Brioni and a Disciple, Angelo Roma

Pierce Brosnan in a Brioni pinstripe suit in The World Is Not Enough

Pierce Brosnan in a Brioni three-piece suit in The World Is Not Enough

Brioni is very well-associated with making James Bond’s suits in the five films from GoldenEye to Casino Royale, tailoring both Pierce Brosnan and Daniel Craig under supervision of costume designer Lindy Hemming. But years before Pierce Brosnan took over the James Bond role in 1995, Brioni’s style came to the Bond series in 1977 when Angelo Roma provided Roger Moore’s suits for The Spy Who Loved Me, and then again two years later in Moonraker. Angelo Vitucci, a former manager of Brioni Coutoure and Brioni model, started Angelo Roma. Angelo Roma is not to be confused with the more famous and adventurous Roman fashion house Angelo Litrico, You can read more about Angleo Vitucci’s time with Brioni in this article and this article in the Sydney Morning Herald.

Angelo Vitucci brought Brioni’s Roman silhouette to his own suits. The Roman silhouette is based closely on the English military and equestrian cut popularised by tailors like H. Huntsman, Henry Poole and Dege & Skinner, and it is defined by powerful, straight and padded shoulders, often with roped sleeveheads, a clean chest and a suppressed waist. Though the style of Roger Moore’s suits in The Spy Who Loved Me and Moonraker is eclipsed by wide lapels and flared trouser legs, the cut of the suit jacket is classic and not far removed from classic examples of Brioni’s tailoring. In the image below on the right, I’ve narrowed Moore’s lapels to a balanced width—as well as narrowed the tie and shortened and widened the collar—to demonstrate what a classic cut the suit has. Compare it to the original suit on the left below.

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Roger Moore wearing a grey dupioni silk suit Angelo Roma suit in Moonraker

The suit in the altered image essentially has the same look as a classic Brioni suit. If the gorge (the seam where the collar meets the lapels) wasn’t so curved, it almost looks like it could be from Savile Row! English tailors typically cut their gorges straighter than the Italians, though some Italians also cut their gorges very straight. It’s amazing what a difference just the width of the lapels makes to the perception of the chest size and shoulder width. The balanced lapel width gives Moore a more masculine chest without making him look barrel-chested like in his suits in The Saint do. Angelo Vitucci is quoted in a 1954 article in the Panama City News-Herald about Brioni tailoring:

“‘Mainly,’ comments Signor Vitucci, ‘our suits are designed to camouflage figure faults, like bow legs or other unfortunate handicaps.’ No cuffs on Brioni’s trousers. It’s not a matter of saving cloth but saving appearance. Uncuffed trousers, explains Angelo, give a clean, uncluttered look and are more hygienic besides, since they do not catch dust.”

Brioni appears to have changed their mind about trouser turn-ups when they made Pierce Brosnan’s trousers. Though James Bond’s relationship with Italian tailoring started with a disciple of Brioni, Brioni finally came to the James Bond series sixteen years after Moonraker in GoldenEye.

Charcoal Windowpane-Cream Shirt

Pierce Brosnan wearing a charcoal windowpane Brioni suit in GoldenEye

The excellent book Dressed to Kill: James Bond, The Suited Hero names Checchino Fonticoli as Brioni’s master tailor who fits Pierce Brosnan in his suits for GoldenEye. He was capable of altering Brioni’s house style to make just the right look for James Bond in the 1990s. Lindy Hemming’s is quoted in the book saying, “I wanted a company which was capable of tailoring in the Savile Row manner”. Brioni’s Roman style is certainly reminiscent of military Savile Row tailoring as I mentioned above, though, as stated in the book, Hemming also wanted the suits to look current just as Anthony Sinclair’s suit did in the 1960’s:

“We discussed style and proportion and came up with a very modern jacket shape; although classic, it is slightly longer and looks good with three buttons as well as two. I also wanted to incorporate traditional details such as ticket pockets which would suggest that the clothing might have come from Savile Row.”

Whilst Savile Row tailors, especially those in the military tradition, would probably not make their suit jackets as loose as Pierce Brosnan’s were in GoldenEye and Tomorrow Never Dies, Hemming’s choice of Brioni was more for their ability to produce a large number of suits quickly than it was for their Italian style. As well as ticket pockets, Brosnan’s Brioni suits mostly have double vents and slanted pockets to carry on the illusion of an English suit. Hemming is also quoted in Dressed to Kill saying, “This man [Bond] must look immaculate, not strange or foppish or too fashionable.”

At the time, Brosnan’s suits could have been more fashionable if the trousers had triple pleats (like the trousers with his navy blazer in GoldenEye) or quadruple pleats instead of classic double pleats. But Lindy Hemming failed in not making Brosnan’s suits too fashionable since they have very full cut in his first two Bond films. The tight-fitting suit trend now as Daniel Craig wears in Skyfall makes the loose cut of Brosnan’s suit jackets even more apparent.

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Pierce Brosnan wearing a charcoal flannel Brioni suit in Tomorrow Never Dies

Though Daniel Craig’s Brioni suits are cut trimmer like an English suit, they lack the English details that costume designer Lindy Hemming put on Brosnan’s suits, like the ticket pockets, slanted pockets and, usually, double vents. Craig’s Brioni suits have straight pockets and, on all but one, single vents, which are still classic styles and ultimately have no bearing on a suit’s style. Whilst Brosnan’s Brioni suits are characterised by their long, loose cut and low button stance, Craig’s Brioni suits have a trimmer cut and classic button stance like Moore’s Angelo suits, and a very high gorge. It’s difficult to draw direct comparisons between Moore’s, Brosnan’s and Craig’s Italian suits since they all reflect their contemporary fashions, but they all are tied together with the straight, padded shoulders and clean chest that define the Roman tailoring that Brioni made popular.

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Daniel Craig wears a charcoal blue Brioni suit in Casino Royale

Recuperating in Pencil Stripe Pyjamas

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At the end of Octopussy, James Bond is recuperating aboard Octopussy’s boat in India after sustaining injuries when jumping out of an aeroplane. Whilst recuperating, Bond is comfortably dressed in fine cotton pyjamas in white with a grey pencil stripe. The pyjama shirt has an open patch breast pocket on the left side and two larger patch pockets on either side of the lower front. It has a camp collar and a straight hem. The pyjama shirt’s wide, straight sleeves are three-quarter length with wide cuffs that are the same width as the sleeve. The buttons down the front are white translucent plastic. Unlike the straight pyjama shirt sleeves, the matching pyjama trousers have a tapered leg that is full in the thigh and narrow at the ankles.

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It’s too bad that these pyjamas are only briefly seen in Octopussy, since two-piece pyjama sets of a shirt and trousers are not something Bond often wears. We later see Bond wearing pyjama sets in Licence to Kill and in Die Another Day. Sylvia Trench wears one of Bond’s pyjama shirts at Bond’s flat in Dr. No. The literary James Bond preferred long pyjama coats instead of two-piece pyjama suits, as stated in Casino Royale and Diamonds Are Forever. Though two-piece pyjama suits aren’t the prescribed James Bond nightwear, they are classic and still appropriate for the character.

Crossplot: A Double-Breasted Pinstripe Suit from The Saint

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Roger Moore’s 1969 film Crossplot is like a cross between an episode of The Saint and a James Bond film. Moore plays talent scout Gary Fenn, who is identical in appearance to The Saint character Simon Templar except he has a more fashionable haircut that’s combed forward with longer sideburns. The Cyril Castle suits—an iridescent blue and red dinner jacket, a navy pinstripe double-breasted suit and a charcoal multi-stripe suit—and shirts in the film were taken straight out of Moore’s wardrobe for the final season of The Saint, which had just ended production.

The same suit in the episode of The Saint "The Scales of Justice"

The same suit and shirt, but with a grey tie, in the episode of The Saint “The Scales of Justice”

The navy double-breasted pinstripe suit, which this article will focus on, first appeared in The Saint‘s sixth series episode “The Time to Die” and later in “The Scales of Justice”. The suit’s cloth has very closely-spaced white pinstripes on navy, which from a short distance mixes with and mutes the navy to give the suit a semi-solid charcoal blue effect rather than a classic navy pinstripe look. Suits with closely-spaced pinstripes were something Roger Moore wears throughout The Saint and later wears in Moonraker.

Crossplot-Navy-Pinstripe-Suit-2The suit jacket is four-button double-breasted with two to button. It is similar to the classic six button double-breasted jacket but lacks the two vestigial buttons at the chest. Like Cyril Castle’s usual double-breasted suits, this one has a narrow wrap—or overlap—for a slimming effect on Moore. It is cut with natural shoulders and a full chest. It has narrow peaked lapels, which aren’t quite as narrow as the notched lapels Moore wears on his single-breasted suits in Crossplot and The Saint. The narrow peaked lapels are a little more flattering than his ultra-narrow notched lapels. The suit jacket is rakishly detailed with single-button gauntlet—or turnback—cuffs, slanted hip pockets with narrow flaps, and double vents. The suit trousers have a darted front, cross pockets and a tapered narrow leg, and they are worn with a black belt.

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Moore’s cream shirt is made by Bond-series shirtmaker Frank Foster in the same style as all of the shirts that Moore wears in the final series of The Saint. The shirt’s spread collar is larger in proportion to the tie and lapel width. Fashion typically dictates that shirt collar point length and tie and lapel width should match, but it’s usually more flattering to wear a collar that matches the face rather than the jacket’s lapels. The shirt has two-button cocktail cuffs, a plain front and a darted back. The shirt length is short compared to the traditional length of a tucked shirt, but in Frank Foster’s typical manner the shirt’s hem is only slightly curved and has vents on the side.

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The secretary ties Moore’s tie in a four-in-hand knot around her own neck, loosens it and then places it around Moore’s neck. It is solid light blue, and unstylishly Moore wears a matching light blue silk handkerchief in his breast pocket. But it is placed in the pocket in an unstudied two-point fold. It look as if he just stuffed it in his breast pocket and the two points formed naturally, but that is most likely not the case. Moore wears black socks, and his shoes are black slip-ons.

Crossplot-Navy-Pinstripe-Suit-BoxersSince we get to see Roger Moore dress into the suit, we get a look at parts of his outfit under the suit we don’t ordinarily get to see. Though we never get to see what James Bond wears under his trousers, Roger Moore’s underwear in Crossplot may give us a clue. When he changes his trousers we see his boxer shorts. They are light blue—perhaps purposely matching his tie—and probably a fine cotton poplin, which is one of the most comfortable types of woven cloths to wear as boxers.

Crossplot-Navy-Pinstripe-Suit-ShowerUnfortunately, the suit is ruined and shrunk in Crossplot when Moore is pushed off a boat into the water. Because of he is a gentleman, he leaves his suit, shirt and tie on when taking a shower to warm up when in the company of a lady.

For an additional James Bond connection, Bernard Lee, who plays M in the first 11 Bond films, appears in Crossplot.

The Naked Face: A Needlecord Suit

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In the 1984 film The Naked Face, Roger Moore plays psychiatrist Judd Stevens who dresses in seasonal autumn clothing in the Anglo-American tradition. I previously wrote about Moore’s blue and beige barleycorn tweed jacket in The Naked Face, and most of the clothes in the film follow in a similar vein. Of all the tailored clothing in the film, only a light brown needlecord suit appears to be made by Moore’s regular tailor at the time, Douglas Hayward. Hayward made Moore’s beautiful tailored clothing for For Your Eyes Only, Octopussy and A View to a Kill. This suit is more casual than what Hayward made for the Bond films, and, though the cut is the same as what Moore wore as Bond at the time, it’s probably not a suit Bond would wear. Needlecord, also known as pinwale, is a fine wale cotton corduroy that is perfect for autumn in Chicago, where the film takes place.

The-Naked-Face-Needlecord-Suit-4Like Roger Moore’s Douglas Hayward suits in his last three James Bond films, this suit jacket is cut with a clean chest and natural shoulders with gently roped sleeveheads. The button-two jacket also has the same low button stance and is identically detailed to most of Moore’s Bond suit jackets with flapped pockets, three buttons on the cuffs and double vents. The suit trousers are also like Moore’s trousers in his Bond films at the time: they have a straight leg and frogmouth pockets and are worn with a belt. Apart from the jacket’s low button stance, the suit looks timeless.

The-Naked-Face-Needlecord-Suit-2All of Moore’s shirts in The Naked Face are made by his regular shirtmaker Frank Foster, who made shirts for Moore in all of his Bond films. Moore wears this suit with two different shirts: a blue and white hairline stripe shirt with a spread collar—which is very similar to the shirt he wears with his navy suit in Octopussy—and an ecru shirt with a button-down spread collar. The button-down collar is much wider than the typical American button-down collar, but it still has a gentle roll. This is possibly what Roger Moore’s button-down collars in A View to a Kill would look like if worn buttoned with a tie. Both shirts have a placket with Foster’s identifying stitching close to the centre and extra-rounded single-button cuffs. Though the buttons aren’t clearly seen on these two shirts’ cuffs, another blue and white hairline stripe shirt in the film has a large cuff button like on Foster’s “Lapidus” tab cuffs. It’s possible that these two shirts also have the same large button on the cuffs.

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Notice the poorly-ironed shirt collar. On collars with a sewn interfacing, they can easily bunch up at the stitching. Judd Stevens is well-dressed, but he isn’t faultless like James Bond

With this suit Moore wears a grey-purple knitted wool tie with flat ends. Wool ties go especially nice with corduroy since they complement the rustic, autumnal look, and they have more contrast with corduroy than they do with the other traditional pairings like flannel and tweed. Knitted wool ties are slightly less formal than knitted silk ties, which makes them a great match for such a casual suit like corduroy. The tie’s colour, grey with a hint of purple, is rather dull compared to the rest of the outfit and slightly washes out Moore’s warm complexion. Moore ties it in a four-in-hand knot, and the knot ends up quite wide due to the tie’s bulk.

Moore’s slip-on shoes and belt are dark brown, and the belt’s brass buckle goes well with the light brown colour of the suit. Moore wears dark brown leather gloves with the suit.

The-Naked-Face-Camel-OvercoatOver the suit, Moore wears a single-breasted camelhair overcoat. The full-length overcoat hits just below the knee, which keeps Moore decently warm in the cold and windy Chicago. Like the suit, it has natural shoulders with roped sleeveheads. The overcoat has set-in sleeves, three buttons down the front, swelled edges, straight flapped hip pockets, a welted breast pocket, three buttons on the cuffs and a single vent. He wears the collar turned up for extra warmth. He also keeps warm in a light brown wool flat cap, something James Bond would never wear. They’re associated with older working class men, a category Bond is never associated with. With the cap and large glasses on, Moore looks nothing like James Bond. Over the suit and under the overcoat, Moore drapes a a checked Burberry—or Burberry-style—scarf around his neck. The scarf’s base colour is pale green, the scarf’s check has navy and sky blue stripes lengthwise with black and cream stripes crosswise, and the scarf has a navy lengthwise overcheck and a rust-coloured crosswise overcheck.

Though Roger Moore’s needlecord suit in The Naked Face may not be something James Bond would wear, it’s an elegant suit for informal cool-weather wear. The outfit has a timeless look that would look just as great during this autumn season as it did thirty years ago.

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.

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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.

Mischka’s Circus Outfit

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James Bond’s wardrobe in Octopussy is full of disguises, from the Colonel Toro uniform to the “Octopussy’s Circus” jacket to the gorilla suit to the clown suit. The disguise he spends the most time wearing in Octopussy is the outfit he takes from knife-throwing assassin Mischka (played by David Meyer) after he kills him. Like the clown suit, the outfit Bond takes from Mischka is also a circus costume. It would be quite a silly-looking outfit if it weren’t for the circus, but it’s tame compared to the clown suit.

Mischka-Circus-Uniform-2The main piece of the outfit is a crimson red polyester or nylon tunic that is long enough to almost cover the bum. It has a high collar that closes at the left side, and there is a roughly 9-inch placket that extends down the front of the shirt from the collar fastening to allow a head to fit through the collar. The sleeves are full cut, and the square single-button cuff is attached to the sleeve with shirring. A wide black belt with two rows of flat brass studs and a large two-prong brass buckle worn over the tunic around it gives shape to the outfit.

Mischka-Circus-Uniform-3Over the tunic, Bond wears an open black leather waistcoat that Mischka used to keep his knives. The open design provides easy access to the knives. Below the tunic, Bond wears his own navy straight-leg suit trousers from earlier rather than Mischka’s tighter black trousers worn inside tall black boots. Bond wears his own black slip-on shoes, though the stuntman who plays Bond on top of the train wears black side-zip boots.

Plastic Buttons

Grey plastic buttons on the three-piece glen check suit in Goldfinger

Grey plastic buttons on the three-piece glen check suit by Anthony Sinclair in Goldfinger

Plastic buttons are currently held to be less desirable than buttons made of natural materials, but when Sean Connery was James Bond in the 1960s they were the standard choice for lounge suits amongst England’s best tailors. Almost all of Sean Connery’s Anthony Sinclair suits in his 1960’s Bond films have thin, plain, glossy plastic buttons, and most of Roger Moore’s Cyril Castle suits and sports coats in Live and Let Die and The Man with the Golden Gun have the same type of buttons. Though it may seem illogical to put inexpensive plastic buttons on bespoke garments, there are reasons to why plastic buttons were used.

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Dark grey plastic buttons on an Anthony Sinclair dark grey flannel suit in Dr. No. The smooth texture of the buttons does not fit with the fuzzy texture of the flannel cloth.

The uniform look of plastic buttons matches the clean look of worsted suiting, and some people believe that horn buttons look too rustic for a city suit. Plastic buttons also can be made in virtually any colour, so they are typically matched with or used in a slightly darker shade than the suit. In the 1960s and 1970s, synthetics were not so taboo in quality clothes the way that they are now. Tailors may also have liked how plastic buttons were thinner than other choices. Douglas Hayward, who typically used horn buttons, used grey plastic buttons on both Roger Moore’s grey flannel suit in For Your Eyes Only and on his grey tweed jacket in A View to a Kill since horn is not found in a flat medium grey, and he wanted to match the buttons to the suit. These grey plastic buttons, however, have a matte finish like horn instead of the shiny finish buttons that Sinclair and Castle used.

Plastic Buttons on Daniel Craig's suit in Casino Royale

Plastic Buttons on Daniel Craig’s Brioni suit in Casino Royale

Timothy Dalton’s suits in Licence to Kill, not surprisingly, have plastic buttons. Most of Pierce Brosnan’s and Daniel Craig’s Brioni suits—worn in GoldeneEye, Tomorrow Never Dies, The World Is Not Enough, Die Another Day and Casino Royale—also have plastic buttons. Not all plastic buttons are created equal. Brioni’s plastic buttons both look nicer and are more durable than the average plastic buttons. This is not to say they are just as good as natural materials, but the plastic buttons give the makers of Brioni suits the look they want.

Urea buttons on Timothy Dalton's suit in The Living Daylights

Urea buttons on Timothy Dalton’s Benjamin Simon suit in The Living Daylights

Timothy Dalton’s suit buttons in The Living Daylights are another kind of plastic, made from urea. These urea buttons mimic horn but often have a more pronounced grain. Unlike horn buttons, which due to nature can never be identical to each other, the grain of urea buttons will often match each others. If the buttons look like horn but are suspiciously identical, they can’t possibly be authentic horn. The grey buttons on the black-and-white pick-and-pick suit in Skyfall are similar fake horn in urea.

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.