James Bond’s Many Brown Suits

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Roger Moore is often criticised for succumbing to 1970s fashion and causing him to wear uncharacteristic brown suits in his James Bond films. However, Bond has worn brown suits spanning five decades, from Goldfinger in 1964 to Quantum of Solace in 2008. Brown suits have a very long history that is independent of 1970s fashion. Brown suits are traditionally worn in the country made of rustic cloths like tweed and flannel. Brown worsted suits also have a long history, though they were never a conservative choice in London.

Goldfinger-Houndstooth-Suit

The first brown suit in the series is Sean Connery’s brown and black houndstooth check country suit (pictured above) that he wears to the office in Goldfinger. No fashion trends influenced the colour of this suit, though it’s not the most appropriate choice for conducting business in the city. This is the perfect suit for country pursuits—and it was cut for that purpose for Connery to first use in the film Woman of Straw—and the dark colour and subtle pattern fit the James Bond character. Later in Goldfinger for the scene at Fort Knox, Bond wears a worsted brown striped suit (pictured top). This suit likely has black mixed with the brown, since the suit’s colour is very dark and muted. It’s certainly not a country suit, though it’s not a conservative choice to wear in town either. It works best for business and dressy occasions outside of the city, and it’s certainly appropriate to wear when foiling a villain’s plans at Fort Knox. A brown worsted suit is a great choice for when a proper city suit is too dressy but a traditional country suit is too relaxed. This kind of dark, muted brown also suits Connery’s complexion better than light, rich browns. Connery dresses it up with a white shirt, black tie and black shoes. Conservative accessories can make a brown worsted suit passable for business in the city, depending on the setting.

Connery Anthony Sinclair Brown Suit

In Thunderball Sean Connery again wears a muted brown suit, but this time it’s a three-piece brown suit at the office (pictured above). Like the striped suit, this suit is brown mixed with black, and Connery dresses it up conservatively with a simple cream shirt, a solid brown grenadine tie and black shoes. Being a three-piece makes the suit dressier, and that tries to make up for the less conservative colour. Keep in mind that James Bond was never one to follow all the rules.

TickSuit

In On Her Majesty’s Secret Service George Lazenby wears a bolder brown suit for the swiss mountains; it is brown tweed with a cream tick pattern and a rust windowpane (pictured above). This might seem a bit too bold for Bond, but it actually belongs to the man Bond is impersonating: Sir Hilary Bray. Bray himself wears this suit to work at the College of Arms in London. Like Connery’s brown suits, it’s a muted brown but much lighter. It’s a very traditional country suit with hardly any influence from the era’s fashions.

Roger Moore is the Bond known for wearing brown suits, but since he’s not the first—or the last—Bond to have worn brown, most criticisms toward him for wearing brown aren’t quite fair. There’s never anything inappropriate about the colour of his brown suits, especially since he never wears them in London and only where they fit the—usually warm—location. The first brown suit he wears in Live and Let Die is only a basted brown worsted suit for a fitting with his tailor. Though the brown is dark like Connery’s brown suits, it’s not as muted. This is the first of Bond’s brown suits that is a result the fashions of its time. However, the colour is very flattering to Roger Moore’s warm complexion. Moore has a much different complexion than the two Bonds the came before him, and to dress him the same would not have been the best look for him.

The brown worsted suit returns in The Man with the Golden Gun, though this time it takes the form of olive. It’s still a classic suit colour, though it should be worn in the same settings that brown is worn in. Like brown, olive is very flattering to Moore’s warm complexion, and it suits the Hong Kong setting very well.

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The most notorious of Moore’s brown suits in the silk suit in The Spy Who Loved Me because it’s a light brown (pictured above). Though it’s the furthest from being a conservative business suit, it’s the perfect colour to wear in the Mediterranean. Sure, marine blue and light grey would also have been excellent choices, but there’s nothing wrong with light brown for an informal suit. It’s not just 1970s fashions that dictated Moore’s preference for this colour; it’s actually one of the best colours to flatter Moore’s warm complexion. Roger Moore wears a three-piece suit in a very similar brown—also in the Mediterranean—over ten years earlier in The Saint. And Moore wears this kind of light brown suit as Bond—again in the Mediterranean—in For Your Eyes Only. 1970s fashion was gone by this time, but light brown still looked fantastic on Moore.

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One of Moore’s brown suits is of the very traditional, country-type of brown suit: the brown donegal tweed suit in Moonraker (pictured above). Though the style of the suit is influenced by 70s fashions, the colour and cloth are certainly not. Though the wide lapels and flared trouser legs are poor fashion choices, brown tweed could not more perfectly fit the setting of a hunt in the country.

Though many of Pierce Brosnan’s suits have some brown in them, the only suit of his that is noticeably brown is his Prince of Wales check suit in GoldenEye. It recalls Sean Connery’s houndstooth check suit in Goldfinger, and like that suit, this one is not a good choice for the office in London either. Most recently, Daniel Craig wears a muted brown hopsack suit in Quantum of Solace (pictured below). Like Connery’s brown suits, this one is a very muted brown. Craig looks no less like James Bond in this suit than he does in his blue and grey suits. In fact, the warmer tones of this suit compared to his dark blues and greys is very flattering to Craig’s warm complexion. Though Bond is best known for his blue and grey suits, the brown suit is so not against the established Bond look as many believe.

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I’ve left out the beige and tan suits from this article since those are in a different category: warm-weather suits.

The Man from Hong Kong: A 1970s Blazer

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I have previously written about all of the James Bond actors in roles other than James Bond except George Lazenby. Lazenby hasn’t had many other starring roles, but it wouldn’t be fair to not have representation of Lazenby outside the Bond series on this blog. Whilst Lazenby is very well-dressed as Bond, he unfortunately doesn’t dress so well in other roles. By leaving James Bond, George Lazenby made not only a bad career choice but also a bad fashion choice. His poor wardrobe is quite evident in the 1975 Australian/Hong Kong co-production The Man from Hong Kong. The film, released in the United State as The Dragon Flies, stars Jimmy Wang-Yu as Inspector Fan Sing-Ling with George Lazenby as gangster Jack Wilton.

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Lazenby wears a dark navy double-breasted blazer in The Man from Hong Kong. It is fashionable along the lines of Roger Moore’s double-breasted blazer in Moonraker, but this blazer has different problems, both due to 1970s fashion and due to fit. The blazer has six buttons in the traditional arrangement with two to button. It is detailed with patch pockets, single-button cuffs, swelled edges and silver-toned buttons. One of the best parts of this blazer is its elegant English-inspired silhouette. It has straight shoulders that are just the right width, a clean chest and a tightly—but neatly—suppressed waist. However, it has the serious fit problem of the jacket’s collar standing away from the neck.

More obvious than the fit problem are the fashion problems. Peaked lapels can be wider than notched lapels, but Lazenby’s fashionably wide lapels almost reach all the way across his chest to his sleeves. And a bigger problem with the blazer than the lapels is its very long single vent. Single vents are designed to split across the back of a horse whilst a straight double-breasted front is not, so the styles are incongruous. A single vent also doesn’t balance with the double-breasted front.

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Lazenby wears this blazer as a part of two outfits. The first outfit is a sporty one with an open-neck shirt and white trousers. The dark blue and white chambray shirt has a long point collar, worn outside of the blazer’s collar. Lazenby wears the collar and two buttons down the placket open. The two-button cuffs have rounded corners. The white trousers are probably polyester and have a pronounced flare to the leg, more pronounced than on any of Roger Moore’s 1970s James Bond trousers. The socks and venetian slip-ons are also white.

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The second outfit with the blazer includes a pale blue shirt, tie and mid grey trousers. The shirt has an eyelet collar worn with the kind of collar bar where the balls unscrew at the ends. Some consider this the most elegant kind of collar bar since everything fits together, though it can also be considered the most affected. A pin, clip or a slide-bar on a regular point collar looks more naturally stylish since the collar doesn’t have holes. The tie is a black, blue and red plaid, tied in a four-in-hand knot. Not much of the grey trousers can be seen, though they don’t appear to be as flared as the white trousers.

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Shirt Collar Width, Height and Point Length—and Poll!

Turnbull & Asser Spread

Sean Connery wearing a spread collar in From Russia with Love

The shirt’s collar is one of the most important parts of a man’s outfit because it frames the face. Whilst fit ranks paramount for all parts of a man’s outfit, the collar’s shape and proportions rank equal to its fit. The width of the spread between the collar points is often mentioned, but collar height and point length are equally important. The three most basic collar styles are the spread collar, the semi-spread collar and the point collar. A wider collar is slightly dressier than a narrow collar, but James Bond has worn collars of all widths for different purposes throughout the series.

Collars

The Spread Collar

The spread collar is the wide, classic English collar. It may also be known as an English spread collar or a semi-cutaway collar. The English may call this a classic collar since it’s the standard collar for shirtmakers there. A wider collar such as the spread collar best flatters and balances people who have an angular jaw like Sean Connery, Roger Moore and Daniel Craig. On the other hand, the wide spread collar emphasises a wide face and should be avoided by people with a very round face or square jaw.

Sean Connery wears a spread collar, usually made by Turnbull & Asser, in all of his James Bond films except Dr. No (which is discussed below), and the collar flatters his angular jaw. George Lazenby wears a spread collar on his Frank Foster shirt for the wedding outfit due to the more formal nature of the black lounge coat, and it returns to the series in Roger Moore’s on his Frank Foster shirts in his three Bond films in the 1980s: For Your Eyes Only, Octopussy and A View to a Kill. Pierce Brosnan brings them back again on his Turnbull & Asser shirts in Tomorrow Never Dies and The World Is Not Enough. The spread collar is Bond’s favourite collar to wear with black tie, even when he wears other collars with his regular suits.

George Lazenby wears a point collar in On Her Majesty's Secret Service

George Lazenby wears a point collar in On Her Majesty’s Secret Service

The Point Collar

The point collar has the narrowest spread of the three basic collar. It is sometimes also called a forward point collar or a straight collar. Americans may call this a classic collar. The button-down collar is usually a variation on the point collar with a softer or no interfacing and buttons that hold down the collar points. The point collar best flatters men with a round face or square jaw, whilst it would extended a long face or an angular jaw.

Bond has worn very few point collars in the series. Many of George Lazenby’s Frank Foster shirts in On Her Majesty’s Secret Service have point collars, but a large amount of tie space prevents the collars from looking too narrow. It isn’t the ideal collar for Lazenby, but it doesn’t look bad on him either. Roger Moore’s Frank Foster shirts in The Spy Who Loved Me and Moonraker also have point collars, and even without the oversized they collars are too narrow for Moore’s angular jaw.

Daniel Craig wearing a semi-spread collar in Quantum of Solace

Daniel Craig wearing a semi-spread collar in Quantum of Solace

The Semi-Spread Collar

The collar that almost any man can look good in is the semi-spread collar. It is a moderate spread collar that is narrower than classic spread collar but wider than a point collar. Some call this the Kent collar, after Prince George, Duke of Kent. Some in England also call this the classic collar, proving that there is no consensus on that term. When the collar spread is around a 45º angle is can be described as neither narrow nor wide, which makes the semi-spread collar a rather neutral collar. It’s the safest collar for any situation and won’t offend conservative dressers on either side of the pond.

The semi-spread collar is the collar James Bond wears most often throughout the series. However, it works best for people with an oval face like George Lazenby, Timothy Dalton and Pierce Brosnan. George Lazenby wears semi-spread collars on some of his Frank Foster shirts in On Her Majesty’s Secret Service, Roger Moore wears them on his Frank Foster shirts in Live and Let Die and The Man with the Golden Gun, Timothy Dalton wears them on his shirts in The Living Daylights, Pierce Brosnan wears them on his Sulka shirts in GoldenEye and Daniel Craig wears them on his Brioni shirts in Casino Royale and his Tom Ford shirts in Quantum of Solace.

Collar-Height

Height and Point Length

The height of the collar and the length of the collar points should always be considered, especially since there is a considerable variety available. Today, collars with a short height and shorts points are trendy because they complement the narrow lapels that are also popular. However, most men are not flattered by such skimpy collars. A short collar with short points flatters a man with a short neck and an overall smaller head. On most men, however, a short collar will make their neck look awkwardly long and their head look too large in proportion to the rest of their body. Timothy Dalton’s undersized spread collars in Licence to Kill are not a good choice for him. Whilst his neck looks fine with a short collar height—a slightly taller collar would still be better—his head looks large against the short collar points. Apart from in Licence to Kill, Bond has avoided wearing short collars.

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Roger Moore wearing a tall spread collar with long points in Octopussy

On the other hand, a collar that is too tall with points too long will overwhelm the face. A short neck will disappear under a tall collar, and a long points shrink the head. Roger Moore is known for wearing tall collars with long points, especially in his films from The Spy Who Loved Me and later. These large collars work for Roger Moore, and not just in the context of his wide lapels. His neck is long and his head is fairly large. In Live and Let Die, Moore wears a spread collar that is so tall it fastens with two stacked buttons. Few men have such a long neck that they truly need a two-button collar, but the second button provides a necessary rigidity so it can withstand the pressure from a tie. Daniel Craig’s tall Brioni collars in Casino Royale shorten his neck, though the point length is a good medium. The long Tom Ford collar points in Quantum of Solace make Craig’s head look a little small.

Extreme-Collars

Extreme Collars: Cutaway, Narrow Point and Beyond

The extreme collars, such as the cutaway collar and narrow point collar, are for those who want to make fashion statements. The spread collar is sometimes called a cutaway collar, but the cutaway collar term is ordinarily reserved for the especially wide examples. Some may call the wide cutaway collar a Windsor collar. Like the spread collar, the cutaway can only look good on someone with a very angular face. But even the most angular faces will still look best in a regular spread collar. Rather than widen a narrow, angular jaw, the contrast from a cutaway collar may start to emphasise it. Likewise, the roundest faces will not be flattered more by a very narrow point collar than by a classic point collar. A very narrow collar cannot balance the weight of a large head and will end up looking like a balloon on a string.

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Sean Connery wearing a cutaway collar in Dr. No

These extreme collars have only been worn occasionally in the Bond films. Sean Connery wears cutaway collars on his Turnbull & Asser shirts throughout Dr. No, Roger Moore wears a cutaway collar on his Frank Foster shirt with morning dress in A View to a Kill and Pierce Brosnan wears Brioni shirts with cutaway collars in Die Another Day. Pierce Brosnan’s collars get wider with every Bond film he does, though the cutaway collar is certainly too wide for his oval face. The extreme cutaway collars that are trendy today are more severe than James Bond’s examples, whilst Bond’s cutaway collars are more like the collar originally made popular by the Duke of Windsor.

The tab collar that Daniel Craig wears on his Tom Ford shirts in Skyfall is like a variation on the narrow point collar. A narrow point collar would not flatter Daniel Craig’s angular face, but the his tab collar is a little different. The curve around the tie softens Craig’s angular jawline, and the collar points flare out below the tab to give the collar some needed breadth. If the collar just went straight down without the curves and flare it would not be the least bit flattering to Daniel Craig’s face. Still, a spread collar is a better choice for Daniel Craig’s angular jaw.

Daniel Craig wearing a tab collar in Skyfall

Daniel Craig wearing a tab collar in Skyfall

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A Blue Anorak for a Mountaintop Battle

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For On Her Majesty’s Secret Service‘s climax battle at Piz Gloria, James Bond wears a medium blue anorak with matching trousers or salopettes. The suit of anorak and trousers is made of wind-proof and waterproof material and is lined for warmth. An anorak is similar to a parka, but it is distinguished by being hip-length instead of knee-length, is a pull-over and has drawstrings to cinch the waist. The waist drawstrings prevent the bulky anorak from being completely shapeless, but they also help retain warmth. These features of the anorak are all present on Bond’s example. The anorak also has a large hood that cinches around the neck with drawstrings.

The anorak’s full fit does not impede movement, and Bond moves quite well in it. It has straps with a slide-buckle on the sleeves to keep the arms warmer. It is detailed with inset pockets on either side of the top of the chest, which have velcro-secured flaps. There are also inset hip pockets on either side that close with a zip fastening.

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Bond’s anorak also has a strap that connects the bottom of the front with the bottom of the back between the legs. I am unable to tell how the strap is fastened, though I would guess it uses velcro. It keeps the coat secured when Bond is jumping and sliding about, as well as in strong winds, but it should hopefully come easily undone if there is too much stress on the strap. A strap between the legs is one place a secure fastening is not a good thing! Whilst the strap pulls the anorak tightly in front, it hangs looser in the rear. The coat was probably designed for winter sports, and that’s why it has the strap.

Notice the strap between Bond's legs.

Notice the strap between Bond’s legs.

The medium blue trousers that match the anorak are tucked into black weather-treated suede or suede-like ankle boots with thick black rubber soles. They have a thin strap over the vamp that fastens with a steel buckle over the sole on the right side of the boot. Bond wears black leather gloves with a thick insulating lining, and the seams are sewn on the inside. The gloves are gathered at the wrist and secure with a slide-buckle on the sides.

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The jumper’s collar and cuffs peak out from the anorak

Under the anorak, Bond wears a very thick steel blue wool mock poloneck jumper. Only a peak of the ribbed polo neck collar and a ribbed cuff of the jumper is seen, and the jumper is seen only very briefly.

Draco wears the same outfit as Bond, though he wears a light brown leather utility belt over his. Draco’s men dress similarly in white anoraks and white trousers, but in the same mock polo-neck jumpers and black boots that Bond and Draco wear, and a little more of the jumper can be seen on them. Bond’s outfit is provided by Draco and is neither his own outfiit nor something provided by MI6.

Draco in the same outfit as Bond, but with a utility belt.

Draco in the same outfit as Bond, but with a utility belt.

What is your favourite style of jacket vent?

Dr-No-Double-Vents

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Whilst the front of a jacket is defined by the number of buttons it has, the back is defined by the number of vents. The front of the jacket has different kinds of lapels and pockets to break it up and give it interest whilst the back has only vents. The vents are a very important part of the jacket since they add functionality as well as distinguish the look of the back.

Single Vent

Daniel Craig's suits have single vents in Skyfall.

Daniel Craig’s Tom Ford suits have single vents in Skyfall.

Single vents (also called centre vents) are when the centre back seam of the jacket is opened at the bottom. Single vents are most associated with American clothing, but like most origins in tailoring they come from England. Single vents were developed for riding, and the single vent splits the jacket’s skirt evenly on either side of the horse. Naturally, the hacking jacket, like what Sean Connery wears in Goldfinger and George Lazenby wears in On Her Majesty’s Secret Service, has a single vent, and it’s quite a long single vent (12 to 13 inches) so it has enough room to split neatly over the back of a horse. Many of Sean Connery’s and Daniel Craig’s suit jackets also have single vents, which is the most tradition vent style on a single-breasted jacket. Single vents have the disadvantage of exposing the buttocks in action scenes or when a man reaches his hands into his trouser pockets. It’s a bit less of a disadvantage with a body like Daniel Craig’s, though double vents would still look neater.

On suit jackets, the length of a single vents typically range from 8 to 10 inches.1960s fashions sometimes resulted in shorter vents around six inches long, though James Bond never succumbed to this fashion. Longer vents of around 12 to 13 inches were popular in the 1970s and early 1980s, though the only long single vents Bond wears at that time are on his safari-esque sports coats in The Man with the Golden Gun and The Spy Who Loved Me.

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Sean Connery’s Anthony Sinclair hacking jacket in Goldfinger has a long single vent to the waist.

Double Vents

Double vents (also called side vents) are when the rear side seams are opened at the bottom, and they are typically associated with English tailoring. Double vents didn’t become standard for English tailors until the late 1960s. At that time it was more of a trend, but the trend stuck. Before the late 1960s, English tailors generally would put single vents on single-breasted jackets and double vents on double-breasted jackets. This system creates a symmetry between the front and back of the jacket. Double-breasted jackets should never have single vents, only double vents if it has vents. Double-breasted jackets take double vents on the back to balance the double columns of buttons in front.

Roger Moore's Cyril Castle suit jacket in The Man with the Golden Gun has deep double vents

Roger Moore’s Cyril Castle suit jacket in The Man with the Golden Gun has deep double vents

For the past decade, double vents have been very popular and can be found on Italian clothing and American clothing. Currently, double vents are most popular on English, American and Italian tailoring. They haven’t been this popular in America since the 1960s and in Italy since the 1970s. Double vents are dressier than single vents, though they still have their origins in riding like single vents have. They allow more waist suppression than single vents do, and they allow a man to reach into his side trouser pockets with the least disruption to the lines of the jacket. They also extend the line of the leg for a slimmer and taller appearance. Like with single vents, double vents are typically 8 to 10 inches in length but varied with fashion trends. 6-inch double vents weren’t uncommon in the 1960s, and double vents up to 13 inches deep weren’t uncommon in the 1970s to the early 1980s. When over 10 inches, double vents can be a bit unruly, but that’s part of the charm.

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Even when the Roger Moore’s Cyril Castle suit jacket flaps in the wind, the double vents keep his rear covered.

Double vents sometimes continue the line of the side seams straight down, which can cause the vents to stick out over the rear. The double vents on Sean Connery’s Anthony Sinclair suits are made like this and emphasise his large rear. The double vents on Roger Moore’s Cyril Castle suits and Pierce Brosnan’s Brioni suits are also made like this, but their rears aren’t as large so the style work better on them.

George Lazenby’s Dimi Major suits, Roger Moore’s Angelo and Douglas Hayward suits and Daniel Craig’s Tom Ford suits in Quantum of Solace have double vents that flare outward. By flaring out, the vents actually hang straighter down the sides of the body. This keeps the vents looking neat no matter their length. Whilst the flare is noticeable from the back, the flare gives added shape to the waist whilst masking a large rear. The flared double vents have a more English look than straighter double vents have.

Flared double vents on George Lazenby's Dimi Major suit jacket

Flared double vents on George Lazenby’s Dimi Major glen check suit jacket

No Vents

Jackets without any vent are most associated with Italian clothing, and the Italians did indeed make jackets without vents in the 1950s and later in the 1980s through the early 2000s when vents were commonly found on English and American tailoring. A non-vented skirt is not an Italian style, as often stated. It’s a traditional style for all tailoring, and before vents became popular in the 1950s most jackets were made without a vent. When the non-vented style was popular in the 1980s, many sports coats were made without vents, but sports coats usually have vents due to their sporting heritage. Sean Connery wears many suit jackets without vents in his Bond films, especially in Goldfinger and Thunderball. Timothy Dalton also wears jackets without vents in Licence to Kill, a result of the trends at the time for non-vented jackets.

Sean Connery's dinner jacket in Thunderball follows tradition with no vents

Sean Connery’s dinner jacket in Thunderball follows tradition with no vents

All of the Bond actors, except George Lazenby, have at times worn dinner jackets without vents. Roger Moore’s double-breasted dinner jackets in The Spy Who Loved Me and Moonraker are his only jackets of the series without vents. Vents are still considered by many to be a faux pas on a dinner jacket, since vents have sporting origins and the dinner jacket is never worn for sports. When Bond has vents on his dinner jackets they are double vents. The exception to this is the single vent on his dinner jacket in Skyfall, though single vents are too sporty and not dressy enough for dinner jackets.

Some people recommend different style jacket skirts for different types of builds. I’ve heard people say that single vents are better for a large rear than double vents are. I’ve also heard people say the opposite. Others say that no vent is best for a large rear. Poor-fitting jacket skirts can cause any kind of vents to split open or stick out. Poor-fitting double vents can have a “shelf” effect where the back flap sticks out. A tight skirt or waist with a single vent will cause the vent to open, revealing the buttocks. A tight skirt without any vents will pull the front of the jacket open at the hips and cause creasing at the back. These are all ready-to-wear issues. When the skirt of a ready-to-wear jacket is too tight, it can be difficult to fix, though letting out the waist helps in some cases. A bespoke tailor can create a well-fitting and flattering jacket skirt for any build in any vent style.

Sean Connery's naval uniform in You Only Live Twice has short double vents

Sean Connery’s naval uniform in You Only Live Twice has short double vents

Two Lapel Buttonholes on a Double-Breasted Jacket

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

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

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

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

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

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

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

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

No lapel buttonholes

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

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

Horn Buttons

Horn buttons on Sean Connery's hacking jacket in Goldfinger

Horn buttons on Sean Connery’s hacking jacket in Goldfinger

Real horn buttons are often a mark of a quality suit. They’re currently the standard at most Savile Row tailors and can be found on many of James Bond’s suits over the years. There are quality alternatives to horn buttons, such as corozo nut buttons—often preferred by the Italians—and mother of pearl buttons. Some of the best suits may have inferior alternatives for buttons, thus buttons have no bearing on the overall make of a suit. Quality buttons like horn have the power to improve the look of any well-fitting suit. Horn buttons typically come from ox or buffalo horn, and the buttons are cut out of the hollow part of the horn, whilst toggles—like on a duffle coat—are made from the solid tip.

Goldfinger Charcoal FlannelAnthony Sinclair presumably found horn buttons to be too countrified for most city suits and ordinarily used plastic buttons on his worsteds. But on some of his more rustic suits, like Sean Connery’s three-piece grey flannel suits in Goldfinger and Thunderball, he used grey horn buttons. Sinclair used light brown horn buttons on the hacking jacket in Goldfinger that match both the jacket’s rustic look and its colour. As standard practices amongst tailors changed, Sinclair put horn buttons on most of Sean Connery’s suits in Diamonds Are Forever. The buttons in that film usually match the colours of the suits as close as possible, and the buttons are polished horn for a less rustic appearance.

Lazenby-Tweed-Jacket-Horn-ButtonsGeorge Lazenby’s suits in On Her Majesty’s Secret Service all have horn buttons. The navy suits have black horn, the cream linen suit has beige horn, the glen check suit has dark grey horn, and the tweed three-piece suit and the houndstooth sports coat have medium brown horn. The black lounge coat Lazenby wears in the wedding scene has black horn buttons whilst the light grey waistcoat has dark grey buttons. Suit buttons ordinarily match the colour of the suit as closely as possibly, or at least aim to have little contrast. More contrast in buttons results in a less dressy look.

Like Sean Connery’s suits, most of the Cyril Castle suits that Roger Moore wears in Live and Let Die and The Man with the Golden Gun have plastic buttons. His beige sports coat in Live and Let Die, however, has matching beige horn buttons. The Angelo Roma suits in The Spy Who Loved Me and Moonraker mostly have non-horn buttons, but the brown tweed suit in Moonraker has medium brown horn buttons, which are a natural fit for the country suit.

Horn buttons on the dinner jacket in For Your Eyes Only

Horn buttons on the dinner jacket in For Your Eyes Only

Douglas Hayward, who made Roger Moore’s suits for For Your Eyes Only, Octopussy and A View to a Kill, uses dark brown or black horn buttons on navy and charcoal suits, beige horn buttons on his tan and light brown suits, and black horn buttons on the morning suit in A View to a Kill. The brown tweed sports coats have medium brown horn buttons. Hayward does not use horn buttons on his medium grey suits and sports coats.

Surprisingly, Hayward even puts horn buttons on his dinner jackets. The black dinner jackets in For Your Eyes Only and Octopussy and the midnight blue dinner jacket in A View to a Kill have black horn buttons. Horn buttons are paradoxically more refined and more rustic than the black plastic buttons that English tailors often used to use on dinner suits as a simpler alternative to covered buttons. Plastic button today on any item of clothing are seen as undesirable in favour of natural materials, but if horn buttons are to be worn on a dinner jacket they should ideally be the polished type. The dull horn buttons that Hayward chose for his dinner jackets, as beautiful as they are, look out of place. Hayward also uses beige horn buttons on the white linen dinner jacket in A View to a Kill, which could allow it to double as a sports coat. But again, the horn buttons are too rustic for even a white dinner jacket.

Tom-Ford-Horn-ButtonsTom Ford often mimics English styles in his suits, and the English practice of using horn buttons is present on his suits. Consequently, Daniel Craig’s Tom Ford suits in Quantum of Solace and Skyfall have mostly dark brown or black horn buttons. The grey pick-and-pick suit in Skyfall is the exception with grey horn-effect plastic buttons. There will be more to come on other types of button later.

Bond in a Women’s Bathrobe

Bond-Womens-Bathrobe

Like most of Bond’s bathrobes and dressing gowns, the bathrobe Bond wears in On Her Majesty’s Secret Service is not his own. In fact, it’s not even a men’s bathrobe. Tracy (Diana Rigg) wears the bathrobe after she breaks into Bond’s hotel suite, and she leaves the bathrobe behind when she disappears from Bond’s balcony in the middle of the night. Since her dress is on the bed when we first see her in the bathrobe, Tracy probably found the bathrobe in Bond’s hotel suite closet. The bathrobe is likely provided by the hotel in every suite’s closet.

Tracy-BathrobeBond puts on the bathrobe when he wakes up and finds it laying next to him in bed. The robe’s short length is what gives it away a women’s bathrobe, and when Bond sits in the bathrobe it just barely covers the parts that it needs to. On Tracy, the bottom of the bathrobe hits at her upper thigh. Diana Rigg 5’9″ tall, and the short bathrobe plays up the sex appeal of her long legs. Bond, however, is 6’2″ tall and for obvious reasons needs a longer bathrobe. The brief shot of Lazenby just barely wearing the bathrobe that is too short for him may have been for the same reasons Diana Rigg wears it. After all, On Her Majesty’s Secret Service features a new younger and fitter Bond.

Bond-Womens-Bathrobe-2The terrycloth bathrobe is white with a windowpane of double navy lines. The lines are thicker in the vertical than in the horizontal, which is an attempt to make the pattern more slimming by emphasising the vertical lines. There are two sets of three navy stripes follows by a single navy stripe around the shawl collar and the ends of the sleeves. The sleeves are worn folded up. A belt ties around the waist.

This may be the only piece of women’s clothing I ever cover on this blog, unless Bond again wears women’s clothing. It’s a shame we don’t get to see Bond wearing the gold silk pyjama suit with blue piping laid out on his bed.