M: The Blue Chalk Stripe Suit in Spectre


Timothy Everest tailored a slightly more modern wardrobe for Ralph Fiennes to wear as M in Spectre than he did for him in Skyfall. The most modern of these suits is the only single-breasted suit fully seen in the film: a two-piece navy worsted flannel with an electric blue chalk stripe. Since a blue chalk stripe doesn’t have as much contrast with navy as a white stripe would, the “electric” description is a little lost. Fiennes wears a similar three-piece suit in Skyfall, Sean Connery wears a navy suit with a blue chalk stripe in Diamonds Are Forever and Daniel Craig wears a navy suit with a blue stripe in Quantum of Solace.

M’s suit jacket is a button two and has a classic English cut with straight shoulders, roped sleeveheads, a full chest, nipped waist and medium-width lapels. The jacket is detailed with slanted pockets, a ticket pocket, double vents and four buttons on the cuffs. The edges are finished with subtle pick stitching, and the buttons are dark horn with a four-hole domed centre.


The suit trousers have a plain front, slanted side pockets and medium-width tapered legs with turn-ups. The waistband has a three-inch square tab extension with a hidden clasp closure and slide-buckle side adjusters. The rear has two tabs for the braces to attach to, which raises the back of the braces like a fishtail back would to make the braces more comfortable. M reveals the black leather tabs of his braces when he pushes the jacket open by placing his hands in his pockets. Opening the jacket also reveals the trousers’ traditional rise to the waist.

Spectre has proven to be the James Bond film of short trousers. Bond’s suit trousers are noticeably short, and so are M’s. M’s trousers just barely touch his shoes, though there is a slight break in front. The trousers overall are not hanging cleanly, and this is likely a result of the braces not sitting properly over Fiennes’ shoulders or wearing the trousers higher than they were meant to be. If a gentleman is going to wear his trousers too short, the trousers should at least have a narrow leg like Bond’s trousers have. M’s trousers don’t have wide legs by any means, but they are wide enough to flap around when too short. Braces typically ensure that the trousers always hang from the proper height, but when the braces aren’t adjusted properly we might see this.

With this suit, M wears a sky blue shirt with a spread collar, plain front and double-cuffs. The tie is a subdued neat pattern of navy squares on navy. Each square has a small white dot in its centre. His shoes are black cap-toe oxfords, the standard shoe for a city suit.


M’s outfit is traditional but is neither old fashioned nor outdated. Foregoing the braces and cutting the suit just slightly closer to the body would make it completely appropriate for Bond to wear. M’s suit is still quite traditional compared to the trendier looks Timothy Everest often tailors. It’s rather a shame M keeps the jacket open the entire scene, so we are deprived of seeing the beauty of the bespoke cut in all its glory.

A Suede Jacket and Mock Polo Neck for Spectre’s Climax


During Spectre’s climax in London, James Bond wears a “marine” navy “Racer Jacket” from John Varvatos. The jacket is made of goat suede and has a two-way zip-front that can open from both the top and the bottom. The sleeves have a zip gauntlet to allow the hand to fit through the narrow sleeves. The front and back are each made of two pieces, and the front has darts at the sides for a trimmer fit. There are side-access pockets at the base of each front dart. The jacket is fully lined.

Under the jacket Bond wears a dark charcoal grey fine gauge mock turtleneck from British company N.Peal made of a blend of 70% cashmere and 30% silk. The collar, cuffs and hem are knitted in a fine rib. This jumper has a close fit that shows off Daniel Craig’s body much better than a suit does.


On the teaser poster for Spectre we see the jumper without the jacket, where Bond’s shoulder holster is revealed. This look immediately recalls the 1973 film Live and Let Die, in which Roger Moore wears a black full polo neck with black trousers and shoulder holster. In turn, Roger Moore’s look was inspired by Steve McQueen in Bullitt, and Daniel Craig’s wardrobes also often take much inspiration directly from McQueen. Craig’s updated dark grey version better flatters his fair complexion than Roger Moore’s black polo neck does, though McQueen’s blue polo neck would be a great look on Daniel Craig.

The trousers are from Neil Barrett and have a flat front with frogmouth pockets. The trousers are black with a grey tic pattern of large tics made up of tiny tics in a blend of viscose, nylon, polyester and elastane. The legs are narrow and tapered, but the elastane content makes the narrow legs wearable. Bond wears the trousers with a belt, though because the scenes are so dark it is difficult to tell if the belt is black or brown. Because Bond wears brown boots with the outfit, a brown belt would be the ideal choice, and dark brown wouldn’t break up the outfit too much.


Speaking of boots, Bond’s are the Sanders & Sanders “Hi-Top” chukka boots, also known as the “Playboy” chukka boots. The boots are snuff suede with a two-eyelet closure, a full leather lining and crepe soles. Crepe soles are associated more with the desert boot, the chukka boot’s brother. Crepe soles are made of coagulated rubber and are very soft and comfortable and fantastic for the desert, but they’re not a good choice for the city. On pavement they absorb all of the filth, and in the rain they become very slippery. The sides of the soles do not look pretty as they wear. And as the soles age they harden, crack and lose their spongy comfort. The “Playboy” chukka boots are something directly inspired by Steve McQueen, which he wears with his polo neck in Bullitt.

Read more about James Bond’s relationship with the turtleneck/polo neck over the years.

Max Denbigh’s Grey Glen Check Suit


Andrew Scott’s Max Denbigh, the Director-General of the Joint Security Service who also goes by “C”, dresses in dark suits with a fashionable edge in Spectre. Denbigh’s modern clothes contrast with M’s traditional clothes without looking inappropriately fashion forward. The clthes reflect C’s attitude when he speaks to M regarding his new methods versus the old 00-section: “It’s the future, and you’re not.” C’s suits are rooted in the British tradition with a hint of 1960s fashion, whilst his shirts take their cues from fashion.


When meeting with M in M’s office at the beginning of Spectre and when encountering M in the corridor later in the film, Denbigh wears a black and grey glen check suit. The suit jacket has an English silhouette with straight shoulders and roped sleeveheads. The chest is lean with a close fit and the waist is suppressed, but it’s not as tight as the waists of Daniel Craig’s suit jackets.

The suit jacket has two buttons on the front in a slightly high stance. The lapels are medium-narrow with small fishmouth notches, and they are finished with noticeable pick stitching. The jacket is detailed with straight pockets with flaps, four cuff buttons and a single vent. The suit’s trousers have a flat front and side adjusters. The legs are narrow and straight.


On the two occasions Denbigh wears this suit he wears it with different shirts and ties. The first shirt he wears with it is ecru with a self stripe. With this shirt he wears a black tie with s random pattern of printed white dots that looks like a star-filled night sky. The second shirt he wears with it is cream with grey diamonds, most likely a printed pattern. The tie with the second shirt is black with alternating white and dark grey dotted lines. The dots on the tie clash with the similar scale of the shirt’s pattern. Both shirts are made in the same style. They have spread collars with short stands and short points, button cuffs and front plackets. The ties are tied in four-in-hand knots.


Meeting Mr White in a Navy Jacket in Spectre


When meeting Mr. White in Altaussee, Austria in Spectre, James Bond wears a navy wool and cashmere jacket from Dior Homme. The front of the jacket has five buttons covered with a fly. There is zip to close the fly, which is offset like the zip on a biker jacket. Whilst the biker jacket’s zip is angled, this jacket has a vertical zip that follows the fly. The zipped fly keeps the jacket warmer, though the buttons don’t serve a purpose with the zip. Jackets more open have a buttoned fly that conceals the zip instead. The sleeves to taper to the cuff and follow the shape of the arm, but to allow the hand though the cuffs have a long zip.

The jacket has a turn-down collar which can be flipped up and closed with a throat latch. The collar originally had black fur trim. There are set-in pockets on the front with straight flaps that fasten down on the corners with poppers. The inside the jacket has a black, quilted lining. There are horizontal darts over the shoulder blades to give fullness and neatness in the upper back. Though the jacket doesn’t match any traditional jacket styles, it has a practical design with a timeless look. Though Dior’s clothes mostly focus on the latest fashion trends, this jacket doesn’t suffer from being overly trendy.


Under the jacket, Bond wears a polo neck—the proper rolled style—from N.Peal. It is in a colour they call “Fumo Grey”, which is a light and warm shade of grey that is very flattering to Craig’s complexion. It is designed for warmth and is cable-knitted in a heavy Mongolian cashmere.

The trousers are from Neil Barrett and have a flat front with frogmouth pockets. The trousers are black with a grey pattern of large tics made up of tiny tics in a blend of viscose, nylon, polyester and elastane. The legs are narrow and tapered, but the elastane content makes the narrow legs wearable. The trousers are worn with a belt.


Bond wears black Danner Mountain Light II 5″ boots. The boots lace with five pairs of lugs to the toe and two pairs of speed hooks at the top for a secure fit. The boots are made of one piece with leather plus a counter up the back. They have Vibram soles with yellow cleats. Bond’s black leather gloves are the “James” model from Agnelle. The back is quilted and there are gathers on the underside of the wrist. The gloves are lined with 100% alpaca. Matching the jacket, the navy knitted cap—also called a beanie or tuque—is in a ribbed knit wool and is folded up at the bottom.

M: Double-Breasted Chalk Stripe Suit in Spectre


After creating masterpieces for Skyfall, Timothy Everest returned to tailor Ralph Fiennes’ wardrobe for Spectre. Fiennes plays Bond’s boss M, known as Gareth Mallory in Skyfall, and his suits follow the same styles as the suits in Spectre. When we first see M in Spectre he is wearing a similar double-breasted suit to navy chalk stripe double-breasted suit he wears in the last scene of Skyfall. But whilst the suit in Skyfall is made of a traditional heavy flannel, this suit is made from a lighter flannel. Timothy Everest’s website commented on this change in cloths:

Working closely with the 007 wardrobe team, the brief was to contemporarise M from heavy worsted wools and flannels to a more modern, medium weight Super 120’s worsted wool and baby cashmere coatings.


Though this new suit is still a flannel, it’s a lighter weight than before. This lightweight flannel is likely 11 oz, which gives the traditional cloth an updated look. M wears a navy suit with white chalk stripes spaced about 3/4″ apart in his office when he meets with Bond. When dealing with Max Denbigh in the corridor later in the film he wears the same suit.

The suit jacket is a classic button two, show three double-breasted. M fastens both buttons on the jacket, which reflects the way a naval officer would button his double-breasted uniform. It has a classic Savile Row cut with straight shoulders, roped sleeveheads, a full chest, a nipped waist and medium-wide peaked lapels. This is the ultimate authority style and gives M an incredible presence. The jacket is detailed with straight flap pockets with a ticket pocket, double vents and four buttons on the cuffs. The edges are finished with subtle pick stitching, and the buttons are dark horn with a four-hole domed centre.


The suit trousers have a plain front, slanted side pockets and medium-width tapered legs that likely have turn-ups. The waistband has a tab extension with a hidden clasp closure and slide-buckle side adjusters. The rear has two tabs for the braces to attach to, which raises the back of the braces like a fishtail back would do to make the braces more comfortable.

The suit is thoroughly traditional and completely timeless. It may not look as hip as Daniel Craig’s Tom Ford suits, but this suit will never look outdated. The chalk stripes and powerful—but not excessive—cut give M the appearance of the important and commanding man that he is. It’s an old-money look but not a pretentious look.


At his meeting with James Bond at the start of the film, M gives this outfit a modern look with a french blue cotton poplin shirt rather than a more traditional lighter shirt. The shirt has a spread collar, plain front and double cuffs. M wears a navy tie with magenta squares with this shirt. When encountering Denbigh in the corridor later in the film, M wears a sky blue shirt with a spread collar, front placket, double cuffs and side pleats over the shoulders. The shirt has a traditional full cut. With this shirt he wears a navy tie with a tiny motif that may possibly be pink. The lighter sky blue shirt is more flattering to Fiennes’ pale complexion than the vivid french blue shirt.


M wears braces with his suit trousers, and they may be the same braces he wears in Skyfall. The Skyfall braces are navy with a navy embroidered fleur-de-lis braces motif and were made by Albert Thurston. The braces have black leather ends and trimmings and brass levers. Wearing braces rather than using the side-adjusters gives M an old-fashioned air, but with all of his problems at least he doesn’t have to worry about his trousers slipping.


Black Bridge Coat, Sunglasses and Gloves in Spectre


Over his black herringbone peaked lapel three-piece suit, James Bond wears a black double-breasted bridge coat that helps him fit in with the gangsters at Sciarra’s funeral in Spectre. The coat from Tom Ford is made of lighter topcoat-weight brushed wool. It is in a button four, show four configuration and has an ulster collar with a buttonhole on each rever, slash pockets for hand-warming, a button-on half belt in the back, a rear vent and three cuff buttons. The coat is cut with straight shoulders and has set-in sleeves.

The bridge coat has military origins and is like a cross between a pea coat and a greatcoat. It is like a pea coat in most of its design but has the full below-the-knee-length of the greatcoat. Bridge coats, like pea coats, have a straight cut, but the bridge coat’s belt in the rear gives it some waist suppression. The belt on Bond’s coat takes in the waist significantly, but the cut of coat does not not have much waist suppression. Though bridge coats for the military have gilt buttons, Bond’s bridge coat is adapted for civilian use with black horn buttons. For a less gangster-esque look than a black bridge coat, navy is a great colour for a bridge coat.


Though the bridge coat and great coat are very similar, there are a few notable differences. Bridge coats have the buttons on the front in a rectangular formation, and those buttons are separate from the buttons under the collar. Greatcoats have the buttons in a keystone formation, and the buttons are spaced evenly up to the collar. Bridge coats, like pea coats, typically have slash pockets whilst greatcoats have straight or hacking flap pockets. Both often have a belt in the back. Daniel Craig’s double-breasted black overcoat in Quantum of Solace, by contrast to the coat in Spectre, is a greatcoat.

Daniel Craig’s Bond usually only fastens one button on his outer coats, and on this coat he only fastens the second button from the top. It is an odd way to fasten a coat for warmth, and it’s an odd fashion for someone who was once in the military.


With the bridge coat at the funeral, Bond wears the Tom Ford “Snowdon” sunglasses in the colour “Havana”, which is a mottled dark brown. The lenses look brown, but they are actually greyn. These sunglasses will be auctioned at the Spectre auction at Christie’s in London on the 18th of February and are expected to fetch £4,000 to £6,000.

Bond also wears black leather driving gloves with his bridge coat and black suit. The gloves are the appropriately named “Fleming” model from Dents. The glove has perforations on the outsides and insides of the fingers, gathers on the underside of the glove’s opening and a band that fastens with a popper on the topside of the glove’s opening. Bond later wears these gloves when he visits Lucia, but he does not wear them for their intended purpose—driving—during the car chase with Hinx.

Tan Suede Jacket from Matchless in Spectre


When in Morocco in Spectre, Bond needs a cool jacket to conceal his firearm. For this purpose he wears a tan lightweight suede jacket from Matchless London. Matchless calls this jacket the “Craig Blouson”, but this is technically not a blouson since the waist is not drawn in. The jacket is longer than waist-length and sits over the top of the hips to cover the waistband of the low-rise trousers. The jacket has a zip front, side pockets and an ecru viscose rayon lining. The collar is two pieces and has a hook to close with. Bond wears the collar up in back to protect his neck from the sun but folded down a little in front to keep it away from his face. An unlined jacket would likely be a better choice for the hot weather in Morocco.

Under the suede jacket when Bond arrives in Morocco, Spectre brings a new take on a Bond staple: the navy polo. Bond’s polo from Tom Ford is made of a 57% cotton and 43% viscose rayon blend pique knit. Rayon makes the polo lighter than if it were just cotton, but cotton is stronger and more breathable. Instead of the usual buttoned placket, the shirt has an open V-neck. The collar and sleeve hems are a fine rib knit, and the shirt’s hem has a thick ribbed band like on a jumper. The polo has a close fit everywhere, and the mid-bicep-length sleeves perfectly curve around Bond’s shoulders and excellently show off his arms.


Later in the film on the train across Morocco, Bond switches the polo for a blue and white end-on-end linen shirt. This shirt is mostly hidden under the jacket, but it has a short point collar that curls up. Medium blue buttons fasten down a plain placket, and there is no pocket on the front. There are darts down the front at the sides of the front panels for a very tapered waist. Front darts are usually only on women’s shirts, which help the shirts fit closely around their anatomy. Men do not need front darts in their shirts, and tapering at the sides with darts for the small of the back are enough to fit a shirt closely to a man’s physique. This shirt matches the “Morton” model from Orlebar Brown, who made the blue swimming trunks for Skyfall. The “Morton” has long sleeves with short, pointed cuffs that have two buttons around the circumference to fasten the cuff at different sizes.


The khaki cotton gabardine chinos from Brunello Cucinelli are the same trousers that Bond wears later with his light brown Brunello Cucinelli jacket. They have a flat front, a low rise and narrow straight legs. Bond wears the bottoms rolled up for a casual look. The chinos are pressed with a crease down each leg, but the crease is faded and hardly noticeable. Bond wears the chinos with a brown woven leather belt from Brunello Cucinelli. The belt has a solid brown leather tab at the end with holes for the buckle to feed through. It is not the type of belt where the whole piece is braided and the buckle feeds through the braid.

The sunglasses are the Tom Ford Henry model. Bond’s boots are the Kenton Suede Boots from J. Crew in a tan colour appropriately called “Sahara”. They have five pairs of eyelets and three pairs of speed hooks, a plain toe and red mini-lug soles. The boots were likely chosen because they closely match the jacket, but the match looks too forced. Oiled leather desert boots could have been a better choice.


The outfit of a tan jacket, navy polo and khaki chinos pays homage to a similar outfit that James Bond wears on a previous trip to Tangier in The Living Daylights. Though Timothy Dalton’s outfit in The Living Daylights had the right idea—and the execution is fine for the 1980s—it’s not as unique as Craig’s similar outfit in Spectre is. The clothes in Spectre are much higher quality and more interesting. The return of the suede jacket in Spectre also recalls the numerous suede jackets Roger Moore wears in his 1980s James Bond films.

Anthracite Damier Three-Piece Suit in Spectre


When Bond visits Q’s lab at the end of Spectre, he wears a sporty checked three-piece suit from Tom Ford. Bond has worn few sporty three-piece suits in the series, and this one follows the iconic three-piece glen check suit from Goldfinger loosely in idea but neither in execution nor iconography. Like the glen check suit in Goldfinger, it’s a suit for relaxed Bond rather than a 00-agent ready for business. And being a three-piece, it shows shows that Bond is a man who appreciates fine clothes even when he doesn’t need to dress up. Though it’s a sporty suit, the dark grey colour, smooth finish and waistcoat also make this a fairly dressy suit, but it’s not a business suit.


The suit is anthracite—a very dark charcoal—with a pin-point damier check. A true damier is a checkerboard pattern whilst this pattern is more like a variation on the shepherd check. It’s a check made up of pin dots with a 32-yarn repeat in both the warp and the weft. For 16 of the 32 yarns in each direction there is a yarn that creates a line of white pin dots every four yarns. The overall effect is a dark grey check. The content of the suiting is 70% wool, 18% silk and 12% mohair. The silk and mohair give the cloth a subtle sheen and increase its formality.

Like the two-piece suits in Spectre, this suit is the O’Connor model designed by Spectre’s costumer designer Jany Temime along with Tom Ford. The jacket has straight, padded shoulders with roped sleeveheads. The front has three buttons with narrow lapels rolled to the middle button for a button two look. The jacket is detailed with a single vent, slanted hip pockets, a curved “barchetta” breast pocket and four buttons on the cuffs. The last buttonhole on the cuffs is longer than the rest, and Bond wears the last button open. Like the other O’Connor suit jackets, this suit jacket is too short and too tight. This suit jacket is tighter than the rest because of the waistcoat underneath.


The waistcoat has six buttons with five to button. The bottom button is placed on the cutaway portion of the waistcoat, and the bottom button and buttonhole do not line up. The waistcoat has four curved “barchetta” welt pockets. The low-rise suit trousers have a wide extended waistband, slide-buckle side-adjusters, side seams curved forward at the top with on-seam pockets and narrow straight legs.

Under the suit, Bond wears a sky blue cotton poplin shirt with a point collar, double cuffs, a front placket and back darts, which give the shirt a close fit in the small of the back. He matches the shirt with a folded sky blue handkerchief in his suit jacket’s breast pocket. The tie is solid black—in what may be a panama weave—and tied in a four-in-hand knot. Bond’s shoes are likely the Crockett & Jones Norwich model: black calf five-eyelet, cap-toe derby shoes with Dainite studded rubber soles.