The Persuaders: A High-Buttoning Green Suit

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For his character Lord Brett Sinclair to wear in The Persuaders, Roger Moore designed some very unique and innovative pieces of tailoring that went beyond the fashion of the day. One of these pieces is a high-buttoning green suit tailored by Cyril Castle with an equestrian and military heritage, featured only in the 1971 episode “Take Seven”. Rather than try to be creative with an unflattering fit or awkward proportions, like most fashion designers have done over the past half century, this suit is creative through its unconventional colour, historical cut and unusual details. Though these elements altogether make this suit look like a piece of costume, it’s a fascinating study in creative tailoring.

The unusual colour of this suit can be described as rifle green, which comes from the uniform of rifle regiments. Rifle green is a statelier and richer colour than a lighter and warmer army green, but still it has a long military heritage. The suit’s medium-heavy cloth is woven in a herringbone weave and has wide but subtle rust-coloured stripes. Though Moore wears this suit in the heart of London, being green automatically labels this a country suit. At least Moore visits Hyde Park wearing this suit, where it harmoniously blends with the greenery. Anywhere, rifle green has the benefit of being one of the most flattering colours to Moore’s warm spring complexion.

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This suit is hanging onto the “New Edwardian” from the 1960s and has taken nothing from the trends that had emerged by the start of the 1970s. Rather than take on the flamboyance of the 1970s, this suit has a flamboyance all of its own. The lapels are a balanced width and wider than lapels on a 1960s suit would have been. Though it’s inspirations are clear, this suit is ultimately too peculiar to look dated to any time. The suit jacket takes its high buttoning from the Edwardian era, when lounge coats usually had three or four buttons down the front in a higher stance than in more modern times. This button three suit jacket places the bottom button just below the natural waist, and the foreparts are cut away below that button. Because the foreparts are only cutaway below the high bottom button, and because the bottom button is up near the waist, all three buttons can be fastened. One a typical button three jacket, the middle button is near the waist and the bottom button is on a cutaway portion of the jacket so it not designed to fasten. Fastening the bottom button on an ordinary button three jacket (or button two jacket, for that matter) pulls the jacket out of shape and restricts the legs. The cut of this jacket has much in common with the button two “paddock” style jackets that the Duke of Windsor was known for wearing, where either both buttons or only the bottom button would be fastened.

Moore’s suit jacket is almost like a short version of the high-buttoning Edwardian morning coat—a garment that was originally designed for riding a horse—and the cutaway in the front of this jacket would spread apart nicely on horseback. If the colour of this suit didn’t already place it in the country, the equestrian cut would. The structure follows the traditional British equestrian and military cut. The jacket has straight shoulders, a clean and full chest for a strong polished-marble look, a nipped waist and a flared skirt. This cut has a sporty look, but the structure gives it a rather formal and martial look too.

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This jacket also has many sporty and equestrian details, such as swelled edges, steeply slanted hacking pockets and a flapped breast pocket, which is slanted down towards the side of the jacket instead of up towards the shoulder. The jacket’s most important equestrian detail is the long single vent, which balances the cutaway in front. This is Moore’s second jacket in The Persuaders, and in any of his appearances, with the flared link-button cuffs he would go on to wear on his jackets throughout his first two James Bond films. This detail was supposedly his idea that he pitched to tailor Cyril Castle. The jacket’s buttons are smoke mother of pearl, which give a more urbane look to this country suit. The excellent fit gives credence to this unusual suit, though the sleeves are noticeably an inch too short.

The suit trousers, cut by Cyril Castle’s and Anthony Sinclair’s apprentice Richard W. Paine, have jetted cross pocket on the front, and a dart centred on either side of the front cuts through each front pocket. The trousers have narrow straight legs, an elegant look from later 1960s fashion.

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This suit’s fancy details and unusual equestrian cut are reminiscent of and in the spirit of suits that Patrick Macnee’s character John Steed in The Avengers wore. Some of his high-buttoning Pierre Cardin suits in the first colour series were very similar in style, and a navy high button two suit made by Hammond & Boyle from the same series came close as well. It’s certainly not the kind of suit James Bond would wear, and it’s not the kind of suit the the average man could wear either. The suit’s jacket would work as a fancy riding jacket, but few people need that. It’s too structured and buttoned-up to work as a casual piece today, but even in navy it would also be too unusual to work as a dressy suit, neither for business nor for social use. Though few people would have use for anything like this suit, there’s much to be learned from and admired about this distinctive piece.

With this suit, Moore wears a pale yellow shirt made by Frank Foster that has a spread collar and button-down cocktail cuffs that fasten with a single button. The jacket’s too-short sleeves show off the shirt’s special cuffs. The tie has wide dark blue and dark green stripes and is tied in a four-in-hand knot. This is the Inns of Court Officers Training Corps regimental tie, and the tie signifies that former army officer Lord Brett Sinclair was a part of this regiment. Moore’s shoes are black calf monk shoes with a square apron toe. He wears black socks to match his shoes.

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In later episodes of The Persuaders “The Old, the New & the Deadly” and “Read & Destroy”, Roger Moore wears an almost identical suit in a much lighter and more olive shade of green.

Marnie: Sean Connery’s Taupe Herringbone Suit

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For Alfred Hitchcock’s 1964 film Marnie, costume designer James Linn came up with varied wardrobe or suits and sports coats for Sean Connery to wear. For a large portion of the film, Connery wears a taupe suit quite unlike anything he wears as James Bond. Though Connery wears a few brown suits as James Bond, Bond’s are all in dark shades of brown. This suit is in a medium shade of taupe, which is a grey-brown. The name for the colour comes from the French taupe, a noun for the mole animal. A mole is dark grey-brown, and the colour is named after it.

Connery’s taupe suit is a heavy worsted wool woven in a herringbone weave with a white pinstripe bordering each repeat of the herringbone. This suit is what might be called a “town and country” suit, being neither completely a town suit nor a country suit. It is made in a worsted cloth, which is typically worn in town, and it has the details of a town suit, such as a vent-less rear and straight pockets. But taupe’s marginally warm tone brings it into the country. Since taupe is between grey and brown, it makes the transition nicely. Formality-wise, a taupe suit also fits between grey and brown.

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Taupe can be considered a neutral colour, but it has a slight warmth that is most flattering on people with a warm complexion. Sean Connery has a cool complexion and looks better in cooler greys than he does in a warmer taupe. However, Connery looks much better in taupe than he does in warmer and richer country browns. Taupe’s warmth reflects the country’s surroundings but is neutral enough to still look good on someone with a cool complexion. It is therefore an excellent compromise in the country for someone with a cool complexion. Likewise, it can also be a good compromise in the city for someone with a warm complexion because it is neutral enough to fit in amongst the greys of the city.

This suit is made in the same style as all of Connery’s other suits in Marnie, and the cuts of both the jacket and the trousers suggests an English tailor. The jacket is cut with a full chest and a gently suppressed waist. The shoulders are on the natural shoulder line with more padding than his suits in the Bond films have, and the shoulders have roped sleeveheads. The jacket buttons three with the lapels gently rolled over the top button, and it is detailed with flap pockets, three buttons on the cuffs and no vent. Connery briefly rides a horse in this suit, and the lack of vent does not make the task impossible. A vent, however, would likely have made Connery more comfortable on the horse.

Connery is bent forward, causing rumples at the waist

Connery is bent forward, causing rumples at the waist

The suit’s trousers have double forward pleats, a tapered leg with turn-ups, an extended waistband closure and button side tabs to adjust the waist. Instead of the tabs extending forward as they ordinarily do (like on Connery’s Bond suit trousers), these tabs extend rearward.

The cream shirt has a spread collar, front placket and single-button rounded barrel cuffs. The shirts resemble Frank Foster’s shirts, with a familiar collar shape and a placket stitched close to the center. Connery’s narrow tie is solid dark brown in a shiny satin weave, and it is tied in a windsor knot. The tie is held to his placket with a tie bar at the height of the jacket’s top button so it is just barely seen when the jacket is closed at the middle button. Connery’s shoes are medium brown derbys with an elongated and slightly squared toe. The shoes likely have double leather soles for extra durability in the country.

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Goldfinger’s Golfing Suit and Cardigan

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For golf with James Bond in Goldfinger, Auric Goldfinger wears a traditional English country sports outfit in colours that both flatter his warm autumn complexion and reflect his love for gold. Compared to James Bond’s more modern polo and v-neck jumper golf outfit, Goldfinger looks very old-fashioned. His medium brown—rather like burnt umber—tweed three-piece sports suit unusually includes a jacket, plus-fours, and a flat cap.

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The suit jacket, which Goldfinger removes when golfing, has softly padded shoulders with natural sleeveheads and a draped chest, which attempts to gives Goldfinger the illusion of a waist. The jacket has one button on the front, which attempts to give him a more streamlined look. It is detailed with three buttons on the cuff, a single vent and open patch pockets for a sporty look.

Instead of ordinary long trousers, this suit has a type of breeches called plus-fours. They are called plus-fours because they extend four inches below the knee. There are double forward pleats on either side at the top. At the bottom the breeches’ wide legs fasten around Goldfinger’s legs, and the fullness of the breeches’ legs blouses over. Plus-fours are a classic style of trousers for the golf course.

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Under the suit jacket, Goldfinger wears a golden yellow cardigan in a very open, crunchy-looking knit wool. The cardigan fastens with six buttons and has small patch pockets. Under the cardigan, Goldfinger wears a cream shirt with a short, rounded point collar and double cuffs. Though the collar is rounded, it’s not as round as a club collar. The tie has stripes in light and dark golds, and dark, medium and light browns. The tie connects all the parts of the outfit perfectly.

Goldfinger’s shoes are chestnut brown bluchers, which are a single piece through the vamp and quarters with a heel counter and tabs sewn to the front for the four-eyelet lacing. With plus-fours, Goldfinger’s plain beige wool socks are on display. On his left hand, Goldfinger wears a golf glove in yellow and brown.

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This outfit closely reflects what Goldfinger wears in Ian Fleming’s 1959 novel:

But Goldfinger had made an attempt to look smart at golf and that is the only way of dressing that is incongruous on a links. Everything matched in a blaze of rust-coloured tweed from the buttoned ‘golfer’s cap’ centred on the huge, flaming red hair, to the brilliantly polished, almost orange shoes. The plus-four suit was too well cut and the plus-fours themselves had been pressed down the sides. The stockings were of a matching heather mixture and had green garter tabs. It was as if Goldfinger had gone to his tailor and said, ‘Dress me for golf – you know, like they wear in Scotland.’ Social errors made no impression on Bond, and for the matter of that he rarely noticed them. With Goldfinger it was different. Everything about the man had grated on Bond’s teeth from the first moment he had seen him. The assertive blatancy of his clothes was just part of the malevolent animal magnetism that had affected Bond from the beginning.

Count Lippe’s Casual Brown Tweed Suit

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Count Lippe (Guy Doleman) is a SPECTRE agent Bond encounters at the Shrublands health farm in the English countryside in Thunderball. The basis for Lippe’s clothes in the film was taken from Ian Fleming’s description of Lippe in the Thunderball novel:

He was an athletic-looking six foot, dressed in the sort of casually well-cut beige herring-bone tweed that suggests Anderson and Sheppard. He wore a white silk shirt and a dark red polka-dot tie, and the soft dark brown V-necked sweater looked like vicuna. Bond summed him up as a good-looking bastard who got all the women he wanted and probably lived on them—and lived well.

Like in the novel, Count Lippe’s suit in the film is tweed, though it is not herringbone. The mottled appearance makes it very difficult to tell what pattern the cloth is, though if I had to guess I think I see a fine check. It is not beige, however, but a darker taupe-brown overall that looks great in England’s countryside. The tweed is made up of brown yarns likely mixed with cream and green, and possibly other colours too.

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Though the suit in the film is casual in style, the button two jacket with slightly narrow lapels does not have the uniquely relaxed Anderson and Sheppard drape cut that the literary Bond identified Lippe’s suit by. The chest does not have much drape, and the shoulders have too much padding. Anderson & Sheppard’s cut, by contrast, is known for its soft look in both the shoulders and the chest, and sometimes foregoes the front darts on the jacket. Lippe’s suit jacket has the casual details of two open patch pockets at the hips and a matching breast pocket. The cuffs have three buttons, placed very close to the end of the cuff. Based on the way the jacket pull at the skirt, it likely does not have any vents, though the rear is not seen. The jacket’s buttons are light and dark brown horn, and the buttonholes are a bold medium brown that stands out. Judging by the suit jacket’s oversized shoulders and buttons being vey close to the ends of the sleeves, this suit was likely made for another actor for another production and altered to fit Doleman for Thunderball. The suit trousers have gently tapered legs. Though the top of the trousers is not seen, they likely have double forward pleats.

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Notice Lippe’s elegant chestnut brown shoes

Under the suit jacket Lippe wears a light brown doeskin wool waistcoat, which has a felt-like appearance. Its inclusion was likely inspired by the “soft dark brown V-necked sweater” that Fleming writes about, but the waistcoat is not quite a casual as a sweater. Lippe’s tattersall shirt has a cream ground with a large check in a number of colours, which are difficult to decipher. It may include navy, green, purple, red and orange. Country tattersall shirts are typically woven in a twill weave to have a softer and more casual look than crisp poplin. Lippe’s shirt has a spread collar and button cuffs. His tie is medium brown wool and tied in a half-windsor knot. Just peaking out of Lippe’s breast pocket is a puffed green silk pocket handkerchief with purple dots, which would suggest that those two colours are very likely in the tattersall shirt. Silk handkerchiefs go well with wool ties because of the contrasting textures. Lippe’s shoes are elegant chestnut brown plain-toe slip-ons. Though they are beautiful shoes, such a heavy suit would look better with sturdier brogues.

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Over his suit, Lippe wears a car coat that is designed to resemble a shearling coat, particularly with its lambswool-faced shawl collar. Whilst the body of a shearling coat is sheepskin suede, this coat is brown wool melton. The heavy, firm, dull, felted melton has a fine nap that can look almost like suede, especially in the drab brown colour, but it is a traditional cloth for overcoats as well as blankets. The double-breasted coat has four brown leather buttons on the front with two to button. The hem and sleeves are finished with four bands of stitching, like one would find on a covert coat. There are slanted pockets on the front with flaps, and the flaps also have the same four rows of stitching to match the hem and sleeves. The sleeves have buttoned straps, and the back has short double vents.

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Woman of Straw: A Brown Houndstooth Suit and Donegal Tweed Overcoat

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Most of Sean Connery’s tailored clothing in Goldfinger was first featured in the 1964 film Woman of Straw, which was made just before Goldfinger. Some of the suits fit the Woman of Straw setting much better than they fit Goldfinger. The brown houndstooth check suit is especially more fitting for Woman of Straw than it is for Goldfinger. In Woman of Straw Connery wears the suit on a country estate, whilst in Goldfinger he wears it to the office for briefing from M. James Bond occasionally knowingly breaks the rules, and I certainly don’t just mean the rules of how to dress properly. Nevertheless, wearing this country suit to the office is not likely something M appreciated. In Woman of Straw we get to see this beautiful suit in its intended setting.

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The suit is a somewhat heavy mid brown and black fine houndstooth check made by Anthony Sinclair. The button two jacket is cut with natural shoulders, a draped chest and a gently suppressed waist. It has country details like slanted flap pockets with a ticket pocket and a long single vent. The jacket has four buttons on the cuffs. The trousers have double forward pleats, button-tab side-adjusters and tapered legs. Unlike in Goldfinger, Connery does not wear an odd waistcoat with this suit in Woman of Straw, though he does wear that beige waistcoat with his barleycorn tweed hacking jacket. The lack of waistcoat gives this suit a much different look than it has in Goldfinger.

The suit's cloth close up

The suit’s brown houndstooth check cloth close up

A blue shirt and blue tie also make the suit look much different than it does in Goldfinger. Blue offers a nice colour contrast to brown whilst cooling down the brown outfit to better flatter Sean Connery’s cool complexion, but for blue and brown to work together they need to have contrast in value. Dark brown and navy don’t go so well together, and neither does light brown and light blue. See the image below of the light brown overcoat and light blue shirt for a combination that doesn’t clash but doesn’t quite work so well either. But light brown with navy works and dark brown with light blue works. The latter is evident here.

The pale blue shirt is made in the same style as Connery’s shirts in Goldfinger, with a wide spread collar, rounded double cuffs and placket stitched close to the centre. The steel blue repp silk tie is tied in a very small four-in-hand knot. Like in Goldfinger, Connery wears this suit in Woman of Straw with a white linen handkerchief folded in a single point in his breast pocket. It may have just been left in the pocket from Woman of Straw when he wears the suit in Goldfinger.

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Over this suit Connery wears a light brown donegal tweed overcoat that is not worn in Goldfinger. The coat is like a cross between a single-breasted coat and a double-breasted coat in that it has a large overlap and peaked lapels, but the overlap isn’t as large as most double-breasted coats and there is only one column of buttons to fasten. The additional overlap is there for extra warmth. The coat has a fly front that hides the buttons, but if the one column buttons showed they would be off-centre. The coat has slanted hip pockets with flaps, a breast welt pocket, a single vent in the rear and plain cuffs with a short vent.  The coat’s length is to just below the knee, making it a very warm, practical coat for the country. This overcoat is also made by Anthony Sinclair.

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The Persuaders: The Tweed Norfolk Suit

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In the 1971 episode of The Persuaders titled “A Home of One’s Own”, Roger Moore wears an old-fashioned Norfolk suit. The brown herringbone tweed sporting suit is made up of a Norfolk jacket and matching tweed trousers. The tweed in a light brown and dark brown herringbone is a classic cloth for the country, whilst also flattering Moore’s warm complexion. Though elements of the Norfolk jacket were popular in 1970s fashion, Moore’s is a very traditional model apart from the late 1960’s trouser cut. For background on the Norfolk jacket, I refer to some of the best menswear writers:

Alan Flusser writes in Dressing the Man that the Norfolk jacket is “considered the first sport jacket.”

Riccardo Villarosa and Giuliano Angeli describe the Norfolk jacket in The Elegant Man as “one of the first garments created especially for sporting activities”. They write about the origins of the jackets name: “It appears as if its name derives from the fact that it was cut for some of the guests at the Duke of Nofolk’s hunting party”.

Bernhard Roetzel writes about the Norfolk jacket in Gentleman: A Timeless Guide to Fashion: “It was especially made for shooting, and was therefore a real ‘designer jacket’ in the sense of being designed for a particular purpose, according to the principle that ‘form follows function'”.

Roger Moore’s character Lord Brett Sinclair appropriately wears his norfolk suit in the English country, and it is practical at keeping him warm. However, he does not wear the Norfolk jacket for it’s intended hunting purposes.

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Cyril Castle made Roger Moore’s Norfolk suit jacket in the same cut as the other suits in The Persuaders, with straight shoulders on the natural shoulder line, roped sleeveheads and full, but clean chest. This jacket follows the traditional button four front of the Norfolk jacket, as opposed to the standard three buttons on a regular tweed jacket, and all four buttons are meant to fasten. Though Norfolk jackets most often have a straight front, it’s an acceptable variation for the quarters to the slightly cutaway and curved like on Moore’s jacket. Moore usually has all the buttons fastened on his Norfolk jacket, but sometimes the top or the bottom button is left open in a continuity error. Whilst traditionally the Norfolk jacket has a deep single vent to the belt, Moore’s has deep double vents. It is detailed with swelled edges and two buttons on the cuffs, and the jacket’s buttons are made of dark brown horn.

Though bellows pockets are the most traditional style of hip pocket on a Norfolk jacket, Moore’s jacket has the less sporting but equally casual style of flapped, rounded patch pockets. Compared to standard patch pockets, these have a little extra fullness sewn into bottom of the pocket to make it more useful if Moore wanted to use them.

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The Norfolk jacket ultimately has two defining features: the belt and the sewn-down braces. The belt buttons through the jacket’s middle button and secures to the right of it with another button. Traditionally the belt is removable, but on Moore’s jacket the belt is sewn down to the back and sides. The braces-like straps are attached from the top of the front hip pockets, up over the shoulder and down to the belt at the waist in the rear. According to Villarosa and Angeli in The Elegant Man, the stitched braces are “designed to support the weight of cartridges in the pockets”. Since the braces go over the chest, the Norfolk jacket does not take a breast pocket.

The suit trousers with the Norfolk jacket match the style of the other trousers in The Persuaders and are made by Cyril Castle’s trouser maker at the time, Richard Paine. They have a dart on each side of the front, and an offset jetted frogmouth pocket cuts through the dart. The trousers legs are tapered to the knee and straight from the knee down in the style popular in the late 1960s. Fashions had already moved to wider and flared legs by the time of this show.

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With the Norfolk suit, Moore wears a beige poplin shirt made by Frank Foster with a spread collar, a front placket and button-down one-button cocktail cuffs. He first wears the collar open with a yellow, gold and brown floral silk day cravat, which keeps the outfit looking casual whilst guarding his neck from the cold. Later in the afternoon for drinks and cards at a local Inn where he is staying, Moore switches the day cravat for a buttoned collar with a gold tie that has a faint self-stripe pattern. He ties it in a four-in-hand knot. His shoes are brown side-zip boots with a square toe.

Moore also wears this Norfolk suit in the episodes “Greensleeves” and “The Time and the Place”.

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Equestrian Pursuits: A Houndstooth Tweed Jacket

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Bond’s second hacking jacket of the series is a bit more bold than the first one, but it’s just as traditional. Goldfinger features Bond’s first hacking jacket, a subtle barleycorn tweed. On Her Majesty’s Secret Service features Bond’s second hacking jacket, a bolder houndstooth tweed. But it’s a rather simple check, in black, brown and cream with a red overcheck. The jacket is made by Dimi Major, with lightly padded shoulders, a swelled chest, a nipped waist and a flared skirt. It’s a button three with one button on the cuffs and the hacking jacket features of slanted pockets and a deep single vent. Slanted pockets are easier to access on horseback whilst the deep vent helps the jacket to split in back over the horse.

Click the image for a close-up of the weave.

Click the image for a close-up of the weave.

Bond almost never fastens the top button on his button three jackets. On most of Bond’s button three jackets the lapels gently roll at the top button. Here, Lazenby interrupts the roll by fastening the top button. Dimi Major cuts his button three jackets to look great either with both to the top and middle buttons closed or just the middle button closed. Unlike ordinary sports coats, riding jackets are longer and have three buttons placed higher on the chest, with all three meant to fasten. Lazenby’s hacking jacket is cut like a typical sports coat, meaning the bottom button isn’t meant to fasten. Closing the top button puts this jacket more in the spirit of riding jackets. But fastening the top button is also necessary to hold in the day cravat.

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The beige shirt has a stock collar, which extends around to close at the left side of the neck instead of the front. It looks unbroken across the front and is meant to be worn with a stock tie or a day cravat, of which Bond wears the latter. Bond’s cravat is also beige and is worn with a pin. The beige jodhpurs—likely made of cavalry twill wool due to its elastic properties—are worn with a belt and fit into Bond’s tall, black riding boots. Since I’m not involved in the equestrian world, I cannot judge the appropriateness of the outfit. The only part of this outfit that may be worn outside of equestrian activity is the hacking jacket, and the rest of the outfit should be limited to equestrian pursuits.

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In A View to a Kill, Roger Moore wears another equestrian outfit, but with a conventional shirt and knitted tie.

The Quilted Gilet

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Roger Moore wears a warm outfit for climbing up to St. Cyril’s Monastery in For Your Eyes Only. He wear a brown hooded monk’s robe but removes it to reveal a dark blue quilted gilet. The gilet has a zip front and is between waist and hip length. There are navy suede patches on the front of each shoulder. The gilet has two rounded pockets in the middle of the chest that are accessed from either side of the zip, two lower patch pockets and game pouch at the bottom of the back. Barbour makes similar gilets, but this one could have come from any number of retailers.

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Under the gilet, Moore wears a chunky wool jumper in a two-tone effect light and dark grey. It has a mock polo neck collar with a rather large opening, since it can be folded down far enough that a shirt collar can stick up over it. The jumper appears to be very warm, though chunky knits aren’t so popular today. The dark blue shirt underneath is made by Frank Foster has the same large spread collar that all of Roger Moore’s shirts in the 1980s have. The shirt’s colour is close to but slightly light than gilet’s blue.

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The shirt and gilet are light and bright enough that they don’t clash with the black corduroy trousers. The trousers have a straight leg and plain hems. The lace-up climbing shoes are medium blue with black soles.

Two different Frank Foster shirts were auctioned at Prop Store. The first, sold on 16 October 2014 for £800, is made of cotton jersey and has two-button mitred cuffs, an mitred open breast pocket and a placket with four rows of stitching, both close to the centre like on most of Foster’s shirts but also on the edge. The edge stitching keeps the placket crisp on the edges since cotton jersey doesn’t keep a crisp crease. A second shirt, sold on 23 September 2015 for £800, is made of a thick woven cotton and has two-button mitred cuffs, no breast pocket and a placket only with two rows of stitching near the centre. It’s possible both shirts could have been used for these scenes at St. Cyril’s.