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.
Though Bernard Lee’s M generally wasn’t a fan of double-breasted suits—but he wears one in Dr. No—his chief of staff Bill Tanner prefers them. James Villiers plays Tanner in For Your Eyes Only to take M’s place for the one film whilst M is on leave, as a result of Bernard Lee’s death. Tanner wears two double-breasted suits of the same style in For Your Eyes Only: a charcoal rope stripe suit, which was already covered here two years ago, and a charcoal flannel suit. The charcoal flannel suit and the rest of the outfit have a very conservative approach. The suit is most likely made by an English tailor.
The jacket has six buttons with two to button, but Tanner fastens only the bottom button in the manner attributed to Prince George, Duke of Kent. The middle row of buttons is made to fasten as well as the bottom row that Tanner fastens. Though the button stance is slightly lower than what is common today for English tailors, it’s only about an inch lower. A higher button stance, however, is better if the wearer chooses to only fasten the bottom button. The jacket has a classic British military cut with straight, padded shoulders with roped sleeveheads, similar to what Dege & Skinner or Gieves & Hawkes make. The jacket has a clean chest made fuller by leaving the middle row of buttons open, a gently shaped waist and a flared skirt. It is detailed with flapped pockets, deep double vents and three buttons on the cuffs. Neither lapel has a buttonhole.
Tanner wears two different shirts and ties with this suit. The first shirt is medium blue end-on-end with white stitching to bring out the white in the shirt’s weave. The shirt has a spread collar, placket and double cuffs with the link holes placed close to the fold. The collar, cuffs and placket are stitched 1/4 inch from the edge. Tanner wears a solid navy tie without a discernible weave, tied in a four-in-hand knot. The colours of this outfit recall a common combination that Sean Connery’s James Bond often wears with his charcoal flannel suits. Tanner also wears a navy and white striped silk pocket square with a thick navy border, which is stuffed casually, but elegantly, into his suit jacket’s breast pocket. The navy in the pocket square picks up the navy in the tie whilst the white stripes bring out the white in the end-on-end shirt.
The second outfit is not as nice as the first. The shirt is a complicated shadow stripe pattern of grey and maybe other colours on a cream background. The shirt’s warm tone does not flatter Tanner’s winter complexion. It has a moderate spread collar and sleeves too short to be seen. The tie is solid burgundy, likely repp, and tied in a four-in-hand knot. He does not wear a pocket square with this outfit.
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.
Pockets are a common feature on shirts, but what shirts should have pockets? A true dress shirt—a shirt for black tie, white tie or morning dress—should never have a pocket, but on the other hand, pockets are always appropriate on sports shirts and work shirts. What about formal shirts (called dress shirts in the US) with pockets? Pockets generally make a shirt less dressy, so should the shirts you wear with your suits and sports coats have pockets? Most formal shirts in the US have a left breast pocket whilst most formal shirts in the UK do not. Formal shirts in the UK are typically dressier than their American counterparts in many other ways: poplin versus pinpoint, double cuffs versus button cuffs, spread and cutaway collars versus point and button-down collars. In the UK, a shirt with double cuffs never has a pocket, though some makers put pockets on their button-cuff shirts.
James Bond almost never wears pockets on his formal shirts, with the exception being two of the worst shirts Bond has ever worn in Licence to Kill. These shirts have the standard single American oversized, open patch pocket with a pointed bottom. Since the film was made in Mexico and Florida, the shirts were more than likely sourced in America. Most Americans are used to pockets on all formal shirts, so much that I witnessed a man returning a shirt he thought was defective because it did not have a pocket. If a man is wearing a suit or a jacket, the pockets in the jacket are there to be used. If a man is not wearing a suit or jacket, a sports shirt is usually appropriate. Formal shirts with pockets are most useful for the man who does not wear a jacket in the office, though there are more elegant ways to carry things away from one’s desk. Unlike a structured jacket, a shirt has no support for anything in the pocket. Anything heavier than a couple pieces of paper in a shirt pocket ruins the lines of the shirt.
Pockets are at home on sport shirts, and James Bond has worn many sports shirts with pockets. Sean Connery’s many short-sleeve camp shirts in Thunderball and You Only Live Twice, Pierce Brosnan’s two camp shirts in Die Another Day and Daniel Craig’s floral shirt in Casino Royale all have on the left side of the chest a small open breast pocket with rounded bottom corners. Roger Moore’s short-sleeve shirts in For Your Eyes Only made by Frank Foster similarly have open patch pockets on the left, but his have mitred bottom corners. These pockets are all correctly sized to the proportions of the body and drape neatly on the chest. Roger Moore also wears a blue long-sleeve Frank Foster sports shirt (auctioned at Prop Store) under his gilet in For Your Eyes Only that has a mitred patch pocket that matches the mitred shirt cuffs. In Casino Royale and Quantum of Solace, Daniel Craig’s polo shirts each have a small patch pocket on the left.
The sportiest of sports shirts—as well as work shirts and military shirts—have a patch pocket on both sides with a flap and button, and often a box pleat. Many of Bond shirts have this pocket style, like the terrycloth shirt in Diamonds Are Forever, a number of the shirts in Licence to Kill and the printed shirt in Skyfall (pictured top) have two breast pockets.
With New Year’s Eve coming up shortly, let’s look at more black tie inspiration. Milos Columbo, played by Topol in For Your Eyes Only, looks elegant in his three-piece dinner suit. It was most likely tailored by the same man who made who made Columbo’s blazer, Conduit Street tailor Robbie Stanford. The button one dinner jacket has straight shoulders with roped sleeveheads, a clean chest and a suppressed waist. The lapels and collar are very unique in that lapels have horizontal peaks like the Tautz lapel, and the edge of the collar is angled up to form a notch. There are three buttons on the cuffs. The jacket’s buttons are black horn, just like on Bond’s dinner jacket.
Columbo’s dinner jacket unfortunately has two very noticeable faults. The pockets are slanted and have flaps, and the flaps are made worse with a satin silk facing. Slanted pockets are not appropriate on a dinner jacket because of their sporting origins, and bulky pocket flaps are at odds with the dinner jacket’s elegant minimalism. Columbo’s dinner jacket also has double vents, which would be okay if they were a moderate 10″ length like James Bond’s are in the same scene. However, Columbo’s vents are about 14″ long, a quite excessive length since they almost reach the waist. Double vents this long unnecessarily flap about and are especially inelegant for a dinner jacket. Both the pocket style and the vent length are carried over from 1970s fashions, but the dinner jacket does not look like something from the 1970s overall. Though the details are not ideal, they don’t detract from the jacket’s beautiful cut.
With the dinner suit, Columbo wears an elegant low-cut, button three, black silk waistcoat. The waistcoat’s U-shaped opening is less common than the V-shaped opening, but it is just as classic. The waistcoat accomplishes its job of covering the waist, whilst it shows off as much of the shirt from as possible. The U-front waistcoat is almost like a cummerbund in that it is hardly seen—or not even seen at all—when the jacket is buttoned. Columbo’s waistcoat has covered buttons in the same silk as the waistcoat’s front, and it does not appear to have lapels.
Columbo wears a white dress shirt made by Frank Foster with a spread collar, pleated front and double cuffs. The shirt’s placket is stitched close to the centre, and it closes with smoke mother-of-pearl buttons, which were also on the shirt Columbo wears with his blazer later in the film. The double cuffs are secured with large, round black cufflinks that have Columbo’s dove emblem in white, and the holes in the cuff are positioned off-centre towards the fold. Columbo’s black silk thistle-shaped bow tie matches his lapels.
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.
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 Dies, The 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.
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.
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.
Questionable taste is often the sign of a villain. Emile Leopold Locque, played by Michael Gothard in For Your Eyes Only, wears a suit that’s just as suspicious as his octagonal-framed glasses. Locque’s light grey flannel double-breasted suit looks too warm to be comfortable where people alongside him are pleasantly swimming and sunbathing. The suit jacket has four buttons on the front with two to button, and the button stance is low, following the 1980s trend. The shoulders are straight and narrow, and the chest is clean and closely-fitted with a little give over the shoulder blades in back. The most questionable part of the suit is the fishmouth “cran Necker” notch lapels, a style that’s rarely made by tailors outside of France. There is nothing wrong with the lapels themselves, but notch lapels of any kind don’t belong on a double-breasted jacket. Notch lapels on a double-breasted jacket are neither an attractive nor a balanced look, and, combined with the jacket’s narrow shoulders, they give this suit an emasculating look. Double-breasted jackets with notch lapels were trendy in the late 1970s through the mid 1980s. Roger Moore wears a double-breasted blazer with notched lapels two years earlier in Moonraker, and the notch lapels place that blazer amongst the worst of James Bond’s clothing.
Locque’s suit jacket also has the unusual, sporty feature of three patch pockets—two hip and one breast—with safari-jacket-style, buttoned pocket flaps. This is another element that puts this suit into questionable taste. The jacket also has deep double vents and three buttons on the cuffs. Though the style of the jacket is odd and not in the best taste, the jacket fits quite well. The back and sleeves drape cleanly, though the low button stance causes some fit issues in the front. The trousers have slightly flared legs with a lapped seam running down the outside of each leg.
The clothes that Locque wears with the suit, by contrast, are very tasteful. The pale blue shirt has a moderate spread collar, square two-button cuffs and a front placket. The black knitted silk tie, tied in a four-in-hand knot, is the literary James Bond classic and is a good complement to this somewhat sporty suit. Locque’s socks are grey to match the suit, and his shoes are black.
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.
Anthony 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.
George 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.
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 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.