The latest “Basted for Bond” infographic breaks down the jackets, trousers and waistcoats that Roger Moore wears in For Your Eyes Only, Octopussy and A View to a Kill, made by legendary celebrity tailor Douglas Hayward. Though the low button two jacket is the mainstay of Moore’s Hayward wardrobe, he also wears button three jackets, very low-buttoning double-breasted jackets and a morning coat, all and more examined in the following infographic.
Roger Moore has earned a reputation for being the fashionable James Bond due to his collection of safari jackets and shirts. Some of them, like the cream safari jacket in The Man with the Golden Gun, are indeed fashionable 1970s items that have poorly dated. Others, like the safari shirt-jackets in Moonraker and Octopussy, are very practical garments based in traditional military wear that Bond appropriately wears in the jungle. Even though Roger Moore wears better and worse clothes as James Bond, these safari clothes will always be what he is most remembered for. The safari shirts and jackets are all complicated garments with many interesting details worth a closer look.
Though Roger Moore often dresses flamboyantly as Lord Brett Sinclair in his early 1970s television show The Persuaders, not all of his clothes are entirely adventurous or fashion-forward. One of Moore’s more conservative pieces of clothing in The Persuaders is a charcoal track-stripe three-piece suit, which he wears in eight episodes. The track stripes are pairs of white or light grey pinstripes, spaced close together. Roger Moore designed his clothes for The Persuaders, and for this one he kept the cloth more conservative. Cyril Castle, Moore’s tailor for The Saint and his first two James Bond films, made the suit.
This cut of this suit is similar to Roger Moore’s suits in The Saint, but the jacket has been updated from the 1960s with wider, more balanced lapels and a higher button stance that gives the suit jacket a timeless look. The jacket has a very British cut with softly padded shoulders, a full chest and a nipped waist. The front buttons three with a medium low stance that has a balanced and flattering look on Roger Moore’s figure. The jacket is detailed with three buttons on the cuffs, slanted pockets and a single vent.
The suit’s waistcoat has six buttons with five to button. The bottom of the front edge starts to curve away above the bottom button, thus the bottom button and buttonhole do not line up. The waistcoat also has notched lapels and two welt pockets.
Moore wears a gold chain from one waistcoat pocket to the other. This should mean that Moore has a pocket watch in one waistcoat pocket and a fob in the other, but Moore is wearing a gold wristwatch. Either Moore has both a wristwatch and a pocket watch, or the waistcoat’s chain is purely decorative.
The suit’s trousers are made by Cyril Castle’s trouser maker at the time, Richard Paine. They have jetted cross pocket on the front, and a dart centred on the front of each side cuts through the pocket. There is a button-through pocket on either side in the back. The trousers have a narrow straight leg, following 1960s fashion. Though Moore often dresses flamboyantly in The Persuaders, he wouldn’t adopt the flared looks that became popular in the late 60s until Live and Let Die. The trousers also have belt loops, but Moore doesn’t wear a belt, and the waistcoat keeps the belt loops covered. The trouser waist fits well enough that a belt is not needed.
Moore’s lilac poplin shirt, made by Frank Foster, has a spread collar, a plain front and button-down cocktail cuffs that fasten with a single button. Lilac shirts are very versatile, and the colour flatters Moore’s warm complexion. The tie is navy with sets of wide cream, champagne and gold stripes, and it is tied in a four-in-hand knot. The shoes are black monk shoes with an apron front.
“Basted for Bond” continues with an infographic that examines the cuts and details of Cyril Castle’s jackets (including the silk dinner jacket and tan hopsack jacket), trousers and chesterfield coat that he made for Roger Moore to wear in Live and Let Die and The Man with the Golden Gun. Please enjoy below.
Only in Dr. No and Live and Let Die so far do we get to see where James Bond lives, but in Live and Let Die we also get a glimpse inside his coat closet. We can see five coats in his closet. From left to right there is a shepherd’s check coat, a light grey suede trench coat, a navy double-breasted chesterfield with a velvet collar that Bond wears to New York in the following scene, a beige cotton trench coat and a charcoal or dark brown coat. Bond enters his coat closet wearing a yellow dressing gown made by Washington Tremlett.
Only a sliver of the sleeve of the checked coat is seen. It is a black and grey shepherd’s check tweed, which might have some other colours subtly woven in. The coat likely has raglan sleeves. Bond would possibly wear such a coat over his tweeds in winter.
The second coat is a grey suede trench coat, likely single-breasted. It has set-in sleeves (differentiating it from the raglan-sleeved balmacaan), a large, pointy collar, thick belt loops and dark brown buttons. Though Roger Moore doesn’t wear any trench coats in his Bond films, he wears them in many television shows and films including The Saint, The Persuaders, That Lucky Touch, The Wild Geese and The Muppet Show. In the 1987 James Bond retrospective Happy Anniversary 007, Moore wears both a traditional tan gabardine trench coat and a light brown corduroy trench coat.
The fourth coat is another trench coat, but this one is a more classic double-breasted cotton gabardine trench coat. Traditionally they come in a darker tan colour, and this one is a lighter beige. It has an eight-button double-breasted front and set-in sleeves but lacks the shoulder straps of the classic trench coat. The belt is not visible, but it doesn’t mean there is no belt. It is similar to the more traditional trench coat that Bond carries into the office in For Your Eyes Only. Neither of the trench coats in Bond’s closet are traditional versions of the trench coat and take cues from the fashions of the day.
The last coat in the closet is hardly seen, and the closet is so dark in the corner that it is difficult to tell what style it is and whether it is black, charcoal or dark brown.
Besides the clothes in the closet, the hangers are also important to note. Bond’s hangers are somewhat thick and slightly contoured to give proper support to the jacket’s shoulders. The more the hangers resembles human shoulders the better support they provide. Structured overcoats and top coats—as well as suits—need the support of hangers that resemble human shoulders to maintain their shape. Thin, straight hangers are fine for unstructured garments like trench coats, but can cause dimples and collapsed shoulders on structured coats.
Sean Connery’s suits in Goldfinger aren’t the only clothes to have been worn by a James Bond actor in a previous non-Bond film. In Connery’s case, many of his clothes in Goldfinger were originally made for Woman of Straw. During Roger Moore’s longest break between Bond films, he made an Italian film called Street People in 1976. Though Street People was released half a year before filming in Egypt began for The Spy Who Loved Me, a certain cotton suit jacket from Roger Moore’s Street People wardrobe was reused. That cotton jacket is the tan jacket with safari details that Moore wears in the Cairo and Giza scenes in The Spy Who Loved Me.
In Street People, the cotton jacket was part of a tan suit with matching trousers, possibly made by Angelo Roma, Moore’s tailor at the time. In most cases, suit jackets don’t work well without the matching trousers, but the casual cotton material as well as the sporty safari details make this jacket work well on its own. It may even work better with the stoned-coloured trousers that Moore wears it with in The Spy Who Loved Me. In Street People, the details on the jacket are brought to attention more by the wearing trousers that don’t distract from the jacket (not that the trousers in The Spy Who Loved Me are distracting).
Tan is one of the best colours for a cotton suit since it looks great for warmer weather and fits the suit’s casual material. Tan also looks great with Roger Moore’s warm tan complexion and golden brown hair.
The structured suit jacket could have been made by Angelo Roma since the silhouette is similar to the other suit jackets that Roger Moore wears in both The Spy Who Loved Me and in Street People. It has a clean, trim cut with straight shoulders, roped sleeveheads and a suppressed waist. If the wide lapels don’t make the jacket look dated, the safari-esque details do. It has shoulder straps, a belted back with a deep single vent, belted sleeves, patch hip pockets with flaps and a set-in breast pocket with a flap. The jacket has swelled edges all over to reinforce the garment.
Differing from Roger Moore’s typical suit jackets at the time, the lapels have a slight fishmouth shape and the front quarters are cut closed with the bottom corners only a little rounded. The closed, straight quarters give this jacket a more military look that goes with the safari details. The jacket’s brown buttons are probably made from the Tagua nut which comes from the seed of a tropical palm and is similar to ivory. These buttons are also known as corozo and are commonly used by Italian makers for suit buttons since they can be dyed in colours to match the suit. In brown they go especially well with the safari jacket look.
The suit trousers are similar to the Angelo Roma suit trousers that Roger Moore wears in The Spy Who Loved Me. They have a flat front, no belt loops and wide, flared legs. They differ from Moore’s trousers in his Bond films by having turn-ups. The turn-ups are approximately two inches, but they don’t look so tall because the bottoms of the trouser legs are so wide. Ordinary 1 1/2 inch turn ups would look very short on such a wide hem. Despite the suit being one of the most fashion-forward items Roger Moore has ever worn, it is well tailored and creatively tailored.
Moore wears this suit either with a open-neck cobalt blue shirt or a dark brown polo neck jumper. The cobalt blue shirt has a long point collar, a front placket and cocktail cuffs with a rounded and contoured shape. The shirt is made by Frank Foster. The contoured shape of the cuffs is different from the straighter cocktail cuff design that Foster made for The Man with the Golden Gun and Moonraker before and after this film, respectively, but Foster used to experiment more with cocktail cuff shapes. The collar and collar band shapes on this shirt are very similar to the collars Foster made for The Spy Who Loved Me and Moonraker, but this collar is a little shorter. The shirt’s buttons are shiny medium blue and possibly made of shell. Moore wears the collar button as well as the first three buttons below the collar open. The buttons are spaced a little closer together and higher than on an ordinary shirt, but it’s still a lot of buttons to have open and looks a bit sleazy.
The dark brown ribbed polo neck jumper must be lightweight to be comfortable in the seemingly warm weather in this film. However, even a lightweight jumper looks too heavy to wear with a light cotton suit.
With the suit, Moore wears dark brown socks, except for one shot where light brown socks are visible. His shoes are chestnut brown square-toe slip-ons. Briefly he wears a pair of large plastic oval sunglasses.
Since From Russia with Love, striped suits have been a staple of James Bond’s wardrobe. There are many different kinds of stripes for suits, including pinstripes, chalk stripes and variations on those stripes, such as bead stripes, rope stripes, track stripes, multi-stripes, shadow stripes, self stripes and more. There are not universally accepted definitions for all of these different stripes, but suiting stripes are defined purely on the appearance of the stripe and not how far they are spaced apart. James Bond has worn all of these different types of stripes, with the chalk stripes being the most common.
A pinstripe is a stripe that is very fine but usually well-defined. Alan Flusser writes in Dressing the Man that pinstripes are “fine stripes the width of a pin scratch resulting from the use of white, gray, or other yarns in a series in the warp of a worsted fabric.” Hardy Amies writes in ABC of Men’s Fashion that pinstripes “are really a series of dots”. These two definitions aren’t exactly the same, but they aren’t at odds with each other either.
Pinstripes are often woven into the cloth separately from the background weave on a Dobby loom rather than as simply part of the background weave. In those cases the pinstripe isn’t one or two of every twenty to forty or so yarns in the weave, but it’s added to the cloth in on top of the base colour. This helps makes the pinstripe more defined and keeps it from blurring into the cloth. These kinds of pinstripes are often made of silk or mercerised cotton instead of wool so they stand out even more. A variation on the pinstripe is the bead stripe, also called a beaded pinstripe or a rain pinstripe, which looks like a line of tiny beads spaced apart. These can be either one or two yarns wide. On some pinstripes, two yarns of beads alternate above and below to create a more continuous pinstripe. This kind of stripe is what tailor Richard Anderson calls a “true” pinstripe in his book Bespoke: Savile Row Ripped and Smoothed.
A single-yarn pinstripe woven as part of the warp in a twill weave can also have a bead effect since the twill wales break the stripe. These single-yarn pinstripes that are part of the background weave don’t stand out as much as the kind described above and often can’t be seen clearly from a distance. When woven into the cloth, a stripe that is two yarns wide can look either like a pinstripe or a chalk stripe depending on the weave and type of cloth. In these cases the stripe could fairly be called either a pinstripe or a chalk stripe.
The track stripe is a variation where the pinstripes come in groupings of two or three, with the stripes in each grouping spaced one or two yarn’s width apart.
A chalk stripe is woven two to five yarns wide and resembles the lines of a tailor’s chalk, hence the name. Chalk stripes are woven as part of the warp of the weave, which makes the stripes less defined than typical pinstripes. Amies describes the difference, “‘pin’ stripes … look very ‘set’ when compared to ‘chalk’ stripes, the outlines of which are blurred and thus blend with the background.”
Chalkstripes, especially in wider spacings, are less formal than pinstripes. Chalk stripes are woven as two to four yarns of every forty or so yarns. A true chalk stripe is a stripe on a flannel cloth, which gives it a blurry appearance that resembles chalk. Wider stripes on worsted suitings can also be called chalk stripes. On a plain weave a chalk stripe has a pebbled effect and may be called a pearl chalk stripe. On a twill weave the diagonal wales make diagonal breaks in the stripe. This kind of chalk stripe mimics the look of twisted rope, and consequently this stripe is called a rope stripe or a cable stripe.
Worsted suits with stripes are best worn in a business setting, especially in the darkest of charcoal and navy worsteds. Riccardo Villarosa and Giuliano Angeli write in The Elegant Man, “It seems as if the design on the fabric of a pinstriped suit was inspired by the lines in accounting books. In reality, continuous or dotted lines be traced to the lines of the trousers worn with a morning coat, which was very popular in London during the first half of the century.” Pinstripes, however, do resemble the lines in ledger books more than they resemble the much bolder stripes of trousers worn with a morning coat, and thus they look most appropriate in a business setting. Flannel chalk stripes, on the other hand, can work well in social settings, especially when in lighter shades of charcoal and navy. Pinstripes and chalk stripe cloths are best made up as suits and not as odd jackets or trousers. Pinstripes and chalk stripes look too serious enough to wear outside of a suit, and they look best when they can continue from the shoulders down to feet.
James Bond’s Striped Suits
James Bond’s first striped suit is in From Russia with Love, and it is navy flannel with wide-spaced grey chalk stripes (pictured above under the “Chalk Stripes” header). The grey stripes don’t stand out as much as white chalk stripes would, but it is overall a very classic chalk stripe suit. This suit works well in Venice in a non-office setting because the flannel cloth and wider stripe spacing make this suit less formal than the typical striped suit.
Bond’s second striped suit is a brown shadow stripe suit worn in the Fort Knox scene in Goldfinger. Shadow stripes are created in two ways, either by a variation in the weave—woven on a dobby loom—in the same colour as the background of the suit or by using darker yarns. When the stripe is the same colour as the background of the suit it can also be called a self stripe. Shadow stripes can be any thickness, from one yarn to many more than a chalkstripe. Bond’s suit in Goldfinger has a stripe most likely two yarns wide.
In On Her Majesty’s Secret Service, James Bond starts a long tradition of wearing striped suits in London along with a tradition of three-piece suits. The suit in On Her Majesty’s Secret Service is navy flannel with white chalk stripes in a narrower spacing than on the suit in From Russia with Love. The narrower spacing gives the traditional chalkstripe a more modern and slightly more formal look. Narrower spacing between stripes became more popular in the 1960s, and Roger Moore wore suits with stripes spaced much closer than this throughout The Saint.
In Diamonds Are Forever, Bond visits Blofeld’s oil rig dressed for business in a navy suit with blue chalk stripes. Chalk stripes on worsted suitings are fairly bold when in white, but since these stripes are medium blue they don’t have so much contrast with the suit’s background. Blue stripes are an effective way to wear stripes without the fear of making too bold of a statement in stripes. However, in some settings blue stripes may be seen as too fashionable compared to the bolder, yet more traditional, white stripes.
In The Man with the Golden Gun, Roger Moore continues the tradition started in On Her Majesty’s Secret Service of wearing stripes in London. Moore’s suit is a double-breasted medium grey flannel with white chalk stripes. Medium and lighter greys are not as popular in London as dark greys are, and consequently this suit has a less business-like appearance. This suit could just as easily be worn for a daytime social occasion, but the colour is too light to wear in the evening. Later in The Man with the Golden Gun, Bond wears an olive multi-stripe double-breasted suit out at night in Hong Kong. A multi-stripe pattern has a series of stripes in different weights or colours. The olive suit in The Man with the Golden Gun has both different weights and different colours, with a series of very closely-spaced tan pinstripes between wider-spaced red chalk stripes. Multi-stripes are the least serious of all suit stripes and function better for social occasions than for business.
The next time Bond visits the office is in Moonraker, and once again he wears a striped suit. This time it’s a navy pinstripe suit, and the pinstripes are spaced so close together that they dull and lighten the navy from a distance and thus make the suit look blue-grey. The suit has about six pinstripes per inch.
Bond returns to more traditional styles of clothing in For Your Eyes Only, and in his visit to the office he once again wears a striped three-piece suit. And just as Sean Connery and George Lazenby wore before, Roger Moore wears a navy chalk stripe suit. This suit is worsted flannel, so the stripe is more defined than it is on Connery’s and Lazenby’s fuzzier woollen flannel suits. Moore continues wearing a striped three-piece suit to office in Octopussy, but this time it’s a worsted dark grey twill rope stripe, a more defined variant of the chalk stripe. A View to a Kill is Roger Moore’s only Bond film in which he does not wear a striped suit to the office.
TImothy Dalton’s Bond continues the tradition of wearing a striped three-piece suit to the office in The Living Daylights with a navy suit with narrow-spaced grey chalk stripes. Though the grey stripes are thick and spaced close together, being grey prevents them from looking overbearing. After The Living Daylights Bond does not wear a striped suit again for twelve years. The next striped suit comes in The World Is Not Enough, when Bond wears a dark charcoal three-piece suit with subtle grey pinstripes to the office (pictured above under the “Pinstirpes” header). The grey stripes on this suit are of the “bead stripe” variety.
Every Bond film that follows The World Is Not Enough has Bond wearing a striped suit. Die Another Day sees Bond wearing a suit in dark grey with light grey pinstripes. Bond even wears two navy pinstripe suits in Casino Royale: a suit on the train with narrow-spaced, hardly seen grey pinstripes and a three-piece suit with slightly wider-spaced light grey double track stripes in Italy. This is the first film since Sean Connery’s Bond films that Bond wears striped suits outside of London, but he wears them to show he is in a business mindset. In Quantum of Solace, Bond wears a navy suit with blue pinstripes. These stripes are three yarns wide, with the three yarns creating horizontally arranged series of dots. I consider the stripes on this suit pinstripes rather than chalk stripes because the yarns are very fine and make up narrow stripes of pin dots. These stripes are spaced a half-inch apart.
Bond’s latest striped suit in a fancy charcoal rope stripe suit in Skyfall. The charcoal suiting is in a twill weave, as is necessary for a rope stripe, except on either side of each grey rope stripe there is a plain-woven section framing the stripe, hence the “fancy” part. With the exception of Skyfall, Bond’s striped suits in recent years have tended more towards pinstripes than chalk stripes.
Roger Moore’s trousers in his 1970s James Bond films are notorious for their flared or bell-bottom legs. Though the flares were most exaggerated in The Spy Who Loved Me and Moonraker, Roger Moore will forever be remembered for these trousers. That is unfortunate because Moore’s trousers have some interesting details beyond the rather pitiful flares. Moore’s suit trousers, odd trousers and casual trousers in the 1970s were all very similar, though in Live and Let Die and The Man with the Golden Gun they were made by Mayfair tailor Cyril Castle, and in The Spy Who Loved Me and Moonraker they were made by Roman tailor Angelo Roma. Though most today would say the trousers are ruined by the flared legs, there are many interesting details at the top of the trousers.
Along with the flared legs, some may also say that the trouser waist sits too high. A higher waist gives Moore the illusion of being taller, and it gives his actual waist the definition it needs. When the trousers are worn with a jacket, the higher waist keeps the shirt from being visible beneath the fastened jacket button and creates an overall sleeker silhouette.
Cyril Castle’s Trousers
Cyril Castle’s trousers have subtly flared legs, which would now be called “boot-cut.” They taped gently to the knee and gently flare out below the knee. If there could be an elegant example of flared mens trousers, this would be it. Castle took the fashion trend and did the best he could with it. The hems are angled to cover most of the shoes.
In Live and Let Die the suit trousers are made with “DAKS top” button-tab side adjusters with three buttons, whilst the odd trousers and casual trousers are worn with belts. The suit trousers also have an extended waistband with a hidden clasp closure. Both the waistband extension and the side tabs have a rectangular shape with rounded corners. In The Man with the Golden Gun, all of Roger Moore’s trousers that can be seen are worn with belts. Some of the casual trousers may have been made by someone other than Castle, but they are all made without side pockets.
The tops of Castle’s trousers have a unique style. The front has long darts of approximately four to five inches sewn down the middle of either side. It’s effectively like having small pleats, but since they’re sewn down the trousers have the cleaner look of flat fronts. Castle obviously believed that trousers without pleats still needed to have shape in the front.
There are neither pockets on the sides of the trousers nor frogmouth pockets on the front of the trousers. This gives the trousers a very clean look, and when Moore moves about there are no pockets to gape open. Instead, the trousers have top-entry pockets on each side at the waistband seam. They’re like coin pockets that would be placed on the right side, but these pockets are larger. These top-entry can be found on Moore’s suit trousers in Live and Let Die and The Man with the Golden Gun, and on many of his casual trousers as well.
The back of the Cyril Castle trousers has a button through pocket and a pair of darts on either side. Ordinarily, darts on the back of trousers go from the bottom of the waistband down to the top of the pockets, but on Castle’s trousers the inner darts extend further through the pockets to give more fullness to the seat. Castle offsets those darts slightly to the outside of the centre of the pocket so not to interfere with the buttons. The second dart on either side goes from the bottom of the waistband to the outer corner of the pocket. Placing the darts to the side of the pockets rather than spacing them over the middle of the pockets—where pairs of rear are typically placed—throws the fullness toward the hips where it may be more useful for Moore’s body. Through his unique method of using darts, Cyril Castle is able to give Moore the fullness through the seat, hips and thighs that he needs without using pleats.
Angelo Roma’s Trousers
The tops of Angelo Roma trousers in The Spy Who Loved Me and Moonraker aren’t seen very much since they are usually hidden under jackets and jumpers. Like Cyril Castle, Angelo made suit trousers, odd trousers and casual trousers for the Bond films he worked on. They’re cut with wider flared legs than the Castle trousers are, though from the knee up they still have a very classic look. The hems are angled to cover most of the shoes.
Like the Castle trousers, the Angelo trousers are also made without side pockets. However, they have nothing to make up for the lack of pockets. Some of the trousers, like the black casual trousers in Moonraker, have no rear pockets at all. The trousers chose clean lines over utility, which is an approach women’s clothes often follow. The lack of rear pockets highlights the shape of the buttocks instead of camouflaging it with pockets. The trousers on the dinner suit for The Spy Who Loved Me go the traditional route of having a rear jetted pocket only on the right.
The front of the Angelo trousers is plain without darts. Like most better flat front trousers, these trousers are made with a pair of darts on either side in the rear. The darts extend from the bottom of the waistband to where the top of the rear pockets would be, and the darts would be spaced equidistant from the centre of each pocket. This is how two darts on each side of the rear of men’s trousers are typically done. The suit trousers and odd trousers in The Spy Who Loved Me are made with an squared extended waistband. They are neither worn without a belt nor have an adjustable waistband. They are made to exactly the right size so no assistance is needed. Such a waistband is not practical since almost everybody’s waist fluctuates a little. The casual trousers in The Spy Who Loved Me and most of the trousers in Moonraker are worn with belts.