The Persuaders: A High-Buttoning Green Suit

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

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

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

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

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

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

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

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

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

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.

The Saint: A Blue Tweed Jacket

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

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

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

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

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

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

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.

Navy Blazers: More Than Navy Suit Jackets with Metal Buttons

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What is or isn’t a blazer? By one definition, a blazer is a tailored jacket in navy—or less traditionally in other solid colours—with metal buttons. By another definition it’s a tailored jacket with thick, bright stripes, and it may or may not have metal buttons. Only the first type of blazer is relevant to James Bond. “Blazer” is neither another term for a tailored odd jacket nor a suit jacket, though the term has increasingly been used as such since traditional blazers have because less popular. Bond’s blazers are always blue, from the almost black Royal Navy uniform shade to a bright marine blue.

Single-breasted or double-breasted

Blazers can be either single-breasted or double-breasted. All of James Bond’s single-breasted blazers have two buttons and double vents. Sean Connery wears three similar single-breasted blazers in Dr. No, Thunderball and Diamonds Are Forever. Roger Moore wears two similar single-breasted blazers in The Spy Who Loved Me and Moonraker and another in single-breasted blazer in A View to a Kill.

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Bond’s double-breasted blazers all have six buttons. Some of Bond’s double-breasted blazers have two to button in the traditional configuration with the top row placed further apart. Other blazers have three to button like a naval reefer jacket, which makes the jacket look rather columnar and give it a higher buttoning point. However, this style looks appropriate for a naval commander. The double-breasted blazers all have double vents like the single-breasted blazers have. George Lazenby wears a double-breasted blazer in On Her Majesty’s Secret Service, Roger Moore wears double-breasted blazers in The Man with the Golden Gun, Moonraker and For Your Eyes Only and Pierce Brosnan wears a double-breasted blazer in GoldenEye, which has the last appearance of the blazer in the Bond series.

The cloth

Blazers can be made in a variety of different cloths. The most common cloth for a blazer is wool serge. Serge is worsted wool in an even twill weave with a 45° wale. Heavier serge with more defined twill wales looks better as a blazer. Serge is one of the most common materials for a suit, but in navy it can be a great choice for a jacket on it’s own. Serge blazers are the most formal type of blazers due to the cloth being the same as what is often used for a business suits and military uniforms. Plain-weave worsteds are not as good of a choice for a blazer. George Lazenby’s blazer in On Her Majesty’s Secret Service, Roger Moore’s blazer in For Your Eyes Only, and Pierce Brosnan’s blazer in GoldenEye are likely made of serge.

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Hopsack wool is a worsted commonly used for warm-weather blazers. Hopsack is a basketweave and is open and very breathable. Roger Moore’s double-breasted blazer in The Man with the Golden Gun and single-breasted blazers in The Spy Who Loved MeMoonraker and A View to a Kill are hopsack.

Doeskin makes for the ideal cool-weather blazer. It’s a densely napped flannel woolen with a sheen, not the skin from a deer. It is woven in an even twill weave like serge, but the weave is traditionally not visible through the nap. Sean Connery’s three blazers in Dr. No, Thunderball and Diamonds Are Forever appear to be doeskin, even though he wears two of them in tropical locales. Roger Moore’s double-breasted blazer in Moonraker also appears to be doeskin.

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Other cloths can make excellent blazers. A soft, thick cashmere is excellent in cold weather whilst silk and linen are exceptional in warmer weather.

The buttons

Some follow the definition that a blazer must have metal buttons to be a blazer. Metal buttons reflect the maritime heritage of the garment. All of James Bond’s blazers have metal buttons, whether brass (polished or unpolished), polished nickel or gunmetal. Pewter buttons are a subtler alternative to brighter metals. At the moment, blazers with metal buttons are unfashionable. Some think they are for old men, some think they are for preps, and others think they are for security guards. The classic metal buttons have solid blank with a shank (metal loop) that sews onto the jacket. Crests should only be worn on the buttons if the crest has a personal significance. Naval motifs on the buttons are common, and Bond wears shanked buttons with such a motif in GoldenEye. Many of Bond’s shanked buttons are simply plain metal.

GoldenEye-Blazer-Buttons

In The Spy Who Loved Me and Moonraker, the buttons are metal (nickel on the single-breasted blazers and brass on the double-breasted blazer) with four holes, and the buttons are sewn on with a contrasting navy thread. These buttons have a more modern look than shanked buttons, but they keep the blazer tradition by sticking with metal. Enamel buttons in a metal case are another classic choice for a blazer, but Bond has not worn these.

I believe that buttons other than metal buttons can be used on navy jackets, though whether or not the jackets still qualify as “blazers” is debatable. These buttons need to be different from suit jacket buttons, so that excludes navy or black buttons in plastic or corozo. Horn buttons in any medium to light shades of brown work. Unpolished horn gives the jacket a less assuming look whilst polished horn whilst polished horn, particularly in light shades, can give a shiny gold effect closer to traditional blazer buttons. Smoke mother-of-pearl buttons are great on navy odd jackets and give a blazer look without the metal buttons. Smoke mother-of-pearl buttons are silvery, shiny and almost look like metal, but their variegation makes them more interesting. For lighter-weight jackets in hopsack or linen, blue or white mother-of-pearl buttons are an excellent choice as well, whilst darker horn buttons may look too heavy. For doeskin and cashmere jackets, wood buttons can give the jackets are more rustic look.

Whether or not a navy jacket with non-metal buttons is technically a “blazer”, it can still be a wonderful odd jacket. If the navy odd jacket were to return to the Bond series, this is the form I could see it returning in rather than as a traditional blazer.

The details

Blazers are cut and fit the same as suit jackets. Some people prefer a looser fit for their blazers, sometimes so they can wear a jumper underneath, but there’s no rule that says a blazer should but cut differently than a suit jacket should. All of James Bond’s blazers are structured, cut and fit exactly the same as the suit jackets he wears within the same films as the respective blazers. Most of James Bond’s blazers have details that make them more than ordinary suit jackets with metal buttons. The blazers in On Her Majesty’s Secret Service, Diamonds Are Forever and Moonraker have swelled edges for a sportier look. All of Bond’s blazers have double vents to follow British tradition, though blazers in the American have single vents. The double vents are key to wearing a blazer like Bond.

Bond wears a navy blazer on his date with Miss Taro

Bond wears a navy blazer on his date with Miss Taro

The pockets on Bond’s blazers are rarely ordinary straight, flapped pockets, though that is what the single-breasted blazer in A View to a Kill and the double-breasted blazers in For Your Eyes Only and GoldenEye have. All three of Sean Connery’s blazers have open patch pockets for not only the hip pockets but for the breast pocket as well. Patch pockets are the most casual type of jacket pocket and are never found on business suits. Roger Moore’s double-breasted blazer in Moonraker has patch pockets on the hips with flaps. The breast pocket on these blazers is an ordinary welt breast pocket since an open patch breast pocket wouldn’t match the flapped hip pockets, and a flapped patch breast pocket would look rather heavy on the chest.

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Many of Bond’s blazers have slanted “hacking” pockets, which are taken from the double-breasted military greatcoat rather than from the hacking jacket in the case of the blazer. Some of Bond’s blazers with slanted pockets also have ticket pockets.

When and where to wear a blazer

The navy blazer has proven to be one of the most versatile garments. In some parts of America, blazers are appropriate business dress, but they are essentially a type of sports coat and are best worn socially. Bond mostly wears his blazers socially, and he only wears a blazer to the office in Thunderball because he’s hurrying in from the country. Blazers are the most formal of all sports coats due to being a solid, dark colour. A blazer isn’t all that far off from being a navy suit jacket, which is what allows it to be worn in dressier settings. Like a navy suit, the navy blazer is great both during the day and in the evening.

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Blazers have a maritime heritage and are always appropriate by the water. Bond wears blazers on tropical islands in Dr. No and Thunderball, aboard the RMS Queen Elizabeth sunken in Victoria Harbour in The Man with the Golden Gun, and in the Mediterranean in The Spy Who Loved Me, For Your Eyes Only and GoldenEye.

Blazers do not need to be worn near water. For social occasions in the city they don’t stick out too much amongst the suits. In the country they’re perfect for drinks at the country club.

What to wear with a blazer

James Bond has worn many different colours in his trouser with his blazers. The trousers worn with a blazer need to contrast the blazer to avoid looking like a mismatched suit, and thus navy, black and charcoal trousers do not pair well. Sean Connery pairs his blazers with dark grey trousers—a shade lighter than charcoal—to dress up the outfit as much as he can. The less contrast there is between the jacket and trousers the more formal the outfit is.

James Bond has worn medium grey, light grey, tan, beige, stone (light taupe) and white trousers with his blazers. Any shade of grey is a great choice for the city or a dressier look, particularly in the evening. Tan, beige and stone give the blazer a sportier and more casual look, and these colours are best worn in the daytime. White trousers, give the blazer a nautical look and should only be worn with a blazer on the water, where Bond wears his blazer with white trousers in The Man with the Golden Gun and The Spy Who Loved Me. Even when worn by the water, white trousers with a blazer can come off a costume-like. Cream and British tan are other great choices to wear that Bond has not worn with his blazers.

Navy hopsack blazer with beige cavalry twill trousers in Moonraker

Navy hopsack blazer with beige cavalry twill trousers in Moonraker

The trousers Bond wears with his blazers are always wool, in woolen flannel for greys and cavalry twill or gabardine for earth tones and white. Tropical and fresco wool, silk, linen and cotton gabardine are other great trouser materials to pair with a blazer, particularly hopsack and lighter serge blazers. Cotton chinos are acceptable with a hopsack blazer, but they should be pressed.

The options for shirts are ties to wear with a navy blazer are limitless. Bond usually wears similar shirts and ties that he would wear with a navy suit. Bond occasionally wears his blazers without a tie for a more casual look. The colour of the shoes should complement the trousers. Oxfords can dress up the outfit whilst slip-ons can dress down the outfit. The many different items that can be worn with a navy blazer to dress it up or down contribute to the incredible versatility of the garment.

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

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

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

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

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

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

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

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

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

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

Notice the gauntlet cuffs, in "SImon and Delilah"

Notice the gauntlet cuffs, in “SImon and Delilah”

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

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

The suit jacket buttoned in "The Convenient Monster"

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

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

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

Beige socks with this suit in "The Persistent Patriots"

Beige socks with this suit in “The Persistent Patriots”

James Bond and Double Cuffs

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Rounded double cuffs in Goldfinger

The double cuff, also known as the French cuff, is a type of shirt cuff that folds back on itself and fastens with cufflinks. The double cuff is the most formal type of cuff after the single-link cuff, which also fastens with cufflinks but only has a stiff single layer. For the double cuff to fold over neatly, it needs to have a light and soft interfacing, either fused or sewn. A heavy or stiff interfacing won’t fold over as nicely, and the reason for the cuff folding is to give the cuff stability without the stiffness of the single cuff. Double cuffs should always be fastened in the kissing position and never overlapping like a button cuff.

Double cuffs on a Tom Ford shirt in Quantum of Solace

Square double cuffs on a Tom Ford shirt in Quantum of Solace

The formality of the double cuff makes it the standard cuff on shirts for black tie, though cocktail cuffs are also appropriate with black tie. Double cuffs are a minimum requirement for morning dress, but single-link cuffs are a dressier option. Double cuffs are also appropriate with any suit for any occasion. They pair nicely with blazers and most sports coats as well. The formality of double cuffs, however, demands a tie. They should not be worn in a casual environment.

Double cuffs vary primarily in two ways: the corner style and the placement of the link-holes. Most double cuffs have a square corner. They may also have rounded corners or mitred (angle-cut) corners, and typically this describes the corner at the back edge of the cuff and not the folded edge. Rounded cuffs have the benefit of sliding through jacket cuffs more smoothly. Double cuffs may be styled in other ways, such as with a mitred corner at the fold or with a contoured back edge, but these are fussier and less traditional designs.

Rounded double cuffs in For Your Eyes Only

Rounded double cuffs on a Frank Foster shirt in For Your Eyes Only

Though double cuffs with square corners are technically the most formal, practically there is no difference. Any style of double cuff can be worn the same way. Bond has worn square, mitred and rounded double cuffs with black tie, and he has worn square and rounded double cuffs with his suits. The mitred cuffs on his dress shirts in Goldfinger have unusually large mitred corners.

Notice the large mitred corner on the double cuff

Notice the large mitred corner on the double cuff in Goldfinger

The placement of the link-holes has varied on Bond’s double cuffs. On Bond’s British shirts from Turnbull & Asser and Frank Foster, the link-holes are placed close to the fold, which shows off the cufflinks and gives the cuff both flare and flair. On Bond’s Sulka, Brioni and Tom Ford shirts, the link-holes are centred on the cuffs. This prevents the cuffs from flaring out, meaning they’re less likely to get stuck inside a jacket sleeve. This link-hole placement has the downside of hiding the cufflinks further inside the jacket sleeves.

From Dr. No through Licence to Kill, James Bond almost exclusively wears double cuffs with black tie and other formal wear. Goldfinger is the exception, where Bond also wears double cuffs with his suits and sports coats. Starting with GoldenEye, Bond almost always has worn double cuff shirts with his suits as well.

James Bond breaks the rules in Quantum of Solace when he wears a shirt with double cuffs with his shawl-collar cardigan, but the results are less than favourable. Not only do formal double cuffs clash with this casual ensemble, they bind under a snug knitted cuff.

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A double cuff shirt from Tom Ford under a shawl-collar cardigan in Quantum of Solace

Basted for Bond: Examining Roger Moore’s Angelo Roma Clothes

A new “Basted for Bond” infographic breaks down the wide-lapelled jackets, flared trousers and waistcoat that Roger Moore wears in The Spy Who Loved Me and Moonraker, made by legendary Roman tailor Angelo Vitucci. Most of Angelo’s suit jackets are made in a button two style with wide lapels reflecting the fashion trends of the 1970s. Both single and double-breasted blazers, a double-breasted dinner jacket, a single-button suit jacket variation and a safari sports coat.

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