Mr Hinx’s Brown Suit in Spectre

Hinx-Beige-Suit-Spectre

Sometimes the henchman in James Bond films are dressed better than their bosses, and Mr Hinx in Spectre, played by Dave Bautista, is one of these henchman. Bautista’s suits are tailored in an English style by London tailor Timothy Everest, who also tailored Ralph Fiennes and Christoph Waltz for Spectre. Bautista said about Hinx in an interview with Entertainment Weekly, “I really fought hard to not get typecast as your big, dumb muscle-head … But I wasn’t expecting the elegant wardrobe, the very manicured look.”

Hinx-Beige-Suit-Spectre-3

Hinx’s final scene in the film is an intense fight on a train travelling through Morocco, and for this scene he wears a three-piece suit that Everest says is made of beige Capri wool. I could not find much information on what capri wool is, but Versace sells clothes made from a blend of wool, cotton and polyester in an open weave that they call “Capri wool”. Though I can’t imagine a great tailor such as Timothy Everest would care to work with a cloth blended with polyester, polyester’s wrinkle resistance looks great on camera. Hinx’s suit looks very crisp for a lightweight suit, so perhaps it does have a small amount of polyester. And though Everest calls the suit beige, it’s darker and richer, more of a light brown. The light brown colour helps Bautista’s dark, warm complexion shine whilst also fitting in with sandy Morocco.

Hinx-Beige-Suit-Spectre-2

Bautista is a huge, muscular man, and this type of body is very difficult to fit. Since he is always in motion, the fit of his suit cannot be judged from what we see in the film. The button two jacket is tailored in an English fashion with straight shoulders and roped sleeveheads. Padding in the shoulders of Hinx’s suit jacket is used to straighten the shoulders rather than to build them up. The padding helps the cloth to drape over his shoulders neatly and elegantly. The jacket is detailed with double vents, slanted flap pockets and four buttons on each cuff.

Hinx-Beige-Suit-Waistcoat-Spectre

The suit’s waistcoat has five buttons, spaced apart to cover Bautista’s large frame. Six buttons with closer spacing would have looked more elegant. Hinx fastens the bottom button, which lines up with its corresponding buttonhole. However, the bottom of the waistcoat pulls in, and the waistcoat does not have the cleanest lines as a result. Though the armholes of the waistcoat are cut in an ordinary manner, they accentuate Bautista’s broad and muscular shoulders that burst out of the armholes when we see him without the jacket. Removing the singed jacket removes the sophisticated menace from Hinx’s appearance and replaces it one of pure menace. Without the jacket on, the shiny copper satin back of the waistcoat is revealed, flashiness that identifies him as a villain. The jacket is also lined in the same copper satin material.

Hinx-Beige-Suit-Waistcoat-Back-Spectre

Hinx’s suit trousers are cut with a flat front and tapered legs that have plain bottoms. The trousers have slide-buckle side-adjusters, slanted side pockets, one rear button-through pocket on the right.

Hinx’s shirt is a microcheck, probably in grey and white. It has a wide but short spread collar and rounded single-button cuffs. The shirt’s buttons contrast the shirt in brown. Hinx’s tie is grey with black lines and white dashed lines horizontally across it. He ties it in a four-in-hand knot. Hinx’s socks are light brown and his shoes are chestnut brown that fasten with monk straps and have Dainite studded rubber soles. The shoes have a sleek, modern English last with a chiselled toe that make Bautista’s large UK size 12 feet look elegant. Though Crockett & Jones only takes credit for supplying Daniel Craig’s shoes for Spectre, these shoes resemble their Monkton model. The Monkton does not come with Dainite soles, but it’s entirely possible that Crockett & Jones made the shoes especially for Bautista with Dainite soles.

Hinx-Beige-Suit-Monk-Shoes-Spectre

Anthracite Damier Three-Piece Suit in Spectre

Spectre-Anthracite-Damier-Check-Suit

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.

Spectre-Pin-Point-Damier-Check

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.

Spectre-Anthracite-Damier-Check-Suit-2

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.

Spectre-Anthracite-Damier-Check-Suit-3

A Black Herringbone Suit for a Funeral in Spectre

Spectre-Black-Herringbone-Suit

James Bond’s black herringbone three-piece suit in Spectre introduces Tom Ford’s signature “Windsor” model to the Bond series. This model is characterised by wide peaked lapels and aggressive shoulders. The look is inspired by suits from the 1940s as well as by 1960s and 1970s British designer Tommy Nutter’s suits. Though Bond is in disguise as an Italian gangster, the style of his suit is much more British than it is Italian. Bold and flashy doesn’t mean it’s Italian, but it’s also not the look a traditional English gentleman would sport either.

Bond has typically avoided wearing solid black suits because they’re neither the most traditional nor the most stylish. They have their place at funerals, which makes this black suit fitting for the situation. The only other time Bond wears a solid black suit is to Morton Slumber’s funeral home in Diamonds Are Forever. That suit is also a three-piece, and this suit is its direct successor. Though black suits usually look dull, this suiting is woven in a large herringbone weave to give it texture so it doesn’t look flat. Whilst this suit is 100% wool, the herringbone weave means it reflects more light and ends up looking livelier and shinier. Seeing it in person, it’s brighter than all of the other blacks around, even though it is still black. This is the rare example of an exciting black suiting.

The jacket has straight shoulders with a heavy amount of padding and roped sleeveheads. There is fullness and shape in the chest, which gives it a more bespoke look and feel, but the chest still fits close to the body, as does the waist. The length is a bit on the short side. The front has two buttons at a medium stance and medium-wide peaked lapels with belly. Belly is the convex curve of the outer edge that makes the lapels look wider than they actually are. Tom Ford spoke about his preference for wide lapels in a documentary that aired on 23 October 2011 as the second episode of the television programme Visionaries: Inside the Creative Mind:

I like a big lapel. I’ve always hated little skinny lapels. It doesn’t mean I haven’t ever done them before, but I’ve always felt they feel a little sad, like you don’t have enough fabric.

The jacket is detailed with straight pockets with wide flaps and a ticket pocket. The breast pocket has a curved “barchetta” shape. There are five buttons on the cuffs, and the last button has a longer buttonhole and is left open. There is a single vent to the back.

The waistcoat has six buttons with five to button—the last button and buttonhole are placed on the cutaway part at the bottom and would strain if fastened. There are four curved welt pockets on the front that match the style of the jacket’s breast pocket.

The trousers have a flat front, a medium low rise and narrow, straight legs with plain hems. This is the only Tom Ford suit of all the Bond films to not have turn-ups on the trousers, and this suit may not have turn-ups because it is more formal than any other suit Daniel Craig has worn in his Bond films. The waistband has a square extension with a hidden hook-and-eye closure and slide-buckle adjusters at the sides. The side pockets are on the seam, which curves forward at the top.

Spectre-Black-Herringbone-Suit-2

Costume designer Jany Temime was quoted about this outfit from Spectre on the James Bond 007 Facebook page:

Bond is in disguise and has to fit in with gangsters, moving in a daring way. The details in the shirt, the collar is more Italian style: it is Bond in disguise.

The white cotton poplin shirt from Tom Ford has a point collar with eyelets and metal bar, cocktail cuffs, a plain front and rear darts for a slim fit. Though Temime says the pinned collar is an Italian style, it’s not particularly Italian these days. It has some historical association with both Italians and Americans. Roger Moore wears a pinned collar in his 1976 film Street People when playing his Sicilian father in 1930s flashbacks. Pierce Brosnan almost always wears pinned collars during the first two series of Remington Steele, which reflected trends in America at the time as well as his character’s love for classic Hollywood films. Pinned collars are too fussy for James Bond to wear apart from being in disguise, and they’re not particularly appropriate for a modern British character.

Tom Ford calls the cocktail cuff on his shirts the “Dr. No cuff”, named after the first Bond film to feature Bond wearing shirts with cocktail cuffs. The cuff has a similarly rounded shape to the cocktail cuffs that Sean Connery wears in five of his Bond films, though the two buttons on this cuff are both positioned closer to the fold. The top button on this cuff is mostly hidden under the fold, whilst it’s always visible on Connery’s cuffs when has has both buttons fastened. Spectre is the ninth Bond film to feature James Bond wearing cocktail cuffs, after five films with Sean Connery and three films with Roger Moore. Turnbull & Asser made a bespoke cocktail cuff pattern for Pierce Brosnan when making shirts for Die Another Day, but no shirts cocktail cuffs were featured in that film.

The black-on-black woven check silk tie is 9.5 cm—or 3 3/4 inches—wide to go with the wide lapels on the suit jacket. The lapels are wider than the tie, though ties that are narrower than the lapels can still work. To fit his disguise as a gangster, Bond knots his tie in a windsor knot. Bond completes his outfit with a white silk handkerchief with a black border stuffed—rather than meticulously folded—into his breast pocket. The handkerchief measures 40 cm by 40 cm.

The boots that Bond wears with this suit are the flashy Crockett & Jones Camberley model in black calf. The style is best described as a double-monk boot, where the straps buckle from the inside quarter over the outside quarter. Like on monk shoes, the quarter are both over the tongue. This boot is not a Jodhpur boot, where the vamp and tongue are positioned on top of the quarters. Boots are a good match with narrow trousers because narrow trousers must be hemmed shorter, and thus boots will prevent sock from showing with shorter trousers. Whilst monk boots are not likely something the literary James Bond would wear, they satisfy his dislike for laces.

Bond wears this suit with a black double-breasted bridge coat, sunglasses and black driving gloves.

The Saint: A Black-and-White Hopsack Suit with a Double-Breasted Waistcoat

Roger Moore in "Simon and Delilah", with Lois Maxwell who plays Miss Moneypenny in the first 14 Bond films

Roger Moore in “Simon and Delilah”, with Lois Maxwell who plays Miss Moneypenny in the first 14 Bond films

In a number of fifth series episodes of The Saint—including “The Helpful Pirate”, “The Convenient Monster”, “The Angel’s Eye”, “The Persistent Patriots”, “Simon and Delilah” and “A Double in Diamonds”—Roger Moore wears a black and white hopsack three-piece suit. The overall look of the cloth is a medium-dark grey with a lot of sheen. The sheen suggests a wool and mohair blend, which was very popular in the 1960s. Mohair often came in these tone-tone hopsack weaves in the 1960s because the iridescent two-tone look accentuates the natural sheen of mohair. Hopsack—a basketweave—is also a popular weave for mohair because the open weave takes advantage of mohair’s cool-wearing properties.

Saint-Black-and-White-Mohair-Suit-2

With a tie-clip microphone in “Simon and Delilah”

Cyril Castle, who tailored Moore for The Saint, The Persuaders, Live and Let Die and The Man with the Golden Gun, cut this suit. Like all of Roger Moore’s suits in The Saint‘s fifth series, this suit’s jacket has a button three front. The jacket is cut with softly padded shoulders, roped sleeveheads, a draped chest and a suppressed waist. A low button stance serves, along with the drape, to make Roger Moore’s chest look more masculine and imposing. The considerably narrow lapels add to this effect and make the entire look overdone.

For a dressier look, this suit jacket has the minimalist touches of jetted pockets and no rear vent. Like on most of the jackets in the fifth series, the cuffs are gauntlet cuffs with a single button. The suits’s trousers have a darted front, no belt, frogmouth pockets and narrow, tapered legs with plain hems.

Moore reaches into the pockets of his double-breasted in "The Angels Eye"

Moore reaches into the pockets of his double-breasted in “The Angels Eye”

The double-breasted waistcoat has six buttons in a keystone formation with three to button. A double-breasted waistcoat is an unusual piece and is more formal than a single-breasted waistcoat. It’s perfect for evening formal dress and morning dress, but it’s equally appropriate on a dressier lounge suit such as this shiny mohair suit. It’s certainly a dandyish piece and serves as a way to stand out from the crowd, but it doesn’t draw much more attention than a single-breasted waistcoat would, especially if the jacket is kept buttoned. It lends a rather old-world look to this suit, but since the suit is very modern with narrow lapels and narrow trousers it doesn’t have enough weight to make the suit look old-fashioned.

Notice the gauntlet cuffs, in "SImon and Delilah"

Notice the gauntlet cuffs, in “SImon and Delilah”

A suit like this is too bold for standard business dress. Mohair is too shiny and thus flashy, and the double-breasted waistcoat is too unconventional. These elements also make the suit too formal for the office. However, it is perfect for a fancy evening out or to wear to a day or night wedding, either as a guest or as the groom. Though mohair is a cool-wearing cloth and good for warm weather, the extra layer of a waistcoat gives this suit a wider temperature range.

Moore coordinates this suit with two different tie and shoe combinations. The shirts are always ecru, and many or all have white hairlines stripes. The shirts have a moderate spread collar, plain front and double cuffs. The collar has a tall stand but short points. In “The Helpful Pirate”, “The Convenient Monster” and “The Angel’s Eye” Moore wears a narrow medium grey satin tie and black slip-on shoes with elastic. In “The Persistent Patriots”, “Simon and Delilah” and “A Double in Diamonds” he wears an narrow olive satin tie and medium brown slip-on shoes with elastic. Moore knots his ties with a small four-in-hand knot.

The suit jacket buttoned in "The Convenient Monster"

The suit jacket buttoned in “The Convenient Monster”. With the jacket buttoned the double-breasted waistcoat doesn’t look so unusual.

In “Simon and Delilah” Moore wears a tie clip with a microphone built in (pictured second from top). A tie clip is typically unnecessary with a waistcoat because the waistcoat keeps the tie in place. Sometimes the waistcoat doesn’t do this job as well as it should and a man may still want a tie clip to keep his tie perfectly in place. In that case, the tie clip should be worn under the waistcoat. It belongs approximately three-quarters of the way down the tie and away from the face. Of course, a microphone would be less effective under the waistcoat. Ideally a two-piece suit should have been chosen for this scene. On the other hand, the waistcoat means that the tine clip is higher and thus in better sight for the viewers of the show.

Though he usually wears dark grey socks with this suit, in “The Persistent Patriots” Moore wears this suit with beige socks—which coordinate with the shirt more than they do with the suit. Though they by no means clash with the outfit, light-coloured socks can draw attention to the feet when attention should be drawn to the face.

Beige socks with this suit in "The Persistent Patriots"

Beige socks with this suit in “The Persistent Patriots”

The Man from U.N.C.L.E. (2015): Glen Urquhart Check Suit

Man-from-UNCLE-Cavill-Glen-Urquhart-Check-Suit

Henry Cavill stars as Napoleaon Solo in the 2015 film The Man from U.N.C.L.E., which is a remake of the 1960s television series of the same name that starred Robert Vaughn. London tailor Timothy Everest, who tailored Ralph Fiennes for Skyfall and Spectre and Christoph Waltz and Dave Bautista for Spectre, tailored Henry Cavill’s suits. Whilst the character in the original television series is dressed in a wholly American 1960s Hollywood style, the film’s costume designer Joanna Johnston wanted to give Solo a British look. Solo’s suits are inspired by the experimental fashion of mid 1960s England, which isn’t right for the film’s 1963 setting or for the traditionally minded character, but Solo nevertheless dresses very stylishly.

The television character often wears checked suits, and a number of checked suits were brought back for the film. One of these is a three piece suit in a black and white Glen Urquhart check with a blue windowpane overcheck. George Lazenby wears a suit in a similar cloth in On Her Majesty’s Secret Service. The jacket has buttons covered in the Glen Urquhart check cloth, and the buttons alternate between the large and small parts of the Glen Urquhart check.

Man-from-UNCLE-Cavill-Glen-Urquhart-Check-Suit-2

Everest tailored the suit with a three buttons down the front (instead of the single button that Solo often wore in the television series), straight shoulders with roped sleeveheads, a clean chest, and a close-fitting but straight waist. The squared-off foreparts combined with Cavill buttoning both the middle and the top buttons give the jacket a rather boxy look, but it has a dynamically shaped silhouette that fits Cavill’s athletic physique very well. The jacket is detailed with narrow lapels, straight flapped pockets, a ticket pocket, four cuff buttons and a single vent. The jacket’s length is about an inch shorter than the traditional length. The squared-off foreparts make the jacket look longer in front, though the short length is noticeable from behind.

The trousers have a flat front and narrow, tapered legs with plain hems. The waistcoat has five buttons and a straight bottom, which complements the straight bottom of the suit jacket. There are two welt pockets on the front of the waistcoat.

Man-from-UNCLE-Cavill-Glen-Urquhart-Check-Suit-3

The ecru shirt’s point collar contrasts with the button-down collars that Solo typically wore in the television series. The point collar is fashionably short for the 1960s trends—too short for the points to stay anchored to the chest—and has no tie space. The shirt also has double cuffs.

Solo’s tie is dark grey with a black and white pattern, most likely printed. The scale of the pattern is larger than the houndstooth section of the Glen Urquhart check but smaller than the repeat of the whole check, so it is able to pair well with the checked suit. Solo ties it in a four-in-hand knot. The ecru silk pocket square with black polka dots is casually stuffed into the out-breast pocket with one point up. This is rather flashy for the 1960s, when people usually wore folded white linen handkerchiefs in their breast pockets. In the television series, Solo did not wear pocket squares. Cavill’s shoes are dark brown oxfords.

Man-from-UNCLE-Cavill-Glen-Urquhart-Check-Suit-4

Overall, the suit is interesting and unique, and the outfit is stylishly put together. The suit, however, does not reflect the American character from the television show nor does it reflect the year when the film takes place. This was all done on purpose for the sake of dressing the character in the costume designer’s taste with a blatant disregard for what the character should authentically be wearing.

You can read more about Timothy Everest’s work on the film at TimothyEverest.co.uk

The Rock: Sean Connery’s Navy Three-Piece Suit

Sean-Connery-The-Rock-Suit

A happy 85th birthday today to Sean Connery. In The Rock, Sean Connery plays John Mason, a British national who escaped from Alcatraz. The Mason character was written as an homage to Bond and has a lot in common with Bond. John Spencer’s character FBI Director Womack states that Mason is a British operative but says, “Of course the British claimed they’d never heard of him.” Womack also says, “This man knows our most intimate secrets from the last half-century…Mason’s angry. He’s lethal. He’s a trained killer.”

Sean-Connery-The-Rock-Suit-2

Mason even speaks like Bond when he responds to Nicolas Cage’s character Goodspeed’s introduction with the Diamonds Are Forever line, “But of course you are.” For Mason to agree to cooperate with the FBI, he makes a Bond-like demand: “I want a suite, a shower, a shave, the feel of a suit.” The new navy worsted three-piece suit he gets is what matters most, as far as this blog is concerned.

Sean-Connery-The-Rock-Suit-3

Though The Rock was released in 1996, Sean Connery’s suit more closely resembles an late 1980s/early 90s suit. The button two suit jacket has a low button stance and a very low gorge, which places the lapel notch almost in the middle of the chest. Sean Connery’s prominent shoulders make the jacket’s shoulders look more padded than they actually are. Still, the shoulders have a fair amount of padding, but natural sleeveheads gives the shoulders a natural but neat curve.

Sean-Connery-The-Rock-Suit-Waistcoat

The suit jacket is cut with a moderately full chest and a gently suppressed waist. The jacket is detailed with flapped pockets, three cuff buttons and no vent in the rear. The suit’s waistcoat has five buttons. The suit trousers have a full cut, likely with double or triple reverse pleats. The legs are wide but slightly tapered. The suit is very similar to the suits Timothy Dalton wears in Licence to Kill, but Connery’s suit has a much cleaner fit. Though this suit is strongly influenced by fashion in its proportions, it follows the principles of a good fit.

Connery’s white shirt has a spread collar with tie space and a sewn interfacing (revealed by a poor sloppy job), front placket and square cuffs with either one or two buttons. The collar design and construction could mean that this shirt is from an English maker. The tie has alternating wide navy and gold stripes. The navy stripes are woven in a twill weave whilst the gold stripes are woven with floats to look like a basket weave. Connery’s shoes are black single monk shoes.

Sean-Connery-The-Rock-Suit-Tie

The Persuaders: A More Conservative Charcoal Three-Piece Suit

Persuaders-Charcoal-Three-Piece-Suit-2

Though Roger Moore often dresses flamboyantly as Lord Brett Sinclair in his early 1970s television show The Persuaders, not all of his clothes are entirely adventurous or fashion-forward. One of Moore’s more conservative pieces of clothing in The Persuaders is a charcoal track-stripe three-piece suit, which he wears in eight episodes. The track stripes are pairs of white or light grey pinstripes, spaced close together. Roger Moore designed his clothes for The Persuaders, and for this one he kept the cloth more conservative. Cyril Castle, Moore’s tailor for The Saint and his first two James Bond films, made the suit.

Persuaders-Charcoal-Three-Piece-Suit

This cut of this suit is similar to Roger Moore’s suits in The Saint, but the jacket has been updated from the 1960s with wider, more balanced lapels and a higher button stance that gives the suit jacket a timeless look. The jacket has a very British cut with softly padded shoulders, a full chest and a nipped waist. The front buttons three with a medium low stance that has a balanced and flattering look on Roger Moore’s figure. The jacket is detailed with three buttons on the cuffs, slanted pockets and a single vent.

The suit’s waistcoat has six buttons with five to button. The bottom of the front edge starts to curve away above the bottom button, thus the bottom button and buttonhole do not line up. The waistcoat also has notched lapels and two welt pockets.

Persuaders-Charcoal-Three-Piece-Suit-Waistcoat

Moore wears a gold chain from one waistcoat pocket to the other. This should mean that Moore has a pocket watch in one waistcoat pocket and a fob in the other, but Moore is wearing a gold wristwatch. Either Moore has both a wristwatch and a pocket watch, or the waistcoat’s chain is purely decorative.

The suit’s trousers are made by Cyril Castle’s trouser maker at the time, Richard Paine. They have jetted cross pocket on the front, and a dart centred on the front of each side cuts through the pocket. There is a button-through pocket on either side in the back. The trousers have a narrow straight leg, following 1960s fashion. Though Moore often dresses flamboyantly in The Persuaders, he wouldn’t adopt the flared looks that became popular in the late 60s until Live and Let Die. The trousers also have belt loops, but Moore doesn’t wear a belt, and the waistcoat keeps the belt loops covered. The trouser waist fits well enough that a belt is not needed.

Persuaders-Charcoal-Three-Piece-Suit-3

Moore’s lilac poplin shirt, made by Frank Foster, has a spread collar, a plain front and button-down cocktail cuffs that fasten with a single button. Lilac shirts are very versatile, and the colour flatters Moore’s warm complexion. The tie is navy with sets of wide cream, champagne and gold stripes, and it is tied in a four-in-hand knot. The shoes are black monk shoes with an apron front.

Is the Casino Royale Three-Piece Suit a Copy of the Goldfinger Suit?

Casino-Royale-Goldfinger-Suit-Comparison

I don’t know who started this, but the following quote ended up in Casino Royale‘s trivia section on IMDB: “The three-piece suit worn by James Bond at the end of the film is a navy version of the gray suit worn by Sean Connery in Goldfinger.” Others have repeated this.

Like the iconic grey glen check suit made by Anthony Sinclair that Sean Connery wears in Goldfinger, the Brioni navy pinstripe suit that Daniel Craig wears in the final scene of Casino Royale is also a three-piece suit. And that’s where the similarities end. Both suits are excellent suits, but the basic styles of the suit are different, the silhouettes are different and the small details that make the Goldfinger suit so unique are absent from the Casino Royale suit.

The Goldfinger suit jacket has two buttons on the front whilst the Casino Royale suit jacket has three buttons. The Goldfinger suit jacket is cut with soft shoulders and a full chest whilst the Casino Royale suit jacket is cut with stronger straight shoulders and a lean chest. The Goldfinger suit jacket has a ticket pocket whilst the Casino Royale suit jacket does not. The Casino Royale jacket has wider lapels. Both jackets have straight pockets with flaps and four buttons on the cuffs, and the Casino Royale jacket may also have double vents like the Goldfinger suit, but those details aren’t all that special since that’s what the average suit has.

Casino-Royale-Three-Piece

The waistcoat in Goldfinger has six buttons with only five to button, whilst the waistcoat in Casino Royale is cut with all buttons able to fasten. The waistcoat in Goldfinger has four welt pockets whilst the waistcoat in Casino Royale has only two. The trousers in Goldfinger have double forward pleats, plain hems andside adjusters whilst the trousers in Casino Royale have darts and turn-ups and are worn with a belt. The Goldfinger suit’s trouser legs are narrow and tapered whilst the Casino Royale suit’s trouser legs are wide and straight.

What makes the glen check suit in Goldfinger special? Apart from it being the first three-piece suit of the Bond series, it’s Sean Connery’s only three-piece suit that has lapels on the waistcoat. Pierce Brosnan brought back the lapelled waistcoat with his pinstripe suit in The World Is Not Enough. This key detail, however, is absent from the three-piece suit in Casino Royale. The absence of lapels on the waistcoat is the most significant detail that shows the Casino Royale suit was hardly inspired by the Goldfinger suit.

Magnoli Clothiers, who makes clothes inspired by the clothes James Bond wears, also says the Casino Royale suit “was based loosely on Sean Connery’s classic Goldfinger Suit.” Magnoli adds a ticket pocket and side adjusters to his version of the suit to make it resemble Connery’s suit more, but those details are not present on the actual Casino Royale suit.

Goldfinger-Grey-Three-PIece-Suit-Waistcoat

Even when people attempt to truly copy the grey three-piece Goldfinger suit, they get it wrong. An attempt at copying the Goldfinger suit was done in Catch Me if You Can, but the suit in that film was made in the wrong pattern, and the style was either Americanised or modernised with squarer shoulders, wider lapels, shorter vents and medium-rise flat front trousers. At least they got two of the Goldfinger suit’s key details: a ticket pocket and lapels on the waistcoat.

James Bond has so far worn 20 three-piece suits in the series, with more coming in Spectre, and the three-piece suit in Casino Royale is no more a copy of the Goldfinger suit than it is of most of the other 18 three-piece suits. Costume designer Lindy Hemming may have wanted to put James Bond in a three-piece suit that could be iconic on the level of the Goldfinger suit, but the significance of the suit doesn’t mean the actual suits have much in common. The Goldfinger suit is iconic because it is not only a very unusual suit, but it also has a significant reveal with James Bond exiting the aeroplane lavatory. The reveal of the Casino Royale suit comes along with the introduction of a more confident and mature 007, and the suit has significance in the character development.

If Daniel Craig’s navy pinstripe three-piece suit could be compared to another suit in the Bond series, it has most in common with George Lazenby’s three-piece navy chalkstripe suit in On Her Majesty’s Secret Service. Though the Italian cut of Craig’s Brioni suit is considerably different from Lazenby’s thoroughly British Dimi Major suit, the details and overall styles are very similar. The most obvious thing is that both suits are navy with stripes. Both suit jackets button three down the front, and neither jacket has a ticket pocket. Both suits’ trousers have a darted front and a straight leg, though Lazenby’s trouser legs are considerably narrower than Craig’s trouser legs. Sean Connery’s navy three-piece suit in Diamonds Are Forever also has a few things in common with the Casino Royale suit, such as the lack of a ticket pocket, a full six-button waistcoat and darted-front trousers, though Connery’s jacket only has two buttons and his trouser legs are tapered.

To give a definitive answer to the question posed in the title of this article, no, the Casino Royale three-piece suit is by no means a copy of the Goldfinger suit. If someone was trying to copy any suit from Goldfinger, they did a very poor job. That doesn’t mean there is something wrong with the Casino Royale suit, it is just a very different three-piece suit.