Scaramanga’s Light Blue Shirt and Trousers

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The brilliant actor Christopher Lee died Sunday at the age of 93. He will always be remembered to James Bond fans for playing the villain Francisco Scaramanga in The Man with the Golden Gun. Apart from Roger Moore’s stylish Cyril Castle suits and Frank Foster shirts, Christopher Lee is the best reason to watch The Man with the Golden Gun. His performance alone made the assassin Scaramanga one of the most memorable Bond villains. For the final duel on Scaramanga’s Island, Lee wears a light blue tropical outfit that takes from both tradition and fashion. Though he looks very much a product of the 1970s dressed head-to-feet in light blue, the colour perfectly suits the tropical marine climate of Scaramanga’s Island.

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Scaramanga’s pale blue lightweight cotton poplin shirt has a unique and practical design. It’s inspired by the bush shirt, but in pale blue it has a looks more tropical than it looks safari. The shirt was made by Thai tailor Harry, on location where The Man with the Golden Gun was partially made. The short-sleeve shirt is mid-hip-length and has many jacket-like details, though it’s not designed to be worn as a jacket. The shape is more jacket-like than shirt-like, as it’s tapered at the waist and flared at the hips. Scaramanga wears this casual shirt untucked, and like a proper untucked shirt it has a straight hem. The collar is a tall and long two-piece point collar.

There are five buttons down the shirt’s plain front, The front of the shirt has three patch pockets—one on the left side of the chest and two at the hips. The pockets are rounded at the bottom corners, have a box pleat in the middle and have pointed, buttoned-down flaps. The top pocket has a separate pen pocket accessed from above the flap, which Scaramanga uses for a gold pen that makes up part of his golden gun. He wears the bottom left pocket flap tucked in to the pocket. The back of the shirt has a one-piece yoke, a sewn-on half belt, an inverted box pleat between the yoke and belt, and a centre vent below the belt. The shirt also has pointed shoulder straps.

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Multiple shirts were made for these scenes, but there are a few differences between them. The shirt Scaramanga wears when walking with Bond to the door of his dwelling has shirring at the yoke and belt, whilst the other shirts have flat seams on the back. Some of the shirts have clear plastic buttons whilst a shirt that Scaramanga wears when first seen in the funhouse has off-white plastic buttons. Both sets of buttons are around 24 linge, which is the button size typically found on suit jacket sleeves. This shirt also does not have a hole in the top of the breast pocket for a pen (which at this point in the film had been made into the golden gun).

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The version of the shirt with off-white buttons rather than clear

This shirt has similarities to casual shirts Bond creator Ian Fleming—who was also Christopher Lee’s cousin—would wear in Jamaica. Fleming has been photographed wearing similar white and navy shirts, but Fleming’s shirts had full belts rather than a half belt in back, and they did not have shoulder straps. The shoulder straps on Lee’s shirt are clearly inspired by the safari jacket’s popularity at the time.

Scaramanga’s trousers are sky blue and slightly darker than the pale blue shirt. The trousers are made of a heavier cotton—most likely in a twill weave—than the shirt since trousers need to be sturdier than shirts do. The trousers have a flat front and flared legs, with a more pronounced flare than James Bond’s Cyril Castle trousers have. Though the shirt and trousers don’t contrast much in colour, the contrast in weight and texture help.

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The shoes are white horsebit slip-ons with a black sole and heel. Like James Bond’s horsebit slip-ons in The Man with the Golden Gun, Scaramanga’s are also likely from Gucci, but they contrast Bond’s black and brown shoes. Gucci was prominently featured in this film; Bond wears Gucci shoes and belts, and his suitcase is from Gucci. Goodnight’s handbag is also from Gucci.

One example of Scaramanga’s shirt—the one with off-white buttons—was auctioned at Prop Store on 16 October 2014 for £5,000.

A Guide to Bond’s Pinstripes and Chalk Stripes

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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.

Pinstripes

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.

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Pierce Brosnan wears a dark charcoal suit with grey pinstripes in The World Is Not Enough

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.

Chalk Stripes

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.”

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Sean Connery wears a navy flannel suit with grey chalk stripes in From Russia with Love

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.

This dark brown suit in Goldfinger has subtle shadow stripes

This dark brown suit in Goldfinger has subtle shadow stripes

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.

Bond wears a navy chalk stripe suit to the office in On Her Majesty's Secret Service

Bond wears a navy chalk stripe suit to the office in On Her Majesty’s Secret Service

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.

Sean Connery wear a navy suit with blue chalk stripes in Diamonds Are Forever

Sean Connery wear a navy suit with blue chalk stripes in Diamonds Are Forever

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.

Roger Moore's first chalk stripe suit is grey with white stripes

Roger Moore’s first chalk stripe suit in The Man with the Golden Gun is grey with 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 pinstripes on Roger Moore's office suit in Moonraker are so close together that they can only be seen clearly in this close-up shot

The pinstripes on Roger Moore’s office suit in Moonraker are so close together that they can only be seen clearly in this close-up shot

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.

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Roger Moore wears a navy chalk stripe suit in For Your Eyes Only

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 wears a navy suit with grey chalk stripes in The Living Daylights

Timothy Dalton wears a navy suit with grey chalk stripes in The Living Daylights

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.

Daniel Craig wears a navy suit with track stripes in Casino Royale

Daniel Craig wears a navy suit with track stripes in Casino Royale

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.

James Bond wears a navy suit with subtle grey pinstripes in Casino Royale

James Bond wears a navy suit with subtle grey pinstripes in Casino Royale

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.

Daniel Craig wears a charcoal suit with grey rope stripes in Skyfall

Daniel Craig wears a charcoal suit with grey rope stripes in Skyfall

Roger Moore’s Infamous Flared Trousers

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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.

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Cyril Castle suit trousers in Live and Let Die

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.

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Cyril Castle suit trousers in Live and Let Die

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.

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Roger Moore reaching into the left top pocket of his Cyril Castle suit trousers in The Man with the Golden Gun

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.

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Cyril Castle linen trousers in The Man with the Golden Gun. Look closely for the two darts above and through the rear right pocket.

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.

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Angelo Roma dinner suit trousers in The Spy Who Loved Me

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.

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Pocket-less Angelo Roma black trousers in Moonraker

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.

Comparison: The Button Three Double-Breasted Blazer

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Reader TheLordFlasheart made the excellent suggestion of comparing similar outfits worn by different James Bonds throughout the series, so I had to find two outfits that I think could be compared fairly. I’ve chosen to begin with comparing George Lazenby’s and Roger Moore’s button three double-breasted blazers. These are the only two Bonds who have worn this naval-uniform-like blazer, and they wore them only five years apart. Considering Bond’s background as a commander in the Royal Navy, this is a very appropriate style for the character. In the naval tradition, both blazers have metal buttons, and both have silver-toned buttons rather than the ordinary brass. Though both blazers are English-tailored, neither have straight, uniform-like shoulders. The shoulders have less padding than military uniforms do for a more natural and civilian look. Roped sleeveheads are typical of the military style, and whilst Moore’s blazer has a little roping, Lazenby’s blazer doesn’t have any. Both blazers, however, have a clean and fitted military-like cut through the body.

The two blazers have the appropriate detail of double vents, though both also have the then-trendy detail of slanted pockets. Slanted pockets are also known as “hacking pockets” because of their equestrian origins, and the blazer’s origins are quite far from that. That makes slanted pockets an unconventional choice for a blazer—especially a double-breasted blazer—but it was nevertheless a fashionable choice. Though unconventional and trendy, I rather like the rakish slanted pockets. Lazenby’s blazer adds a ticket pocket.

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Some aspects of fashion had changed significantly between On Her Majesty’s Secret Service in 1969 and The Man with the Golden Gun 1974. As far as the blazer is concerned, those differences are in length and lapel width. Though Lazenby’s single-breasted jackets have medium-width lapels, the double-breasted blazer has narrow peaked lapels similar to those on a Royal Navy uniform. Roger Moore’s blazer has wider lapels, but since it’s double-breasted the lapels don’t proportionately look too wide. Lieutenant Hip shows how ridiculously wide double-breasted lapels could be in 1974, with the points only about a quarter-inch from touching the armhole. Lazenby’s blazer is slightly shorter than Moore’s traditional-length blazer, which was a trend in the late 1960s. Moore’s blazer has a slightly narrower wrap than Lazenby’s blazer, which was the way Moore’s tailor Cyril Castle cut double-breasted jackets and didn’t reflect any particular trends. Lazenby’s blazer adds the sporty detail of swelled edges, whilst Moore’s has the unique link-button cuffs.

Trouser leg width changed more than anything else between 1969 and 1974. We don’t see much of the trousers that Moore wears with his blazer, but it’s assumed he wears trousers with a slightly flared leg. Lazenby’s trousers and very narrow and tapered, though they are still neatly tailored. Lazenby’s trousers are light grey and Moore’s trousers are charcoal and white, respectively.

Frank Foster made both Moore’s and Lazenby’s shirts. Moore wears his blazer with a blue and white mini-Bengal stripe shirt and a white shirt, whilst Lazenby wears his blazer with sky blue and pink shirts. Lazenby’s shirts have a narrower collar than Moore’s shirts have, and the collar choices were probably what Foster or the costume designer through looked best on the actors rather than what fashion trends dictated. Lazenby’s shirts have single-button cuffs whilst Moore’s shirts have cocktail cuffs. Lazenby’s ties are medium-width navy and red knitted ties, and Moore’s ties are wide slate blue satin and white and navy striped. The tie width, of course, matches the lapel width.

Though Lazenby’s look would certainly look more fashionable today than Moore’s would, I think both Lazenby and Moore wear their blazers very well. Both dress in good taste and neither commit any sartorial sins. Who do you think wore the button three double-breasted blazer better?

Striped Ties

The Royal Navy Regimental Tie

The Royal Navy Regimental Tie

Roger Moore’s James Bond is the only one who wears striped ties. Until Moore became Bond, all of James Bond’s ties were solid. The only exception is the tie Bond wears as Sir Hilary Bray, but since it is Sir Hilary’s own tie and part of a disguise it don’t count. Bond’s own first non-solid tie of the series in Live and Let Die is quite appropriate since it’s a Royal Navy regimental stripe. Striped ties often come with an affiliation, and Q’s Brigade of Guards tie in From Russia With Love is another example of that. Regiments, colleges, universities, clubs and more have their own colours and stripe patterns, and only people who are affiliated with such ties should wear them. Regimental-striped ties are typically woven in a repp weave, and the stripes are woven, not printed.

Moore-Double-Breasted-Blazer-4In almost all British striped ties the stripes go up from the wearer’s right to left. The ascending stripes help draw the eye upward, and they harmonise with the left-over-right buttoning of men’s clothing. American striped ties take British patterns and change the direction, descending from the wearer’s right to left. When the stripe direction is changed the tie’s affiliation is lost and anyone can rightfully wear it.

Not all stripes have an affiliation. Moore’s brown-striped tie in The Spy Who Loved Me likely does not have an affiliation. The Italian striped ties in Moonraker, whilst following the American direction, are printed silk and have little in common with the regimental striped ties. Moore also wears striped ties in The Man with the Golden Gun (with his navy blazer, picture above) and in For Your Eyes Only (with his navy chalkstripe suit, pictured below). These ties may have an affiliation, but I am unaware of what they may be. If anyone knows what those ties represent, please comment below.

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The Light Cool Grey Suit

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In Hong Kong in The Man with the Golden Gun, Bond wears a silk or silk-blend suit made by Cyril Castle. The cloth is semi-solid blue-grey and white with white stripes. Sometimes it looks light blue and sometimes it looks light grey, but in general it’s a cool grey. The suit is Cyril Castle’s standard button two style from that era, with slanted pockets, deep double vents and flared link-button cuffs. The chest is cut with a little drape, which is especially helpful here since silk doesn’t have much give. The lapels have swelled edges, making it a rather sporty suit. The trousers have a darted front, flared leg, and large coin pockets on both sides of the trousers accessed from just below the waistband.

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The soft white shirt made by Frank Foster has a spread collar, front placket and two-button cocktail cuffs. The matte navy tie has a rough texture that would suggest a linen and silk blend. The tie is knotted with a four-in-hand knot. Bond wears black Gucci slip-on shoes and a black belt with a rounded, center-post brass buckle, most likely from Gucci as well.

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Roger Moore wore this suit a lot outside of The Man with the Golden Gun, like in this interview for The Spy Who Loved Me.

The Safari Leisure Jacket

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This outfit from The Man with the Golden Gun may be the one most to blame for Roger Moore’s undeserved reputation for always wearing a leisure suit as James Bond. This safari jacket, made of cream-coloured silk or a linen and silk blend, is really the only one that’s a 100 percent product of the 1970s. Unlike Moore’s traditional safari shirts, this one is a structured jacket. It has natural—but structured—shoulders, set-in sleeves and a tailored waist. It has most of the traditional details of a classic safari jacket: shoulder straps and four flapped patch pockets with inverted box pleats. The sleeves have buttoned straps around the cuffs as well as a vent. The front has a dart that extends to the bottom hem. The front of the jacket has four buttons, and Moore leaves the top button open. It has a long, single rear vent.

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What takes this jacket, more than any of Moore’s other safari jackets, into the 1970s are two things: the collar and the stitching. A safari jacket should have a shirt-type collar, but this jacket has a a long, dog-ear style, leisure-suit collar. The other really fashionable aspect of this jacket is the dark, contrast stitching that’s found all over the jacket. It’s on the collar, lapels, shoulder straps, cuff straps and pockets. And Moore wears the jacket with medium brown, slightly-flared-leg trousers, so it’s not a suit.

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The ecru shirt is the standard from Frank Foster, with a large spread collar, front placket and 2-button cocktail cuffs. The tie is solid dark brown. The slip-on shoes are dark brown or black with an apron front and a strap with a buckle at the side.