be inconspicuous.

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Unrelated to this dinner suit, “From Venus with Love” has an amusing scene where Steed takes an eye exam of hat styles on shelves rather than letters on a chart. “From the top, if you please”, says the ophthalmologist. “Trilby, homburg, bowler, cap. Jockey, porkpie, topper, boater, busby, fez,” replies Steed, as he passes the eye exam swiftly and perfectly!

Remington Steele: Opting Out of Black Tie

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Black tie events these days are mostly “black tie optional”. The best-dressed men would only wear a dinner jacket to such events, but a dark solid suit is a stylish choice for those who opt out of the dinner jacket. Pierce Brosnan as Remington Steele, in the first series episode of Remington Steele titled “Etched in Steele”, wears a charcoal three-piece suit to a black tie party. Considering the way Mr. Steele looks over the people at the event when he arrives, he probably didn’t expect the party to be black tie. Steele is rarely underdressed, and he is actually known to overdress. Nevertheless, Steele would be appropriately dressed in his dark charcoal suit for an event where black tie is optional. Anyone who comes dressed like Steele to a black tie optional event would be a very well-dressed—though still not the best-dressed—gentleman.

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The charcoal of Steele’s suit is so dark that it looks black in dim lighting and only shows its true colour when up against true black. A dark navy suit would serve the same purpose at a black tie optional event, and may even be preferable due to its richer colour. Though Steele wears a three-piece suit, a two-piece suit would have been just as appropriate for a black tie optional event.

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Steele’s button two suit jacket has narrow pagoda shoulders with roped sleeveheads and a clean chest with a suppressed waist. It has slanted flap pockets, three-button cuffs and double vents. The notched lapels have a steep gorge, a characteristic of 1980s suit jackets, but both the gorge and button stance are at classic heights. Overall, the suit jacket has a classic cut with timeless and balanced proportions. The waistcoat has five buttons, and Steele leaves the bottom button open to follow tradition. The trousers have a flat front and straight legs with plain hems. Steele unfortunately wears the trousers with a belt, which leaves a lump under the waistcoat. Due to the suit’s dark colour and quality of the DVD, the lump is hardly noticeable.

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Steele wears the only colour shirt that would be appropriate at a black tie optional event: solid white. It’s really the best colour shirt for any dressy evening occasion, though cream works slightly better for those with a warmer complexion. The shirt has a point collar worn with a gold collar pin, a front placket and double cuffs. Steele’s tie is red with small tan polka dots. Red is a great accent colour for the evening, and it’s the only bold colour that can be traditionally worn along with the black and white of black tie. Red is a classic colour for cummerbunds, and James Bond twice wears a red carnation with his dinner jackets. The only colour that would have been better for Steele’s tie is silver. Black can look rather funereal with a dark three-piece suit, but it’s not an inappropriate choice either for black tie optional. The small tan polka dots in Steele’s red tie coordinate with Steele’s gold collar pin and cuff links. The red silk pocket square coordinates with the tie but lacks the tie’s polka dots to avoid the dreaded matching tie and pocket square. It is folded in sort of a winged puff, but it looks more circular, rather like the red carnations that Bond wears.

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Steele’s usual choice of black slip-on shoes is very Bond-like, though it’s not the most appropriate choice for a three-piece suit, especially not in the evening. Though Steele wears his slip-ons well, black cap-toe or plain-toe oxfords would be the ideal choice.

Mainly Millicent: Roger Moore’s First Appearance as James Bond

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In an episode of the BBC sketch comedy show Mainly Millicent from July 1964, Roger Moore played James Bond nine years before he officially played the role in Live and Let Die. Mainly Millicent starred English actress Millicent Martin, and in this sketch she plays Russian spy Sonia Sekova on holiday. James Bond is also on holiday and is dressed down in a light grey tweed sports coat with a small, subtle check. The sketch can be found on the Live and Let Die DVD and Blu-ray disc as well as on YouTube.

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In this sketch Roger Moore’s James Bond outfit is almost identical to his Simon Templar outfits. Access to Moore’s wardrobe for The Saint wouldn’t have been difficult since both The Saint and Mainly Millicent were filmed at ATV’s Elstree studios (http://www.tvstudiohistory.co.uk/studio%20history.htm), which are in Hertfordshire just outside of London. Moore actually first wears this sports coat in The Saint’s second series episode “The Work of Art” in 1963. In a January 1964 episode titled “Luella”, Simon Templar convinces a woman that he is James Bond, and he is wearing this sports coat. That episode also features Moore’s Live and Let Die co-star David Hedison. This grey tweed jacket made it into the colour episodes five years later, and I previously wrote about how Moore dresses it down in the episode “The Death Game”. See it in colour!

The same grey tweed jacket in "The Death Game"

The same grey tweed jacket in “The Death Game”

Cyril Castle made this jacket in the usual button three single-breasted style he made for Moore throughout the 1960s. The cuts of the suit jackets and sports coats vary a little in the shoulders and chest, depending on how dressy they are. This is one of the least dressy sports coats and thus has natural shoulders without roping and has more drape in the chest. The waist is cut closely in the back, though from the front it looks a little shapeless. Interestingly, the quarters are cut more square and not as rounded as they ordinarily are on Cyril Castle’s jackets. This jacket is detailed with swelled edges, single-button cuffs, open square patch pockets with rounded corners, a welt breast pocket and short, six-inch double vents.

Like most of Moore’s jackets from The Saint, this jacket has very narrow lapels that aren’t all that flattering to Moore, especially due to the drape in the chest. The drape cut was developed in the 1930s when wide lapels were trendy and complemented the wide chest, so ultra-narrow lapels don’t go well with most of Moore’s jackets in The Saint. Despite the narrow lapels, Cyril Castle’s jackets are cut very well.

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In Mainly Milicent, Moore wears this jacket with dark trousers that are probably charcoal. They actually look black, but it is unlikely that they would be. They are cut with narrow, tapered legs. If they are like Moore’s other trousers from this era they have a darted front and frogmouth pockets. He wears his usual shirt from The Saint: ecru with a classic spread collar and double cuffs. The tie, however, is where Moore dresses more like James Bond than Simon Templar. Whilst Templar’s solid ties are satin silk and brightly-coloured, for his first appearance as James Bond he wears the classic Bond tie: a black knitted silk tie, tied in a four-in-hand knot. During a fight, Moore’s tie becomes dislodged from inside his jacket and hangs outside of it for the rest of the sketch, revealing the square bottom. Moore’s shoes are black and have very tall, two-inch “cuban” heels, which were made popular at the time by The Beatles. They’re the trendiest part of the outfit and certainly not something James Bond would wear, but they’re hardly seen.

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It’s not surprising that Moore wears his Saint wardrobe in this sketch, but the black knitted tie is the perfect touch. Someone on the staff for Mainly Millicent must have read Ian Fleming’s novels and knew that James Bond wears a black knitted tie. It was a simple way to dress Simon Templar more like Bond. Since this episode is from the summer of 1964, Goldfinger had not yet been released and that would be the first time the film Bond wears a knitted tie.

The grey tweed jacket in Luella in the scene where Bond whispers to a woman that he is James Bond

The same grey tweed jacket in the Saint episode “Luella” This is from the scene where Templar whispers to a woman that he is James Bond

The Saint: A Glen Urquhart Check Suit

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The Saint’s first episode “The Talented Husband”, which premiered a day before Dr. No on Thursday the 4th of October 1962, briefly introduces Roger Moore’s incarnation of Simon Templar quite similarly-dressed to Bond in a black shawl-collar dinner jacket. However, the first lounge suit Moore wears in this episode is a Glen Urquhart check suit, most likely in grey and cream but possibly in brown and cream. It has a light-coloured overcheck that is probably light blue, which would go well with either a grey or a brown check. The first lounge suit of the series established the generally pared-down look for Roger Moore’s tailored wardrobe in the show’s first four black-and-white series. All of Moore’s suits for The Saint were made by Cyril Castle of Conduit Street in London. Moore later wears this Glen Urquhart check suit in the first series episodes “The Loaded Tourist”, “The Element of Doubt”, “The Man Who Was Lucky” and “The Charitable Countess”, and in second series episodes as well.

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The suit jacket is cut with natural shoulders, roped sleeveheads, a full-cut—but clean—chest and a suppressed waist. A low button stance makes Roger Moore’s chest look more masculine and imposing, and narrow lapels add to this effect. The lapels are roughly the same width as Sean Connery’s lapels in his mid-1960s Bond films, but these lapels are the widest of all the suits’ lapels in The Saint. Most of Moore’s other suits’ lapels are a bit narrower and less flattering to Moore’s build.

The jacket is detailed with straight, flapped hip pockets, a flapped ticket pocket and three buttons on the cuffs. This jacket has one major difference from all of Moore’s other suit jackets in the black-and-white episodes of The Saint; whilst most of them have a single vent, this suit jacket has roughly 8-inch double vents. The buttons match the overall colour of the suit—either light grey or light brown—but the buttonholes contrast in a much darker colour. The suit’s trousers have a darted front and frogmouth pockets. The legs are full-cut through the thigh and tapered neatly to much narrower plain hems.

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With this suit Moore wears what is most likely a pale blue shirt, which would match the suit’s blue overcheck. If the shirt isn’t blue it would have to be ecru. It has a spread collar and rounded double cuffs. His narrow, medium-dark satin tie—which I guess is red—is tied in a small, asymmetrical four-in-hand knot. His shoes are light brown slip-ons, which are an appropriate match for this sporty suit. Moore wears a straight-folded white linen handkerchief in his suit jacket’s breast pocket.

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This episode features the Bond girl actress Shirley Eaton, who, two years later, would go on to play her most famous role: the gold-painted Jill Masterson in Goldfinger. She gives a solid performance with Moore for a great start to the seven years of The Saint.

The Man from U.N.C.L.E.: Dinner Suit and Backless Waistcoat

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Napoleon Solo, Ian Fleming’s creation for the American television series The Man from U.N.C.L.E played by Robert Vaughn, wears black tie just as well as James Bond does. Solo’s black tie style is not as pared-down as Bond’s is, and his clothes incorporate a little more 1960s fashions than Bond’s do. In the 1965 episode “The Virtue Affair”, Solo wears a midnight blue dinner suit with midnight blue satin silk trimmings and a double-breasted backless waistcoat.

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The dinner jacket is a button one with gently-rolled, narrow midnight-blue satin silk peaked lapels. The jetted pockets and single-button gauntlet cuffs are also trimmed in midnight blue satin silk. Silk-trimmed pocket jettings are not as traditional as body-trimmed jettings, which is the way James Bond’s dinner jackets typically are. Napoleon Solo’s dinner jacket has no vent. The shoulders are straight and narrow with a little padding, the chest is clean and the waist is gently shaped, though the jacket probably follows the American tradition and does not have front darts. The flat front trousers have a midnight blue satin stripe down the side of the leg and braces buttons on the outside of the waistband, which are not used.

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Solo’s backless waistcoat is made of midnight blue silk. The waistcoat’s shawl lapels are made in satin silk to match the jacket’s lapels but the waistcoat’s body is made in a fancier watered silk. Backless waistcoats are wear cooler than full-back waistcoats, so they’re often used as a warm-weather alternative to the cummerbund. Still, they can also be worn year-round. With the dinner jacket on—and it should always stay on when in the company of others—the backless waistcoat looks just the same as regular waistcoat. It looks rather unattractive when the jacket is off, as Solo demonstrates in his jail cell. It has an adjustable strap across the back of the waist like on a cummerbund, and it has an adjustable strap that curves around the back of the neck. This allows the off-the-peg waistcoat to fit a large variety of figures. Whilst Solo’s waistcoat appears to be ready-to-wear, bespoke tailors can make backless waistcoats as well. Solo’s waistcoat is double-breasted and has six buttons with three to button in a keystone arrangement. The waistcoat is in the low-cut evening style so the buttons have little vertical space between them.

With the dinner suit Solo wears an ivory dress shirt. It has a spread collar and double cuffs fastened with large round silver cuff links. The front has small pleats, which are also known as “swiss” pleats or “pin tucks”. The front placket has interesting scalloped edges and is fastened with three black studs. The back of the shirt has shoulder pleats. The bow tie is black and does not match the rest of the silk trimmings in the outfit, but it is not a significant faux pas considering it can be difficult to find proper midnight blue bow ties. Solo’s shoes are black patent leather plain-toe slip-ons.

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For more on Napoleon Solo, see the post I did on his black and white glen check suit.

The Persuaders: The Tweed Norfolk Suit

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In the 1971 episode of The Persuaders titled “A Home of One’s Own”, Roger Moore wears an old-fashioned Norfolk suit. The brown herringbone tweed sporting suit is made up of a Norfolk jacket and matching tweed trousers. The tweed in a light brown and dark brown herringbone is a classic cloth for the country, whilst also flattering Moore’s warm complexion. Though elements of the Norfolk jacket were popular in 1970s fashion, Moore’s is a very traditional model apart from the late 1960’s trouser cut. For background on the Norfolk jacket, I refer to some of the best menswear writers:

Alan Flusser writes in Dressing the Man that the Norfolk jacket is “considered the first sport jacket.”

Riccardo Villarosa and Giuliano Angeli describe the Norfolk jacket in The Elegant Man as “one of the first garments created especially for sporting activities”. They write about the origins of the jackets name: “It appears as if its name derives from the fact that it was cut for some of the guests at the Duke of Nofolk’s hunting party”.

Bernhard Roetzel writes about the Norfolk jacket in Gentleman: A Timeless Guide to Fashion: “It was especially made for shooting, and was therefore a real ‘designer jacket’ in the sense of being designed for a particular purpose, according to the principle that ‘form follows function'”.

Roger Moore’s character Lord Brett Sinclair appropriately wears his norfolk suit in the English country, and it is practical at keeping him warm. However, he does not wear the Norfolk jacket for it’s intended hunting purposes.

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Cyril Castle made Roger Moore’s Norfolk suit jacket in the same cut as the other suits in The Persuaders, with straight shoulders on the natural shoulder line, roped sleeveheads and full, but clean chest. This jacket follows the traditional button four front of the Norfolk jacket, as opposed to the standard three buttons on a regular tweed jacket, and all four buttons are meant to fasten. Though Norfolk jackets most often have a straight front, it’s an acceptable variation for the quarters to the slightly cutaway and curved like on Moore’s jacket. Moore usually has all the buttons fastened on his Norfolk jacket, but sometimes the top or the bottom button is left open in a continuity error. Whilst traditionally the Norfolk jacket has a deep single vent to the belt, Moore’s has deep double vents. It is detailed with swelled edges and two buttons on the cuffs, and the jacket’s buttons are made of dark brown horn.

Though bellows pockets are the most traditional style of hip pocket on a Norfolk jacket, Moore’s jacket has the less sporting but equally casual style of flapped, rounded patch pockets. Compared to standard patch pockets, these have a little extra fullness sewn into bottom of the pocket to make it more useful if Moore wanted to use them.

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The Norfolk jacket ultimately has two defining features: the belt and the sewn-down braces. The belt buttons through the jacket’s middle button and secures to the right of it with another button. Traditionally the belt is removable, but on Moore’s jacket the belt is sewn down to the back and sides. The braces-like straps are attached from the top of the front hip pockets, up over the shoulder and down to the belt at the waist in the rear. According to Villarosa and Angeli in The Elegant Man, the stitched braces are “designed to support the weight of cartridges in the pockets”. Since the braces go over the chest, the Norfolk jacket does not take a breast pocket.

The suit trousers with the Norfolk jacket match the style of the other trousers in The Persuaders and are made by Cyril Castle’s trouser maker at the time, Richard Paine. They 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 in the style popular in the late 1960s. Fashions had already moved to wider and flared legs by the time of this show.

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With the Norfolk suit, Moore wears a beige poplin shirt made by Frank Foster with a spread collar, a front placket and button-down one-button cocktail cuffs. He first wears the collar open with a yellow, gold and brown floral silk day cravat, which keeps the outfit looking casual whilst guarding his neck from the cold. Later in the afternoon for drinks and cards at a local Inn where he is staying, Moore switches the day cravat for a buttoned collar with a gold tie that has a faint self-stripe pattern. He ties it in a four-in-hand knot. His shoes are brown side-zip boots with a square toe.

Moore also wears this Norfolk suit in the episodes “Greensleeves” and “The Time and the Place”.

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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.