This week’s “Basted for Bond” infographic features George Lazenby’s Dimi Major jackets, trousers, waistcoats and coats. The clothes have a classic English cut with some fashionable updates for the 1960s, like a short jacket length and narrow straight-leg trousers. Jacket variations presented here include Lazenby’s dinner jacket, his wedding lounge jacket and his double-breasted blazer. His car coat and caped ulster coat are also included.
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.
Dimi Major is known to James Bond fans as the tailor who made George Lazenby’s suits for his role as 007 in On Her Majesty’s Secret Service. D. Major Bespoke Tailors Ltd. continues today under the ownership of Dimi’s son Andrew Major and Andrew’s sister. Andrew Major was kind enough to answer a number of questions for me about the history of the firm and the firm’s work on On Her Majesty’s Secret Service. Even though Major Tailors only did work for one James Bond film, their clothing played a substantial part in the look of the film and is one reason why the film holds up well today.
Dimi Major and the history of D. Major Bespoke Tailors
Dimi Major was originally trained to be a tailor by his father, and then moved to London where he worked at Bailey and Weatherill—known to readers of this blog as Patrick Macnee’s tailor for The Avengers—for almost a decade. By that the end of his tenure at Bailey and Weatherill, Major was ready to open his own business where he lived in the Fulham area of London, and since 1959 Major Tailors has been located there at 11 Royal Parade, Dawes Road. Andrew said it was very important to his father to own his premises.
For a few years in the 1960s, Douglas Hayward, later known one of London’s most famous celebrity tailors, formed a partnership with Major called Major Hayward. Hayward is known to James Bond fans as the tailor who made Roger Moore’s suits in his three Bond films from the 1980s, and he is also know for formerly being the to Michael Caine, Terence Stamp and many others. Hayward left Major in 1966 when he moved in with shirtmaker Frank Foster on Pall Mall and later acquired his own premises in Mayfair in 1968. Andrew told me that his father and Hayward remained friends until Major’s death in 2004.
Andrew Major cuts and fits all of Major Tailor’s garments, and he was trained by his father. The silhouette of the suits he cuts is still similar to what Major made for On Her Majesty’s Secret Service. He said about the cut:
My father always aimed for an elegantly shaped cut, with soft shoulders and a medium-weight canvas for the coat and a slim but not over-fitted line to the trousers. The emphasis has always been on a classic look with a nod to the fashion of the day, without adopting the often fleeting extremes of style. Of course, as bespoke tailors we aim to give our clients what they want while always trying to advise them on what looks most flattering for them. The suits we make tend to last quite a long time, so in the long run it is advisable to avoid being too faddish. This remains our ethos to the present day.
This cut is still the same as what Dimi Major made for George Lazenby in On Her Majesty’s Secret Service. Lazenby’s suit jackets have a 1960s flair and were made with slightly short with narrower trousers than a classic look would prescribe, but they were certainly not too faddish and do not look out of date today. Major’s attitude towards the fashions of the day is shared by most tailors, even many Savile Row tailors. A good tailor tries to make the client look his or her best above all else.
Major Tailors and On Her Majesty’s Secret Service
Dimi Major made most of George Lazenby’s tailored wardrobe for On Her Majesty’s Secret Service. Not only did he make the suits, dinner jackets, sports coats and trousers, but also the three-quarter-length peacoat-like overcoat and the Victorian Ulster coat for the Sir Hilary Bray disguise. Andrew Major could not find any records that they made Lazenby’s infamous highland dress, though the firm has made a number of jackets for highland dress over the years but not kilts.
Not only did Major make clothes for George Lazenby, but they also made clothes for Bernard Lee (M), Gabriele Ferzetti (Draco) and Telly Savalas (Blofeld). For Lee they made two three-piece outfits (though not suits), though there are no records for his green velvet smoking jacket. Andrew Major told me that they have made similar smoking jackets for clients, who want a less complicated smoking jacket that is styled more like a dinner jacket, like M’s is. For Ferzetti they made his navy nailhead three-piece suit and his black lounge outfit for the wedding. Ferzetti’s jackets have stronger shoulders than Lazenby’s have, and that could have been requested by costume designer Marjory Cornelius to give Ferzetti’s suits are more continental look. For Savalas they made the overcoat with the astrakhan collar. Andrew Major said “I know that my father was very proud of his work when he saw it on screen.” After all, Major was responsible for creating the tailored clothing for all of the film’s male leads.
Peter Hunt, the director of On Her Majesty’s Secret Service, was already a client of Dimi Major before the film was made. It is unknown if he influenced the producers to choose Major to do the tailoring for the film in the way that Terence Young brought in his tailor, Anthony Sinclair, to make suits for Sean Connery in the Bond films. Major also made at least one suit for Bond producer Harry Saltzman, though Andrew does not know when. Andrew also told me that they had made suits for another James Bond actor for personal use, but he is unable to disclose whom.
Major Tailors has tailored many stars for other films, television and theatre over the years. They made George Segal’s suits for the 1973 film A Touch of Class, which resemble George Lazenby’s suits despite having wider lapels. Tony Curtis was also a client of Major’s for many years, including at the time of The Persuaders. Andrew is unable to confirm if Curtis wore any suits from Major in the series.
You can find out more about D. Major Bespoke Tailors at MajorTailors.com
For On Her Majesty’s Secret Service‘s climax battle at Piz Gloria, James Bond wears a medium blue anorak with matching trousers or salopettes. The suit of anorak and trousers is made of wind-proof and waterproof material and is lined for warmth. An anorak is similar to a parka, but it is distinguished by being hip-length instead of knee-length, is a pull-over and has drawstrings to cinch the waist. The waist drawstrings prevent the bulky anorak from being completely shapeless, but they also help retain warmth. These features of the anorak are all present on Bond’s example. The anorak also has a large hood that cinches around the neck with drawstrings.
The anorak’s full fit does not impede movement, and Bond moves quite well in it. It has straps with a slide-buckle on the sleeves to keep the arms warmer. It is detailed with inset pockets on either side of the top of the chest, which have velcro-secured flaps. There are also inset hip pockets on either side that close with a zip fastening.
Bond’s anorak also has a strap that connects the bottom of the front with the bottom of the back between the legs. I am unable to tell how the strap is fastened, though I would guess it uses velcro. It keeps the coat secured when Bond is jumping and sliding about, as well as in strong winds, but it should hopefully come easily undone if there is too much stress on the strap. A strap between the legs is one place a secure fastening is not a good thing! Whilst the strap pulls the anorak tightly in front, it hangs looser in the rear. The coat was probably designed for winter sports, and that’s why it has the strap.
The medium blue trousers that match the anorak are tucked into black weather-treated suede or suede-like ankle boots with thick black rubber soles. They have a thin strap over the vamp that fastens with a steel buckle over the sole on the right side of the boot. Bond wears black leather gloves with a thick insulating lining, and the seams are sewn on the inside. The gloves are gathered at the wrist and secure with a slide-buckle on the sides.
Under the anorak, Bond wears a very thick steel blue wool mock poloneck jumper. Only a peak of the ribbed polo neck collar and a ribbed cuff of the jumper is seen, and the jumper is seen only very briefly.
Draco wears the same outfit as Bond, though he wears a light brown leather utility belt over his. Draco’s men dress similarly in white anoraks and white trousers, but in the same mock polo-neck jumpers and black boots that Bond and Draco wear, and a little more of the jumper can be seen on them. Bond’s outfit is provided by Draco and is neither his own outfiit nor something provided by MI6.
Marc Ange Draco (Gabriele Ferzetti) in On Her Majesty’s Secret Service is one of Bond’s best-dressed allies of the series. He is introduced wearing a perfectly-fitted navy nailhead three-piece suit made by Dimi Major, who also made George Lazenby’s tailored clothing for the film. Nailhead is not to be confused with birdseye, but both are tiny repeating patterns. Whilst birdseye is a specific pattern of round dots with a unique weave, nailhead can be a variety of patterns. In any case, the nailhead is a pattern of squares rather than circles, or it’s a small pattern on a square grid unlike the diagonal repeat of the bridseye pattern. Draco’s nailhead suit is similar to the diagram below:
Draco’s suit jacket is a button three suit with the lapels gently rolled over the top button. It has a structured cut with straight, padded shoulders cut on the bias, gently-roped sleeveheads, a full-cut chest and a suppressed waist. The jacket’s front darts continue straight down below the jetted hip pockets to the jacket’s hem. There are three buttons on the cuffs and no vents. The suit’s waistcoat has six buttons with five to button. The suit’s trousers have a darted front, slanted side pockets and a tapered leg with deep two-inch turn-ups. The suit is trimmed with black horn buttons.
The suit overall has a very timeless style with balanced proportions. Whilst Draco’s suit doesn’t look as modern as George Lazenby’s Bond’s suits do, it doesn’t look old-fashioned either. If the jacket had pocket flaps and vents it would easily look more modern.
Draco’s pale blue shirt has a moderate spread collar, front placket and mitred two-button cuffs, with the outer button left open. The navy tie has wide grey repp stripes bordered by narrower champagne-coloured stripes, with the stripes in the British direction. Draco ties it in a four-in-hand knot. He finishes the outfit with black shoes and a red carnation in his lapel.
Later in On Her Majesty’s Secret Service Draco wears a dark grey flannel chalkstripe double-breasted suit that isn’t seen much. The suit jacket has the same straight, padded shoulders with roped sleeveheads that the three-piece navy nailhead suit has. The very wide peaked lapels with a considerable amount of belly, however, give the suit a distinct 1930s look. The white shirt that Draco wears with the double-breasted suit is made in the same style that he wears with the three-piece suit with a moderate spread collar and front placket. The tie has repeated sections of small mid blue, turquoise and green stripes on a navy ground, and Draco ties it in a four-in-hand knot.
In On Her Majesty’s Secret Service, M (Bernard Lee) wears a modern take on the smoking jacket in dark green velvet. Traditional smoking jackets have a frog closure—a button or toggle that fastens through an ornamental braided loop—but M’s smoking jacket is updated with a conventional button and buttonhole. Smoking jackets are meant for private wear, either as an alternative to the dinner jacket or as a garment for lounging. M wears his for the latter purpose when tending to his butterfly collection.
M’s double-breasted, shawl-collar smoking jacket has four buttons with one to button, the same style as his dinner jacket is Goldfinger. It is cut with natural shoulders, roped sleeveheads and a draped chest. M’s smoking jacket has one button on the cuffs rather than the customary ornamental braid that would accompany a frog closure on the front, but the jacket follows tradition with jetted pockets and a non-vented skirt. The black velvet lapels contrast with the body of the smoking jacket, but the buttons are covered in the body’s green velvet. The jacket could essentially be called a velvet dinner jacket, but M wears the jacket in the manner of a smoking jacket.
Under the jacket, M wears an ecru shirt with a spread collar, button cuffs and a plain front. Around his neck and under the shirt he wears a day cravat in an ancient madder print in brown, red and chartreuse on white. His trousers are dark grey and probably flannel. Though we don’t see M’s footwear, the natural choice for this outfit would be a pair of velvet Albert slippers with quilted linings and leather soles.
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.
Like most of Bond’s bathrobes and dressing gowns, the bathrobe Bond wears in On Her Majesty’s Secret Service is not his own. In fact, it’s not even a men’s bathrobe. Tracy (Diana Rigg) wears the bathrobe after she breaks into Bond’s hotel suite, and she leaves the bathrobe behind when she disappears from Bond’s balcony in the middle of the night. Since her dress is on the bed when we first see her in the bathrobe, Tracy probably found the bathrobe in Bond’s hotel suite closet. The bathrobe is likely provided by the hotel in every suite’s closet.
Bond puts on the bathrobe when he wakes up and finds it laying next to him in bed. The robe’s short length is what gives it away a women’s bathrobe, and when Bond sits in the bathrobe it just barely covers the parts that it needs to. On Tracy, the bottom of the bathrobe hits at her upper thigh. Diana Rigg 5’9″ tall, and the short bathrobe plays up the sex appeal of her long legs. Bond, however, is 6’2″ tall and for obvious reasons needs a longer bathrobe. The brief shot of Lazenby just barely wearing the bathrobe that is too short for him may have been for the same reasons Diana Rigg wears it. After all, On Her Majesty’s Secret Service features a new younger and fitter Bond.
The terrycloth bathrobe is white with a windowpane of double navy lines. The lines are thicker in the vertical than in the horizontal, which is an attempt to make the pattern more slimming by emphasising the vertical lines. There are two sets of three navy stripes follows by a single navy stripe around the shawl collar and the ends of the sleeves. The sleeves are worn folded up. A belt ties around the waist.
This may be the only piece of women’s clothing I ever cover on this blog, unless Bond again wears women’s clothing. It’s a shame we don’t get to see Bond wearing the gold silk pyjama suit with blue piping laid out on his bed.