The Ticket Pocket

The ticket pocket, sometimes called a cash pocket, is the small pocket that is occasionally found above the right hip pocket on a jacket or coat. It follows the angle and style of the pocket below it. Ordinarily it is aligned with the front edge of the larger hip pocket below it, but some makers centre the ticket pocket above the hip pocket. The ticket pocket’s flap is shorter than the hip pocket’s flap is. The ticket pocket can be found on suit jackets, sports jackets and overcoats. It was originally only found on country suits and sports coats but, like slanted pockets, made its way to city clothes during the second half of the twentieth century. The position of the ticket pocket has made its way lower over the years. It is considerably higher on Sean Connery’s Anthony Sinclair jackets in Goldfinger than it is on Daniel Craig’s jackets in Quantum of Solace. The standard is for the top of the ticket pocket to be three inches above the top of the hip pocket.

Alan Flusser writes in Dressing the Man that the ticket pocket was “introduced in the late 1850s for a railroad ticket and used at intervals ever since.” Riccardo Villarosa and Guiliano Angeli have a more modern idea about the ticket pocket’s name that they write in The Elegant Man: “[It] is called a ticket pocket because it often holds bus tickets.” The ticket pocket is meant are for travelling tickets and not opera or theatre tickets. It is too informal to wear on suits that would be worn to the opera or the theatre. Other than travelling tickets, the pocket can be useful for any small item such coins, banknotes, receipts, papers, etc.

Ticket pockets are best avoided on shorter men since they break up the length of the jacket. They should also be avoided on heavier men since they add bulk to the waist.

Slanted pockets with a ticket pocket on Sean Connery's hacking jacket in Goldfinger. Notice that the ticket pocket has a smaller flap than the hip pocket and is placed high above it.

Slanted pockets with a ticket pocket on Sean Connery’s Anthony Sinclair hacking jacket in Goldfinger. Notice that the ticket pocket has a smaller flap than the hip pocket and is placed high above it.

James Bond has ticket pockets on a number of his suits and sports coats. Until Pierce Brosnan became Bond in the 1990s, Bond’s suits with ticket pockets were almost all sportier suits. The majority of Bond’s tweeds have ticket pockets, like the tweed hacking jackets in Goldfinger, Thunderball and A View to a Kill, the “reversible” tweed jacket in Octopussy and the tweed suits in Moonraker and The World Is Not Enough. The blazers in On Her Majesty’s Secret Service (double-breasted) and The Spy Who Loved Me (single-breasted) also have ticket pockets. Apart from the tweed suits, many of Bond’s other sportier suits have ticket pockets, like the glen check suits in Goldfinger, On Her Majesty’s Secret ServiceDiamonds Are Forever and GoldenEye, the brown houndstooth check suit in Goldfinger and the grey flannel suit in Diamonds Are Forever.

Starting in GoldenEye, many of James Bond’s worsted city suits have ticket pockets. Many of Pierce Brosnan’s worsted suits—three in GoldenEye, two in Tomorrow Never Dies, two in The World Is Not Enough and one in Die Another Day—have slanted pockets with a ticket pocket. Though this pocket style gives the Italian Brioni suits a decidedly more English look, it is really too sporty for business suits. Straight pockets with a ticket pocket or slanted pockets without a ticket are okay for a slight dandyish look on a business suit, but the combination of slanted pockets with a ticket pocket is too sporty for the city. Brosnan’s navy single-breasted overcoat in Die Another Day, like many of his suits, has slanted pockets and a ticket pocket.  Daniel Craig brought back ticket pockets—albeit straight—on all of his dark city Tom Ford suits in Quantum of Solace. Even the navy Tom Ford overcoat in Quantum of Solace has a ticket pocket, but it’s also straight.

What is your favourite style of jacket vent?

Dr-No-Double-Vents

What is your favourite style of jacket vent?

View Results

Loading ... Loading ...

Whilst the front of a jacket is defined by the number of buttons it has, the back is defined by the number of vents. The front of the jacket has different kinds of lapels and pockets to break it up and give it interest whilst the back has only vents. The vents are a very important part of the jacket since they add functionality as well as distinguish the look of the back.

Single Vent

Daniel Craig's suits have single vents in Skyfall.

Daniel Craig’s Tom Ford suits have single vents in Skyfall.

Single vents (also called centre vents) are when the centre back seam of the jacket is opened at the bottom. Single vents are most associated with American clothing, but like most origins in tailoring they come from England. Single vents were developed for riding, and the single vent splits the jacket’s skirt evenly on either side of the horse. Naturally, the hacking jacket, like what Sean Connery wears in Goldfinger and George Lazenby wears in On Her Majesty’s Secret Service, has a single vent, and it’s quite a long single vent (12 to 13 inches) so it has enough room to split neatly over the back of a horse. Many of Sean Connery’s and Daniel Craig’s suit jackets also have single vents, which is the most tradition vent style on a single-breasted jacket. Single vents have the disadvantage of exposing the buttocks in action scenes or when a man reaches his hands into his trouser pockets. It’s a bit less of a disadvantage with a body like Daniel Craig’s, though double vents would still look neater.

On suit jackets, the length of a single vents typically range from 8 to 10 inches.1960s fashions sometimes resulted in shorter vents around six inches long, though James Bond never succumbed to this fashion. Longer vents of around 12 to 13 inches were popular in the 1970s and early 1980s, though the only long single vents Bond wears at that time are on his safari-esque sports coats in The Man with the Golden Gun and The Spy Who Loved Me.

Goldfinger-Hacking-Jacket-Vent

Sean Connery’s Anthony Sinclair hacking jacket in Goldfinger has a long single vent to the waist.

Double Vents

Double vents (also called side vents) are when the rear side seams are opened at the bottom, and they are typically associated with English tailoring. Double vents didn’t become standard for English tailors until the late 1960s. At that time it was more of a trend, but the trend stuck. Before the late 1960s, English tailors generally would put single vents on single-breasted jackets and double vents on double-breasted jackets. This system creates a symmetry between the front and back of the jacket. Double-breasted jackets should never have single vents, only double vents if it has vents. Double-breasted jackets take double vents on the back to balance the double columns of buttons in front.

Roger Moore's Cyril Castle suit jacket in The Man with the Golden Gun has deep double vents

Roger Moore’s Cyril Castle suit jacket in The Man with the Golden Gun has deep double vents

For the past decade, double vents have been very popular and can be found on Italian clothing and American clothing. Currently, double vents are most popular on English, American and Italian tailoring. They haven’t been this popular in America since the 1960s and in Italy since the 1970s. Double vents are dressier than single vents, though they still have their origins in riding like single vents have. They allow more waist suppression than single vents do, and they allow a man to reach into his side trouser pockets with the least disruption to the lines of the jacket. They also extend the line of the leg for a slimmer and taller appearance. Like with single vents, double vents are typically 8 to 10 inches in length but varied with fashion trends. 6-inch double vents weren’t uncommon in the 1960s, and double vents up to 13 inches deep weren’t uncommon in the 1970s to the early 1980s. When over 10 inches, double vents can be a bit unruly, but that’s part of the charm.

Marine-Blue-Suit-Double-Vents

Even when the Roger Moore’s Cyril Castle suit jacket flaps in the wind, the double vents keep his rear covered.

Double vents sometimes continue the line of the side seams straight down, which can cause the vents to stick out over the rear. The double vents on Sean Connery’s Anthony Sinclair suits are made like this and emphasise his large rear. The double vents on Roger Moore’s Cyril Castle suits and Pierce Brosnan’s Brioni suits are also made like this, but their rears aren’t as large so the style work better on them.

George Lazenby’s Dimi Major suits, Roger Moore’s Angelo and Douglas Hayward suits and Daniel Craig’s Tom Ford suits in Quantum of Solace have double vents that flare outward. By flaring out, the vents actually hang straighter down the sides of the body. This keeps the vents looking neat no matter their length. Whilst the flare is noticeable from the back, the flare gives added shape to the waist whilst masking a large rear. The flared double vents have a more English look than straighter double vents have.

Flared double vents on George Lazenby's Dimi Major suit jacket

Flared double vents on George Lazenby’s Dimi Major glen check suit jacket

No Vents

Jackets without any vent are most associated with Italian clothing, and the Italians did indeed make jackets without vents in the 1950s and later in the 1980s through the early 2000s when vents were commonly found on English and American tailoring. A non-vented skirt is not an Italian style, as often stated. It’s a traditional style for all tailoring, and before vents became popular in the 1950s most jackets were made without a vent. When the non-vented style was popular in the 1980s, many sports coats were made without vents, but sports coats usually have vents due to their sporting heritage. Sean Connery wears many suit jackets without vents in his Bond films, especially in Goldfinger and Thunderball. Timothy Dalton also wears jackets without vents in Licence to Kill, a result of the trends at the time for non-vented jackets.

Sean Connery's dinner jacket in Thunderball follows tradition with no vents

Sean Connery’s dinner jacket in Thunderball follows tradition with no vents

All of the Bond actors, except George Lazenby, have at times worn dinner jackets without vents. Roger Moore’s double-breasted dinner jackets in The Spy Who Loved Me and Moonraker are his only jackets of the series without vents. Vents are still considered by many to be a faux pas on a dinner jacket, since vents have sporting origins and the dinner jacket is never worn for sports. When Bond has vents on his dinner jackets they are double vents. The exception to this is the single vent on his dinner jacket in Skyfall, though single vents are too sporty and not dressy enough for dinner jackets.

Some people recommend different style jacket skirts for different types of builds. I’ve heard people say that single vents are better for a large rear than double vents are. I’ve also heard people say the opposite. Others say that no vent is best for a large rear. Poor-fitting jacket skirts can cause any kind of vents to split open or stick out. Poor-fitting double vents can have a “shelf” effect where the back flap sticks out. A tight skirt or waist with a single vent will cause the vent to open, revealing the buttocks. A tight skirt without any vents will pull the front of the jacket open at the hips and cause creasing at the back. These are all ready-to-wear issues. When the skirt of a ready-to-wear jacket is too tight, it can be difficult to fix, though letting out the waist helps in some cases. A bespoke tailor can create a well-fitting and flattering jacket skirt for any build in any vent style.

Sean Connery's naval uniform in You Only Live Twice has short double vents

Sean Connery’s naval uniform in You Only Live Twice has short double vents

The “Legend” Jumper by Slazenger Heritage Gold

Slazenger-Legend-Jumper

Commemorating the 50th anniversary of Goldfinger‘s release on 17 September 1964, Slazenger collaborated with Anthony Sinclair to reissue the Slazenger jumper that Sean Connery wears when playing golf in Goldfinger. The new wine red V-neck jumper revived the original gold panther logo that graces the left breast of Connery’s jumper. However, the new jumper has been updated in a number of ways, so it’s not an exact copy. It is woven in a superfine two-fold Merino wool, whilst Connery’s jumper is likely acrylic—as Slazenger often made and still makes their jumpers—in a chunkier knit. The ribbing on the cuffs and hem is much finer than on Connery’s jumper. The short V-neck opening may be the most noticeable difference on the new jumper, as the V isn’t nearly as deep. David Mason of Anthony Sinclair told me about his decision to update the Slazenger jumper in its reissue:

It’s just not my philosophy to create exact copies. Things must evolve. I often ask myself, “What would Anthony be doing if he was still with us now?”. The Slazenger sweater is a good case in point. The objective was to design a product that is instantly recognisable and clearly related to the original, yet very modern, wearable and totally up to date.

Slazenger-Legend-Jumper-BoxThis is certainly a more wearable jumper today than an exact replica of Connery’s would be. It’s not a baggy jumper like Connery’s is. Even though the fit has been updated to be shorter and cleaner, it still has a classic fit. If you’re undecided on whether to get a certain size, I recommend sizing down if you like your jumpers to fit closely. For instance, my chest measures 38 inches, so I should wear a medium per the sizing guide (38-40). However, I found that a small (35-37) has a cleaner fit on me and is not too tight. The medium would better fit a size 40, which is at the top end of the recommended medium size range.

The jumper comes packaged beautifully in a heavy black cardboard box with a magnetic closure containing a “quality certificate” and a very large descriptive tag about the history of the jumper in Goldfinger and Slazenger Heritage.

Slazenger-Legend-Jumper-Box-2

Anthony Sinclair has also just recently released a white twill double cuff shirt, and the cuffs have rounded corners like on Sean Connery’s shirts in Goldfinger. The shirt comes with either a semi-cutaway or a cutaway collar in either a regular or slim fit. The Anthony Sinclair shirt is “evolved” in its style from the original shirts in Goldfinger that may have been made by Frank Foster. Anthony Sinclair also just released a number of new blue grenadine tie colours, for a total of seven different blue grenadine ties ranging from ice to midnight.

Visit AnthonySinclair.com for more information on the Slazenger jumper and the other new offerings.

Comparison: Suit Trousers in the First Two Bond Films

Connery-Trousers

Connery’s suit trousers in Dr. No

Throughout the 1960s, Anthony Sinclair tailored all of Sean Connery’s suit trousers in the same style. They have double forward pleats, the traditional English-style pleats that opens towards the fly. The leg is tapered and has approximately 1 3/4″ turn-ups. The trousers’ waistband has an approximately 2 1/2″ square extension that keeps the front of the waistband straight, and it closes with a hidden clasp so there are no buttons visible on the front. Inside, the trousers are secured with two buttons and a zip fly. The sides of the waistband have button-tab “Daks tops” side adjusters with three buttons—usually made of smoke mother-of-pearl—on each side. The side pockets are on the side seams, and there is one button-through jetted pocket in the rear on the right side.

Connery's updated suit trousers in From Russia with Love

Connery’s updated suit trousers in From Russia with Love

Though all of Sean Connery’s suit trousers in Dr. No, From Russia with Love, Goldfinger, Thunderball and You Only Live Twice are made with the same features, the trousers’ cut was updated after the first Bond film, Dr. No. The change can be seen in the second Bond film, From Russia with Love. The rise in Dr. No is extremely high by today’s standards, and it was even high for 1962. A year later for From Russia with Love, Sinclair lowered the rise slightly to correspond with the new lower button stance on his suit jackets. The rise is still high for today’s fashions, but it doesn’t look quite as old-fashioned. The cut was also trimmed down overall. The deep pleats seen on the Dr. No trousers were made shallower for From Russia with Love, and as a result the trousers fit closer around the hips and thighs. Though this updated fit continued through the 1960s, by You Only Live Twice Connery’s pleated trousers were markedly unfashionable and old-fashioned.

Plastic Buttons

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

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

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

Connery-Plastic-Buttons

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

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

Plastic Buttons on Daniel Craig's suit in Casino Royale

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

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

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

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

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

A Mostly Classic Ivory Dinner Jacket

Diamonds-Ivory-Dinner-Jacket

Whilst an ivory dinner jacket is appropriate in a Monte Carlo casino, it’s not so appropriate in a Las Vegas casino unless you’re James Bond. Bond wears one in Diamonds Are Forever at a Las Vegas casino where most people dress down. Apart from Bond’s wide bow tie and the wide pocket flaps on his dinner jacket, this is a classic warm-weather black tie outfit. It looks especially traditional compared to the flamboyant black dinner jacket Bond wears later in the film. The ivory dinner jacket has the same cut as the other Anthony Sinclair jackets in the film have: a clean chest and natural shoulders with roped sleeveheads.

Diamonds-Ivory-Dinner-Jacket-2The button one dinner jacket has medium-width peaked lapels with a very high gorge. Today you can find examples of peaked lapels where the peaks rise up above the shoulders, but the peaks on the dinner jacket are about as high as peaks can tastefully be. The jacket’s hip pockets are slanted with large flaps, a utilitarian pocket style that is out of place on a dinner jacket. The slant gives easier access to the pockets on horseback, and flaps keep items inside the pockets. However, the benefits of slanted and flapped pockets are unnecessary on a dinner jacket, and such a sporty pocket doesn’t have the elegance of a straight jetted pocket. The dinner jacket also has deep double vents, which are another practical sporting element added to this dinner jacket that breaks from tradition, but Bond’s dinner jackets have often had double vents. There are four buttons on the cuffs, and all of the buttons on the jacket are white mother-of-pearl.

Diamonds-Ivory-Dinner-Jacket-3With the jacket, Bond wears black trousers with a darted front, tapered legs and a satin stripe down each leg. The white-on-white stripe shirt from Turnbull & Asser has a spread collar, double cuffs and pleated front with mother-of-pearl buttons down the placket. Connery’s bow ties always followed the trendy width, and his wide black satin silk bow tie in Diamonds Are Forever is no exception. Since Bond keeps his jacket buttoned, we can’t tell if he wears a cummerbund with this dinner jacket like he does with his black dinner suit later in the film. In the unlikely event that he is wearing a cummerbund here, it probably isn’t the same fancy cummerbund that he wears with the black dinner suit. He wears the same black patent leather two-eyelet derby shoes that he later wears with the black dinner suit.

Comparison: Grey Suits in Dr. No and Diamonds Are Forever

Dr. No, left, and Diamonds Are Forever, right

Dr. No, left, and Diamonds Are Forever, right

Anthony Sinclair tailored almost all of Sean Connery’s suits in the James Bond series, from Dr. No in 1962 to Diamonds Are Forever in 1971. The overall cut of Connery’s suits didn’t change much throughout the 1960s, but by 1971 there was a noticeable change in style. We will take a closer look at this change using the light grey suit from Dr. No and a similar light grey suit from Diamonds Are Forever, to at least keep the cloth constant. The shoulders—the foundation of a suit’s silhouette—are the same in both 1962 and 1971: natural with roped sleeveheads. The chest, however, is different. The Dr. No suit has a draped chest whilst the Diamonds suit has a much cleaner chest.

Dr-No-Grey-Suit-3The most obvious difference between the Dr. No and Diamonds suits is the lapel width. The lapel width isn’t exaggerated in either case, but it is noticeably wider in Diamonds than it is in Dr. No. The lapels were narrower in Connery’s other 1960s Bond films, but they were also a different shape. The gorge—the seam where the collar meets the lapel—is much steeper in Dr. No than it is in any of Connery’s other Bond films.

Hip pocket flaps also follow the lapel width. Though none of the suit jackets in Dr. No have pocket flaps, many of the suits in Connery’s subsequent Bond films throughout the 1960s have narrow pocket flaps that reflect the decade’s narrow lapel width. Wide pocket flaps in Diamonds reflect the new decade’s wide lapels, and the suits in Diamonds Are Forever feature the widest pocket flaps of the entire Bond series. In addition to have fashionably wide flaps, the pockets are also slanted, following a popular trend that had been around since the mid 60s. The pockets in Dr. No are placed unusually low, and pockets that low would look even more odd if they had flaps. The pockets are below the jacket’s bottom button, whilst ordinarily they are at the level of or just a little higher than the bottom button. The pockets in subsequent Bond films are higher.

The jacket’s button stance is lower in Diamonds than it is in Dr. No. For From Russia with Love, the button stance was lowered, and it stayed lower in all of Connery’s Bond films through Diamonds Are Forever. The button stance in Dr. No is both more in line with today’s trends and more classically proportioned, but the lower button stance certainly lends a stronger appearance by emphasising the chest and Connery’s V-shaped torso. Because the lapels and tie are wider in Diamonds Are Forever, the button stance doesn’t really look so low. The low button stance in From Russia With Love through Thunderball emphasised Connery’s athletic build, whilst in You Only Live Twice and Diamonds Are Forever it helped make his no-longer-athletic body look more athletic.

Diamonds-Are-Forever-Grey-Suit-2The length of Connery’s double vents increased over time. The vents in Dr. No are roughly 8 inches, which followed the trend towards short vents. They are still a practical length compared to the ultra-short double vents on Jack Lord’s suit in Dr. No. Connery’s vents increased to about 10 inches two years later in Goldfinger, and they are around 12 inches deep in Diamonds. The trend towards deeper vents started in the late 1960s and continued to the early 1980s. Deep double vents are both slimming and heightening because they create vertical lines that extend the line of the leg. Connery needed as much help as he could get in Diamonds, and the deeper double vents are indeed flattering.

Another detail that could easily go unnoticed is that the colour of the buttons has changed. The grey plastic buttons in Dr. No match the suit whereas the dark grey horn buttons in Diamonds contrast with the suit. The darker buttons in Diamonds look nice but they draw attention to Connery’s waist, which isn’t one of his better areas.

Dr-No-Grey-Suit-2The change in trouser style is one of the biggest changes from Dr. No to Diamonds. In the 1960s, all of Connery’s suit trousers have double forward pleats, whilst in Diamonds they have a small dart on in front of the side pocket on either side. The rise is a little shorter in Diamonds than in Dr. No. The rise was lowered after Dr. No when the jacket’s button stance was also lowered. The legs in both Dr. No and Diamonds both have a trim and tapered cut, though the leg in Diamonds is tapered a little less. The bottoms in Dr. No were finished with turn-ups whilst the bottoms in Diamonds are finished with a plain hem. Only before in Goldfinger did Connery wears his suit trousers with plain hems.

Diamonds-Are-Forever-Grey-Suit-3The Turnbull & Asser shirts didn’t change much between Dr. No and Diamonds. Obviously, the white shirt in Dr. No has gone to cream in Diamonds. The collar got a little taller and the collar points got a little longer, but not by much. The shirts still have the same cocktail cuffs, though Connery only fastens the first button in Diamonds to allow the cuff to roll over the second button. The ties follow the lapel width, and the tie in Dr. No is navy grenadine whilst the tie in Diamonds is black with varying ribs.

Frogmouth Pockets

Connery-Goldfinger-Frogmouth-Pockets

Frogmouth pockets in Goldfinger

Frogmouth pockets, also called western pockets or full top pockets, were popular on trousers in the 1960s and 1970s. As opposed to traditional on-seam or slanted pockets that are accessed from the side, frogmouth pockets are accessed from the front like pockets on jeans. But unlike pockets on jeans, frogmouth pockets are not curved. They are slightly slanted down across the front, and offset down from the waistband so the pocket is in the middle of the hips rather than on top of the hips. On lower-rise trousers the frogmouth pockets don’t need to be offset from the waistband. Unlike side pockets, frogmouth pockets don’t flare open trousers that fit tightly across the hips. Frogmouth pockets aren’t very fashionable today, but with the popularity of jeans and tight trousers it’s surprising that the frogmouth pocket hasn’t made a comeback. Though the style naturally goes with today’s trends, they will continue to look dated to the 1960s and 70s unless they come back into mainstream fashion.

Moore-Frogmouth-Pockets

Douglas Hayward trousers in For Your Eyes Only

Sean Connery’s brown cavalry twill trousers in Goldfinger and Thunderball have frogmouth pockets, as do some of his casual trousers. Douglas Hayward, who made Roger Moore’s suits in his 1980s Bond films, put frogmouth pockets on Moore’s suit trousers. They can be seen on the grey flannel suit in For Your Eyes Only and on the black trousers worn with the white dinner jacket in Octopussy.

Connery-YOLT-Frogmouth-Pockets

Notice the dart above the pocket.

Whilst pleated trousers can’t have frogmouth pockets, both flat front and darted front trousers can. Frogmouth pockets and darts aren’t often seen together, but Sean Connery’s grey trousers in You Only Live Twice have a dart above the middle of the frogmouth pockets. Darts can also be along the front edge of the pocket, which is how the brown trousers in Goldfinger are made, and it may be the case for Moore’s Hayward trousers too. Roger Moore’s trousers in The Persuaders have offset jetted frogmouth pockets that cut through the front dart, which is in the middle above the trousers’ leg crease.