James Bond and the Gauntlet (Turnback) Cuff

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Gauntlet Cuffs on Sean Connery’s dinner jacket in Dr. No

Before we are introduced to James Bond’s face in Dr. No, we first see his dinner jacket’s satin silk gauntlet cuffs. The gauntlet cuff, also known as a turnback cuff, is a turned back cuff at the end of the sleeve that extends approximately to the first button. It’s a subtle Edwardian detail that saw a resurgence in popularity in the 1950s and 1960s. The cuff is mostly decorative, but it can add unique character to one’s dinner jacket, suit jacket, odd jacket or overcoat.

There’s almost no restriction on what type of jacket or coat can have a gauntlet cuff. Some say it’s a sporty detail and should only be worn on sports coats and sporty suits. These people may prefer them on heavier cloths like tweeds and flannels because a heavier cloth gives the cuff more relief from the sleeve. Others only favour them on dinner jackets because the dinner jacket descended from the cuff-adorned smoking jacket or they may think the gauntlet cuff is too flashy to be on anything else. A gauntlet cuff can be appropriate on almost any jacket or coat, whether it’s light or heavy, whether it’s formal or informal, or whether it’s single-breasted or double-breasted. Tailcoats and frock coats historically have taken gauntlet cuffs, but the cuffs on those were made in a different style from the cuffs that Bond wears.

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Gauntlet Cuffs on Daniel Craig’s’s dinner jacket in Quantum of Solace

James Bond creator Ian Fleming was a fan of gauntlet cuffs and often wore them on his jackets, from double-breasted suit jackets to country tweed jackets. He dressed a number of his characters in his James Bond stories in suit jackets with gauntlet cuffs, including Sir Hugo Drax in Moonraker, Wing Commander Rattray in “From a View to a Kill” and Dr. Fanshawe in “The Property of a Lady”, for whose dress he describes as “neo-Edwardian fashion”. Fleming uses the terms “turnback cuffs”, “turned-back cuffs” and “turned-up cuffs”, respectively.  Fleming also specified “two new suits with cuffs” for James Bond to wear disguised as Sir Hillary Bray in On Her Majesty’s Secret Service. Cuffs in this case still likely mean gauntlet cuffs, since a British person would probably not refer to trouser turn-ups as “cuffs” like an American would. Fleming never specified gauntlet cuffs on Bond’s own clothes, and the literary Bond would probably not have worn gauntlet cuffs considering the minimalist tendencies Fleming gave him.

In the films, James Bond has mostly worn gauntlet cuffs on his dinner jackets. Sean Connery’s midnight blue Anthony Sinclair dinner jacket in Dr. No and his similar dinner jacket in From Russia with Love have midnight blue satin silk gauntlet cuffs with four buttons. Roger Moore wears an off-white silk dinner jacket made by Cyril Castle with single-button self gauntlet cuffs in The Man with the Golden Gun. Daniel Craig brought back the gauntlet cuff on his Tom Ford midnight blue dinner jacket in Quantum of Solace, and this time the cuffs are are half gauntlet cuffs (more on this below) in black satin silk with five buttons. Though this dinner jacket was an homage to the original Dr. No dinner jacket, Tom Ford is a fan of gauntlet cuffs and has them on many of the dinner jackets in his line. Bond’s only piece with gauntlet cuffs that isn’t a dinner jacket is the Roger Moore’s double-breasted chesterfield in Live and Let Die, also made by Cyril Castle. The cuffs on the chesterfield fasten with one button. David Niven wears gauntlet cuffs as Sir James Bond in the 1967 Casino Royale film, for which his clothes were made by Ian Fleming’s tailor Benson, Perry & Whitley.

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Gauntlet Cuffs on Roger Moore’s dinner jacket in The Man with the Golden Gun

Cyril Castle made many jackets for Roger Moore with gauntlet cuffs before he was Bond, as Castle was Moore’s tailor for The Saint and The Persuaders television series. Most of Moore’s suit jackets and sports coats in the colour series of The Saint have gauntlet cuffs with a single button whilst the dinner jackets usually have gauntlet cuffs with three buttons. In The Persuaders, Roger Moore wears a striped double-breasted blazer with single-button gauntlet cuffs.

There are a number of different styles of gauntlet cuffs, including some that the buttons go through. Gauntlet cuffs are typically a separate piece laid on to the end of an ordinary sleeve, which is obvious in the case of silk cuffs on a dinner jacket. When in the same cloth as the rest of the jacket, they are still typically made from a separate piece and not just folded back. It’s not impossible to have a cuff that is folded back, but if there’s a pattern it will not match. There are other types of cuffs on a jacket or coat, but James Bond only wears the kind that are laid on separately. Gauntlet cuffs work best on narrow sleeves, whereas on wide sleeves they may look or feel too heavy.

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Gauntlet Cuffs on Roger Moore’s double-breasted chesterfield coat in Live and Let Die

All of Bond’s gauntlet cuffs have an elegant curved shape—they all curve out of the way of the first cuff button—but there are slight differences in the way the cuffs are styled. Connery’s cuffs starts at the corners of the cuff’s opening and look the most integrated with the sleeve of all of Bond’s cuff designs. Moore’s cuffs start in from the corner to line up with the center of the button, so the corner of the sleeve opening can be tucked under the opposite end of the gauntlet cuff (Moore leaves the corner of the sleeve untucked). These cuffs, however, look less integrated with the sleeve than Connery’s do. Craig’s cuffs are only half gauntlet cuffs, in which the cuffs wrap around only the outside of the arm. They end at and are sewn into the seam at the front of the arm. The inside of the arm isn’t seen much, but this kind of cuff seems like a shortcut when compared to a full gauntlet cuff.

Comparing the cuffs: Anthony Sinclair, left; Cyril Castle, middle; Tom Ford, right

Comparing the cuffs: Anthony Sinclair, left; Cyril Castle, middle; Tom Ford, right

Though gauntlet cuffs are mostly decorative, they have one practical purpose: they protect the end of the sleeve. When worn out, the gauntlet cuff can be removed to reveal an unworn sleeve edge under the cuff. When made in contrasting silk on a dinner jacket, the cuff can be replaced. Half gauntlet cuffs, however, do not protect the full edge of the sleeve and are even more decorative than the full gauntlet cuff. All this said, the protective advantage to gauntlet cuffs is only beneficial on overcoats. The ends of the sleeves on dinner jackets, suit jackets and sports coats should not wear out because one’s shirt sleeves should be a little longer than one’s jacket sleeves to protect the jacket sleeves.

How James Bond Looks Masculine and Sophisticated in His Suits

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Nobody else combines masculinity and sophistication in the way that James Bond does. The masculinity comes from looking as much like the ideal man from the western perspective. This ideal man’s body is lean, strong and overall athletic. it is tall with broad shoulders, a muscular chest and small waist. The ideal man’s torso has a V-shape, which is masculine because it’s not a common shape for women to have. The sophistication comes from a well-tailored suit. A well-tailored suit can give man a more masculine shape, can show off a masculine figure or can downplay a masculine figure. All three of these aspects of tailoring can be desirable, depending on the body type one has. This article focuses on the suits that Bond wears that best deal with a masculine but elegant silhouette.

Sean Connery’s Anthony Sinclair suits emphasise his masculine physique whilst downplaying some aspects of it. Connery doesn’t need much help in the shoulders, and his jackets have soft shoulders that follow his shoulder line but have a little structure to smooth out the shoulders to give them more elegant lines. The chest has a full, swelled shape to build on the strength in the chest. There are two buttons on the front of the jacket in a low stance to create a deep “V” on the front of the jacket to highlight Connery’s masculine shape.

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Because Sean Connery had a very athletic physique, Anthony Sinclair decided to soften it by not making the waist as suppressed as he normally would. A tightly suppressed wasp waist in the normal Savile Row fashion with Sean Connery’s fabled 13-inch drop would look neither elegant nor manly. The waist on Connery’s jackets is still very shaped, but it’s not tight. Too much waist suppression can make one look feminine, and stressing an overly athletic physique detracts from the elegance of a suit by making someone look too much like a body builder.

I find that Sean Connery’s narrow lapels in the 1960s also help drawn attention to his large chest. Narrow lapels make the chest look wider by showing more expanse of chest. Connery’s considerably wider lapels in Diamonds Are Forever cover two-thirds of his chest, giving him a visually narrower chest.

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For the slighter Bonds Timothy Dalton and Pierce Brosnan, large shoulders on their jackets give them a stronger look. If they wore suits with natural shoulders they wouldn’t have the necessary imposing look that an action hero needs. The shoulders on many of Dalton’s suit jackets, however, were too strong and draw too much attention to themselves. Brosnan’s Brioni suits, however, gave him a more natural look that was still built-up. Additionally, the two buttons in a low stance on Dalton’s suits, like on Connery’s, give him a more athletic look by drawing attention to the chest.

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Daniel Craig takes a different approach to looking masculine and strong in his suits. Whilst Connery’s suits work with his body, Daniel Craig’s suits in Skyfall fight against his body. They have the goal to make him look like he worked out so much that his muscles are bursting out of his suit. He wears suits meant for someone with a 38-inch chest and more likely has a chest around 40 inches. Narrow shoulders on the jackets allow Craig’s deltoids to push the sleeves out a little. A too-small chest splays open to give the impression Craig’s chest muscles are bigger. Ripples at the waist further the impression that Craig is turning into the Hulk. Unlike Connery’s method of looking stronger, Craig’s method is devoid of elegance and sophistication. Clean lines, not ripples, are a mark of refinement.

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Craig’s method also does not achieve its goal to make him look more muscular. Suits—particularly Tom Ford’s—are very structured and can’t stretch like a t-shirt or jumper to show off the form of his muscles. Knitted, not woven, garments are best used to show off one’s body. A suit that is too small ripples and pulls the same way whether one is too muscular or too fat for it. And putting Craig in a suit that is too small for him has the effect of making him look smaller, not bigger. This method would work better with someone who is genuinely more imposing with a chest much larger than Craig’s 40 inches. Narrow shoulders downplay his breadth and the V-shape of his torso. The short jacket length makes his torso look smaller overall. The positive effect of a short jacket length, however, is that it makes Craig look taller in wide shots by extending the perceived length of his legs. That’s the one way his suits in Skyfall make him look more masculine. However, the lower rise on his trousers partially negates the height benefits of the shorter jackets by shortening his lower half. The suits in Spectre mostly have the same problems but to a lesser extent than in Skyfall. The shoulders in Spectre are wider in comparison to Craig’s body and allow the sleeves to hang more elegantly.

Like on Connery’s 1960s suits, most of Daniel Craig’s suits in Skyfall and Spectre have narrow notched lapels that make Craig’s chest look larger. But one of Craig’s suits in Spectre has wide peaked lapels: the black herringbone Tom Ford “Windsor” suit. These wide peaked lapels have a different effect from wide notched lapels. Peaked lapels point up and out, extending the width of the chest and shoulders. The belly of the lapels added perceived depth to the chest. Wide notched lapels with a higher and more horizontal gorge, as well as some belly, can counter the narrowing effect of wide lapels.

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Though the right tailoring can make a man look more masculine or more sophisticated, clothes can not add the attitude, charisma and personality needed to truly be like James Bond.

A Suede Jacket and Mock Polo Neck for Spectre’s Climax

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During Spectre’s climax in London, James Bond wears a “marine” navy “Racer Jacket” from John Varvatos. The jacket is made of goat suede and has a two-way zip-front that can open from both the top and the bottom. The sleeves have a zip gauntlet to allow the hand to fit through the narrow sleeves. The front and back are each made of two pieces, and the front has darts at the sides for a trimmer fit. There are side-access pockets at the base of each front dart. The jacket is fully lined.

Under the jacket Bond wears a dark charcoal grey fine gauge mock turtleneck from British company N.Peal made of a blend of 70% cashmere and 30% silk. The collar, cuffs and hem are knitted in a fine rib. This jumper has a close fit that shows off Daniel Craig’s body much better than a suit does.

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On the teaser poster for Spectre we see the jumper without the jacket, where Bond’s shoulder holster is revealed. This look immediately recalls the 1973 film Live and Let Die, in which Roger Moore wears a black full polo neck with black trousers and shoulder holster. In turn, Roger Moore’s look was inspired by Steve McQueen in Bullitt, and Daniel Craig’s wardrobes also often take much inspiration directly from McQueen. Craig’s updated dark grey version better flatters his fair complexion than Roger Moore’s black polo neck does, though McQueen’s blue polo neck would be a great look on Daniel Craig.

The trousers are from Neil Barrett and have a flat front with frogmouth pockets. The trousers are black with a grey tic pattern of large tics made up of tiny tics in a blend of viscose, nylon, polyester and elastane. The legs are narrow and tapered, but the elastane content makes the narrow legs wearable. Bond wears the trousers with a belt, though because the scenes are so dark it is difficult to tell if the belt is black or brown. Because Bond wears brown boots with the outfit, a brown belt would be the ideal choice, and dark brown wouldn’t break up the outfit too much.

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Speaking of boots, Bond’s are the Sanders & Sanders “Hi-Top” chukka boots, also known as the “Playboy” chukka boots. The boots are snuff suede with a two-eyelet closure, a full leather lining and crepe soles. Crepe soles are associated more with the desert boot, the chukka boot’s brother. Crepe soles are made of coagulated rubber and are very soft and comfortable and fantastic for the desert, but they’re not a good choice for the city. On pavement they absorb all of the filth, and in the rain they become very slippery. The sides of the soles do not look pretty as they wear. And as the soles age they harden, crack and lose their spongy comfort. The “Playboy” chukka boots are something directly inspired by Steve McQueen, which he wears with his polo neck in Bullitt.

Read more about James Bond’s relationship with the turtleneck/polo neck over the years.

James Bond’s Odd Jackets and Sports Coats

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Daniel Craig in an unstructured jacket from Brunello Cucinelli in Spectre

The odd jacket finally retuned to the James Bond series in Spectre after a twenty year absence. Bond has worn many odd jackets, sports coats and blazers throughout the series, but why does Bond wear odd jackets sometimes rather than suits?

What is an odd jacket? It’s a tailored jacket that is not part of a suit, simply meaning that it does not have matching trousers. A sports coat or sports jacket is an odd jacket that is worn for participation in sports—such hunting or riding—or worn for watching sports. Most sports coats aren’t made for these sports today, but they descend from this pedigree. The blazer is a specific type of sports coat, though this article will focus on non-blazer odd jackets.

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Sean Connery in a barleycorn tweed hacking jacket in Goldfinger

Why do some jackets work on their own whilst others must always be part of a suit? It all comes down to the cloth. Formal and business-like cloths do not make effective odd jackets because odd jackets are simply not all that formal or business-like. This leaves out most worsted and smooth cloths. If it is worsted, it needs to have a large pattern or a heavy texture. Practically any tweed, cashmere, linen, cotton or silk can make a great odd jacket, so long as it doesn’t have pinstripes or chalk stripes. Pinstripes and chalk stripes are businesslike and thus do not work well for odd jackets, which are inherently unbusinesslike.

There is no difference between the cut of a suit jacket and the cut of an odd jacket. Some people prefer a softer construction for their odd jackets and more structure for their suit jackets, but it is not a rule by any means. The way one’s jacket fits and is cut is largely personal preference, but that’s the same whether the jacket is part of a suit or stands on its own. Any odd jacket can be a part of a suit if it has matching trousers. Such a suit would end up being an informal or sporty suit rather than a business suit.

A sports suit, where a sports coat has matching trousers

A sports suit in Moonraker, where a sports coat has matching trousers

For example, Roger Moore’s brown tweed suit in Moonraker that he wears for hunting with Drax is a sports suit. The jacket could easily stand on its own as a sports coat. The donegal tweed cloth is what allows this. The hacking pockets and flapped breast pocket add to the sportiness of the jacket. But even if it were detailed with straight pockets and an ordinary welt breast pocket, it could still work just as well on its own.

Sports coats are often tweed, which is historically worn for country sports. James Bond has worn numerous tweeds, often subtly patterned or plain. Sean Connery’s brown barleycorn jacket in Goldfinger and Thunderball and Roger Moore’s brown broken twill jacket in A View to a Kill are similar subtly patterned tweeds. Sean Connery wears two tweed jackets in Diamonds Are Forever with sporty Nofolk-jacket-inspired details. In A View to a Kill, Moore also wears a plain grey twill tweed jacket. George Lazenby wears a houndstooth tweed hacking jacket in On Her Majesty’s Secret Service for equestrian sports. Though many of these jackets have sporty hacking pockets, casual patch pockets or horn buttons, it is purely the cloth that makes these proper sports coats. Bond’s last tweed jacket was Timothy Dalton’s gun club check jacket in The Living Daylights.

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George Lazenby in a houndstooth check hacking jacket in On Her Majesty’s Secret Service

Bond has worn a number of warm-weather odd jackets in addition to the traditional tweeds. In Live and Let Die he wears a tan basketweave jacket whilst in New Orleans. The texture of this jacket, both in the hopsack weave and the possibly linen or silk content, makes it a great odd jacket. In The Man with the Golden Gun, Moore wears a sports coat with a large check that is inspired by traditional tweed checks. This is instead made in a light, open, plain-weave cloth appropriate for the hot South Asian weather. In The Spy Who Loved Me, Moore wears a cotton sports coat with safari-jacket details in Egypt. In Spectre, Daniel Craig wears an unstructured brown wool, linen and silk blend jacket in Morocco.

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Roger Moore in a tan cotton safari-inspired sports coat in The Spy Who Loved Me

Though the right cloth is the key to a proper odd jacket, the details can make an odd jacket special. A true sports coat should have sporty details, such as slanted hacking pockets, patch pockets, bellows pockets, deep vents, a half belt, a throat latch or swelled edges.

Buttons should complement the cloth of the jacket. Tweed jackets should have rustic horn, bone, wood or leather buttons. Lightweight odd jackets should have mother-of-pearl or corozo buttons. Smooth, plain buttons, however, are rarely a good choice on any sports coat. However, changing the buttons on a dressy suit jacket will not make it into a sports coat. Changing the buttons only works on a solid navy jacket, when it can be turned into a blazer.

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Roger Moore in a grey tweed jacket in A View to a Kill

James Bond wears sports coats when he is not in a formal setting or a business setting but still needs to dress like a sophisticated gentleman. He wears them for social occasions during the day and never at night. Today, sports coats can be worn in less formal business settings and for most social occasions at any time of day, though darker sports coats are better to wear at night. Odd jackets have recently seen a surge in popularity because they allow people to dress up in today’s casual society without worrying people that they will be too dressed up.

Odd jackets can more easily be dressed up or down than a suit can. Most odd jackets need a less formal shirt and tie than a suit needs. Bond usually dresses up his sports coats and often wears the same shirts with his odd jackets that he wears with his suits. These shirts are usually poplin, but Bond sometimes wears less formal shirts like oxford with a tweed jacket or chambray with a cotton jacket. Bond’s shirts have spread or point collars, though many Americans prefer a button-down collar with their sports coats. Bond’s shirts almost always have button cuffs, cocktail cuffs or tab cuffs, though Bond shows in Goldfinger that double cuffs can be appropriate with a more structured odd jacket.

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Timothy Dalton in a gun club check jacket in The Living Daylights

Bond’s ties with his sports coats are often the same as the ties he wears with his suits, but some tend to the less formal side. Bond wears many knitted ties—silk or wool—with his sports coats, which is where knitted ties work best.

Bond sometimes dresses down his odd jackets. In On Her Majesty’s Secret Service Bond wears a shirt with a stock collar and a cravat for an old-fashioned look with his tweed jacket. In Diamonds Are Forever he wears polo and polo neck jumpers with his tweeds. In Octopussy he wears a yellow dickey under his tweed jacket. Bond never dresses down his sports coats by wearing a shirt without a tie, though it is more acceptable to wear an open-neck shirt with a sports coat than it is with a business suit.

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Sean Connery dresses down his tweed jacket in Diamonds Are Forever with a polo jumper

The trousers should always match the weight of the jacket. With tweed jackets, Bond wears flannel and cavalry twill wool trousers. With lightweight jackets, he wears trousers in tropical wool, gabardine wool or cotton. Cotton trousers can work with odd jackets if the jacket is less structured. This would be corduroy and moleskin for heavier jackets and gabardine and chino for lightweight jackets. The more contrast between the jacket and trousers the less formal the outfit is. However, there needs to be at least enough contrast to easily tell that jacket and trousers are not mismatched suit. Jackets with bolder patterns do not need as much contrast with the trousers.

Shoe choices with odd jackets is more varied than it is with suits. Whilst oxfords are the best choice with suits, derby shoes, slip-ons and boots can all be excellent choices with odd jackets. Bond often takes out his suede shoes and boots to wear with his odd jackets.

Meeting Mr White in a Navy Jacket in Spectre

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When meeting Mr. White in Altaussee, Austria in Spectre, James Bond wears a navy wool and cashmere jacket from Dior Homme. The front of the jacket has five buttons covered with a fly. There is zip to close the fly, which is offset like the zip on a biker jacket. Whilst the biker jacket’s zip is angled, this jacket has a vertical zip that follows the fly. The zipped fly keeps the jacket warmer, though the buttons don’t serve a purpose with the zip. Jackets more open have a buttoned fly that conceals the zip instead. The sleeves to taper to the cuff and follow the shape of the arm, but to allow the hand though the cuffs have a long zip.

The jacket has a turn-down collar which can be flipped up and closed with a throat latch. The collar originally had black fur trim. There are set-in pockets on the front with straight flaps that fasten down on the corners with poppers. The inside the jacket has a black, quilted lining. There are horizontal darts over the shoulder blades to give fullness and neatness in the upper back. Though the jacket doesn’t match any traditional jacket styles, it has a practical design with a timeless look. Though Dior’s clothes mostly focus on the latest fashion trends, this jacket doesn’t suffer from being overly trendy.

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Under the jacket, Bond wears a polo neck—the proper rolled style—from N.Peal. It is in a colour they call “Fumo Grey”, which is a light and warm shade of grey that is very flattering to Craig’s complexion. It is designed for warmth and is cable-knitted in a heavy Mongolian cashmere.

The trousers are from Neil Barrett and have a flat front with frogmouth pockets. The trousers are black with a grey pattern of large tics made up of tiny tics in a blend of viscose, nylon, polyester and elastane. The legs are narrow and tapered, but the elastane content makes the narrow legs wearable. The trousers are worn with a belt.

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Bond wears black Danner Mountain Light II 5″ boots. The boots lace with five pairs of lugs to the toe and two pairs of speed hooks at the top for a secure fit. The boots are made of one piece with leather plus a counter up the back. They have Vibram soles with yellow cleats. Bond’s black leather gloves are the “James” model from Agnelle. The back is quilted and there are gathers on the underside of the wrist. The gloves are lined with 100% alpaca. Matching the jacket, the navy knitted cap—also called a beanie or tuque—is in a ribbed knit wool and is folded up at the bottom.

Shawl-Collared Cardigan with Checked Trousers in Casino Royale

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When chatting with Mathis on the balcony of his hotel suite in Casino Royale, James Bond wears a shawl-collared cardigan over a t-shirt and checked trousers. The outfit is stylish and urbane, yet it’s also young and very relaxed. This cardigan is the second in the film. Bond wears the first cardigan under his pea coat in the film’s opening scene. This second cardigan is black wool with six buttons down the front. The top button is placed in the middle of the shawl collar and is smaller than the other buttons. The bottom two buttons are spaced close together. The cardigan’s ribbed shawl collar continues down the front into a placket. There are two patch pockets on the front. The cuffs, pocket openings and hem are ribbed and elastic. Bond also wears this cardigan in Venice at the end of the film.

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Under the cardigan, Craig wears a charcoal grey crew-neck fitted T-shirt from Sunspel. The dark t-shirt has a more refined look than a lighter grey or white t-shirt would have, but it keeps the outfit looking casual, relaxed and young. His trousers are the same checked trousers that he wears under his topcoat when breaking into M’s flat earlier in the film. They are in a small black and white glen check with an overlaid light blue check and have a flat front and turn-ups. Bond also wears black socks and black calf John Lobb Romsey two-eyelet chukka boots.

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Though Bond changes his clothes many time in Casino Royale, he mixes and matches many of the same pieces as a real person would do. This adds a realism to the film’s wardrobe that most other Bond films do not share. The shawl-collared cardigan and checked trousers are only two of the many pieces that make multiple appearances in the film. The t-shirt he wears in this scene may also be the same t-shirt he wears under his pea coat in the film’s opening scene.

Black Bridge Coat, Sunglasses and Gloves in Spectre

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Over his black herringbone peaked lapel three-piece suit, James Bond wears a black double-breasted bridge coat that helps him fit in with the gangsters at Sciarra’s funeral in Spectre. The coat from Tom Ford is made of lighter topcoat-weight brushed wool. It is in a button four, show four configuration and has an ulster collar with a buttonhole on each rever, slash pockets for hand-warming, a button-on half belt in the back, a rear vent and three cuff buttons. The coat is cut with straight shoulders and has set-in sleeves.

The bridge coat has military origins and is like a cross between a pea coat and a greatcoat. It is like a pea coat in most of its design but has the full below-the-knee-length of the greatcoat. Bridge coats, like pea coats, have a straight cut, but the bridge coat’s belt in the rear gives it some waist suppression. The belt on Bond’s coat takes in the waist significantly, but the cut of coat does not not have much waist suppression. Though bridge coats for the military have gilt buttons, Bond’s bridge coat is adapted for civilian use with black horn buttons. For a less gangster-esque look than a black bridge coat, navy is a great colour for a bridge coat.

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Though the bridge coat and great coat are very similar, there are a few notable differences. Bridge coats have the buttons on the front in a rectangular formation, and those buttons are separate from the buttons under the collar. Greatcoats have the buttons in a keystone formation, and the buttons are spaced evenly up to the collar. Bridge coats, like pea coats, typically have slash pockets whilst greatcoats have straight or hacking flap pockets. Both often have a belt in the back. Daniel Craig’s double-breasted black overcoat in Quantum of Solace, by contrast to the coat in Spectre, is a greatcoat.

Daniel Craig’s Bond usually only fastens one button on his outer coats, and on this coat he only fastens the second button from the top. It is an odd way to fasten a coat for warmth, and it’s an odd fashion for someone who was once in the military.

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With the bridge coat at the funeral, Bond wears the Tom Ford “Snowdon” sunglasses in the colour “Havana”, which is a mottled dark brown. The lenses look brown, but they are actually greyn. These sunglasses will be auctioned at the Spectre auction at Christie’s in London on the 18th of February and are expected to fetch £4,000 to £6,000.

Bond also wears black leather driving gloves with his bridge coat and black suit. The gloves are the appropriately named “Fleming” model from Dents. The glove has perforations on the outsides and insides of the fingers, gathers on the underside of the glove’s opening and a band that fastens with a popper on the topside of the glove’s opening. Bond later wears these gloves when he visits Lucia, but he does not wear them for their intended purpose—driving—during the car chase with Hinx.

Tan Suede Jacket from Matchless in Spectre

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When in Morocco in Spectre, Bond needs a cool jacket to conceal his firearm. For this purpose he wears a tan lightweight suede jacket from Matchless London. Matchless calls this jacket the “Craig Blouson”, but this is technically not a blouson since the waist is not drawn in. The jacket is longer than waist-length and sits over the top of the hips to cover the waistband of the low-rise trousers. The jacket has a zip front, side pockets and an ecru viscose rayon lining. The collar is two pieces and has a hook to close with. Bond wears the collar up in back to protect his neck from the sun but folded down a little in front to keep it away from his face. An unlined jacket would likely be a better choice for the hot weather in Morocco.

Under the suede jacket when Bond arrives in Morocco, Spectre brings a new take on a Bond staple: the navy polo. Bond’s polo from Tom Ford is made of a 57% cotton and 43% viscose rayon blend pique knit. Rayon makes the polo lighter than if it were just cotton, but cotton is stronger and more breathable. Instead of the usual buttoned placket, the shirt has an open V-neck. The collar and sleeve hems are a fine rib knit, and the shirt’s hem has a thick ribbed band like on a jumper. The polo has a close fit everywhere, and the mid-bicep-length sleeves perfectly curve around Bond’s shoulders and excellently show off his arms.

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Later in the film on the train across Morocco, Bond switches the polo for a blue and white end-on-end linen shirt. This shirt is mostly hidden under the jacket, but it has a short point collar that curls up. Medium blue buttons fasten down a plain placket, and there is no pocket on the front. There are darts down the front at the sides of the front panels for a very tapered waist. Front darts are usually only on women’s shirts, which help the shirts fit closely around their anatomy. Men do not need front darts in their shirts, and tapering at the sides with darts for the small of the back are enough to fit a shirt closely to a man’s physique. This shirt matches the “Morton” model from Orlebar Brown, who made the blue swimming trunks for Skyfall. The “Morton” has long sleeves with short, pointed cuffs that have two buttons around the circumference to fasten the cuff at different sizes.

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The khaki cotton gabardine chinos from Brunello Cucinelli are the same trousers that Bond wears later with his light brown Brunello Cucinelli jacket. They have a flat front, a low rise and narrow straight legs. Bond wears the bottoms rolled up for a casual look. The chinos are pressed with a crease down each leg, but the crease is faded and hardly noticeable. Bond wears the chinos with a brown woven leather belt from Brunello Cucinelli. The belt has a solid brown leather tab at the end with holes for the buckle to feed through. It is not the type of belt where the whole piece is braided and the buckle feeds through the braid.

The sunglasses are the Tom Ford Henry model. Bond’s boots are the Kenton Suede Boots from J. Crew in a tan colour appropriately called “Sahara”. They have five pairs of eyelets and three pairs of speed hooks, a plain toe and red mini-lug soles. The boots were likely chosen because they closely match the jacket, but the match looks too forced. Oiled leather desert boots could have been a better choice.

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The outfit of a tan jacket, navy polo and khaki chinos pays homage to a similar outfit that James Bond wears on a previous trip to Tangier in The Living Daylights. Though Timothy Dalton’s outfit in The Living Daylights had the right idea—and the execution is fine for the 1980s—it’s not as unique as Craig’s similar outfit in Spectre is. The clothes in Spectre are much higher quality and more interesting. The return of the suede jacket in Spectre also recalls the numerous suede jackets Roger Moore wears in his 1980s James Bond films.