Black Bridge Coat, Sunglasses and Gloves in Spectre

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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 has eight buttons on the front with four to button, 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.

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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.

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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

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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.

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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.

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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.

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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

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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.

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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.

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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.

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The Navy Sharkskin Suit in Spectre

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When James Bond enters his room at Franz Oberhauser’s desert crater lair in Spectre, he finds a blue sharkskin suit laid out on the bed for him. Bond is expected to wear this suit when joining Oberhauser for afternoon drinks. The suit from Tom Ford is in the same O’Connor model as most of the other suits in Spectre, even though this is technically not Bond’s own suit but rather one that was only provided for him. This could give an excuse for this suit’s fit problems, but that excuse doesn’t hold up considering all of the O’Connor suits in the film fit the same way.

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The suiting is a 100% wool super 110s sharkskin (also known as pick-and-pick) woven with dark and light blue yarns for an iridescent look. Though there’s no mohair content in the cloth, the different blues in it give it a shiny 1960s look. Depending on lighting, the suit can look anywhere from dark navy to medium blue. In person, the suiting is brighter and more vivid than it looks on screen. This suit is perfect for social occasions, both during the day under the sun and in the evening under artificial light. The cloth is too shiny for most business.

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Being the O’Connor model designed by Spectre‘s costumer designer Jany Temime and Tom Ford, the cut and details match many of the other suits in the film. The jacket has straight, padded shoulders with roped sleeveheads, a close-fitting chest, a too-tight waist and a fashionably short length. The front has three buttons with narrow lapels rolled to the middle button for a button two look. The lower foreparts are cutaway for a dynamic “X” on the front of the jacket. 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.

The suit trousers have a wide extended waistband, slide-buckle side-adjusters, side seams curved forward at the top with on-seam pockets, narrow straight legs and turn-ups. They have a low rise, which reveals a triangle of shirt below the jacket’s fastened button. The trousers with this suit look even shorter than the trousers in the rest of the film and don’t even touch the shoes. High-water trousers don’t serve a purpose in the desert!

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With this suit Bond wears a white 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. The shirt has a close fit overall, but it’s not too tight like the suit jacket is. He matches the shirt with a folded white handkerchief in his suit jacket’s breast pocket. The tie is dark navy silk repp in a colour Tom Ford calls “ink”. It is darker than the suit, but the hue is the same as the suit’s so it matches well. The tie is 7.5 cm/3 inches wide, and it’s tied in a four-in-hand knot. Bond’s shoes are the Crockett & Jones Norwich model. They are black calf five-eyelet, cap-toe derby shoes with Dainite studded rubber soles.

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Crockett & Jones Norwich

This suit is likely the same suit that is in the gun barrel sequence at the start of the film.

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Some of the images here have been colour-corrected due to the filters on the film that make it look overly warm.

The Herringbone Track Stripe Suit and Crombie Coat in Spectre

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For visits to M’s office and to Q’s lab in Spectre, James Bond wears a grey herringbone track strip suit from Tom Ford. Spectre continues in the long history of Bond films where Bond dresses in stripes in London. This suit’s cloth exchanges the standard pinstripe and chalk stripe for a cloth with more interest in the stripe and in the weave. The cloth is woven in a narrow herringbone weave, which changes direction every 16 yarns. The cloth is woven with medium grey in the warp and charcoal grey in the weft for an overall vibrant dark grey. There is a white track stripe where the herringbone changes direction. The track stripe is two single-yarn pinstripes spaced a yarn apart. Because the stripe is part of the herringbone weave, it has a soft chalk-stripe-like appearance.

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The suit is the O’Connor model designed by costume designer Jany Temime in collaboration with Tom Ford for Spectre, and it has the same cut and the same details that the other three O’Connor suits in the film have. The jacket has straight, padded shoulders with roped sleeveheads, a close-fitting chest, a too-tight waist and a fashionably short length. The front has three buttons with narrow lapels rolled to the middle button for a button two look. The lower foreparts are cutaway and reveal a triangle of shirt below the jacket’s fastened button. 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 ungentlemanly wears the last button open.

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The suit trousers have a wide extended waistband, slide-buckle side-adjusters, side seams curved forward at the top with on-seam pockets, narrow straight legs and turn-ups. They have a low rise and are hemmed with no break, which means they are very short and cover little of the shoes.

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With the suit, Bond wears two different shirts and ties from Tom Ford. When he first visits M’s office he wears a white cotton poplin shirt with a medium-dark grey tie and no pocket handkerchief. Later when he goes to Q’s office he wears a sky blue shirt with a matching sky blue folded pocket handkerchief and a navy tie. The navy tie is a deep, rich blue and towards indigo on the spectrum. Tom Ford calls this tie “navy”, as opposed to the similar “ink” tie that Bond wears later in the film. The shirts are both in the same style and have a point collar, double cuffs, a front placket and back darts, which give the shirt a close fit. The ties both are silk repp and 7.5 cm/3 inches wide. The sky blue shirt and navy tie are much more flattering to Craig’s complexion than the white shirt and grey tie since he looks better with less contrast.

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Bond’s shoes are the Crockett & Jones Norwich model. They are black calf five-eyelet, cap-toe derby shoes with Dainite studded rubber soles.

Over the suit Bond wears a navy “Crombie” coat, which is the name commonly used for a three-quarter-length chesterfield coat. Tom Ford does not use the name “Crombie” for this coat, which is trademarked by the British brand Crombie. However, this style of coat is most popularly associated with the Crombie brand. The coat is made of a luxurious 51% cashmere and 49% silk blend. It has structured padded shoulders and a darted front for a closely fitted silhouette. There are three buttons down the front, which are covered with a fly. Bond only fastens the coat’s middle button. The coat is detailed with straight flap hip pockets, a curved “barchetta” breast pocket, a single vent and three buttons on the cuffs. The collar is cotton moleskin in a slightly lighter and more vivid blue than the rest of the coat. When Bond is on his way to Q’s lab he wears a long navy scarf warpped twice around the neck and looped over in front.

The crombie coat, from a cut scene in Spectre

The crombie coat, from a cut scene in Spectre

Bond rudely keeps his coat on in M’s office but takes it off in Q’s office. Neither Bond nor M appear to be in a rush in M’s office, so he has no excuse for wearing it. It makes the same suit look more different in the two separate scenes, when Bond really should have put on a different suit the next day. In Goldfinger, For Your Eyes Only, The Living Daylights and GoldenEye, Bond wears different suits on different days for his office visits and should have continued that tradition here.

The Blue Prince of Wales Suit in Spectre

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In Spectre‘s pre-title sequence in Mexico City, James Bond wears a blue Prince of Wales check wool suit from Tom Ford. A Prince of Wales check in this usage of the term is a glen check with an overcheck, which may also be called a windowpane. The glen check is medium blue and black whilst the overcheck is light blue in a more vivid tone in the warp than in the weft. A black and blue check makes this unusual compared to the more typical black and white and black and grey variations that Bond has worn in the past. The overcheck is a bold six yarns wide, which makes it the dominant pattern on the suit. Ordinarily, overchecks on a Prince of Wales check are thinner and stand out less. Because the overcheck on this suit is so dominant, it wouldn’t be inappropriate to call this a windowpane suit, but that oversimplifies what the suit’s pattern truly is.

Since the base of the suit’s cloth is medium blue and black, the colours blend together into an air force blue. The colour of the suit is still lighter and more vivid than an ordinary blue suit, but the colour looks perfect for Mexico City’s warm weather and helps Bond to stand out from the crowd during the Day of the Dead festival. The lighter blues in the suit are flattering to Daniel Craig’s warm complexion and bring out his blue eyes.

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The jacket is the O’Connor model designed by costume designer Jany Temime in collaboration with Tom Ford for Spectre, with straight, padded shoulders that have roped sleeveheads, a close-fitting chest, a too-tight waist and a fashionably short length. The front has three buttons with narrow lapels rolled to the middle button for a button two look. The lower foreparts are cutaway and reveal a triangle of shirt below the jacket’s fastened button. 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.

The suit trousers have a wide extended waistband, slide-buckle side-adjusters, side seams curved forward at the top with on-seam pockets, narrow straight legs and turn-ups. They have a low rise and are hemmed with no break, which means they are very short and cover little of the shoes.

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With the suit, Bond wears a white shirt from Tom Ford with a point collar, double cuffs, a front placket and back darts, which give the shirt a close fit. A light blue shirt would make this outfit more flattering to Daniel Craig’s complexion, but it would have to be a very pale blue so there is contrast between the suit and shirt. The stark white shirt overpowers Craig’s complexion. The tie is a silk repp in medium blue, which Tom Ford call their “blue” shade. It is 7.5 cm/3 inches wide. The blue is a close match with the hue of the suit, which makes it a good match in the classic Connery Bond mode. Bond ties it in a narrow four-in-hand knot. Bond also wears a folded white linen handkerchief in his breast pocket.

The shoes are the Crockett & Jones Norwich model. They are black calf five-eyelet, cap-toe derby shoes with Dainite studded rubber soles. The socks are a rather boring and unstylish black. Dark blue would have been a better choice, since it would extend the line of the too-short trouser legs.

A Black Herringbone Suit for a Funeral in Spectre

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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.

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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, which will be covered at a later date.

The Untraditional Ivory Dinner Jacket in Spectre

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After a 30-year gap, James Bond finally wears an ivory dinner jacket again in Spectre. A View to a Kill was the last film that featured Bond in an ivory dinner jacket. Daniel Craig’s dinner jacket in Spectre is made in Tom Ford’s “Windsor” model, which is Ford’s most famous model, characterised by its wide peaked lapels with belly and aggressive shoulders. The look is inspired by suits from the 1940s as well as by British designer Tommy Nutter’s suits. Though the overall cut of this dinner jacket in Spectre is classic-inspired, the details are not.

Bond’s visit to Morocco in Spectre necessitated the return of the ivory dinner jacket. Costume designer Jany Temime is quoted about this dinner jacket in the book Blood Sweat and Bond: Behind the Scenes of Spectre curated by Rankin:

I told Sam [Mendes] I couldn’t do a better tuxedo than Skyfall. But then I thought Morocco deserved that colonial touch, a feeling of Casablanca where time stops and everything is so iconic.

Temime is also quoted on the James Bond 007 Facebook page saying something similar about this dinner jacket:

It was very hard to do better than the Skyfall blue tuxedo but I took my inspiration from Humphrey Bogart in the film Casablanca and Morocco. Daniel added the red carnation buttonhole and it looked absolutely sublime.

Humphrey Bogart’s ivory double-breasted, shawl-collar dinner jacket in Casablanca is the most famous ivory dinner jacket in cinematic history (which Emilio Largo copied in Thunderball), and Bond’s trip to Morocco along with his status of “black tie master” gave him an obligation to honour that piece. Though a shawl collar would have brought more of the spirit of Casablanca to this dinner jacket, Temime instead went with peaked lapels to follow the Bond style established by Sean Connery’s ivory dinner jacket in Goldfinger. The wider, more classic peaked lapels on this Tom Ford dinner jacket actually make it more closely resemble Sean Connery’s dinner jacket in Diamonds Are Forever than the jacket in Goldfinger. Though the red carnation makes us think of Goldfinger, the dinner jacket itself is quite different from any dinner jacket Bond has previous worn.

The dinner jacket is made from a breathable silk and viscose faille. It is cut with a shaped—but close—chest and a suppressed waist. The shoulders are straight with a healthy amount of of padding and are finished with roped sleeveheads. The shoulders, however, look less aggressive than on Tom Ford’s usual “Windsor” jackets and have a more natural look. The jacket length is a little on the short side.

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The details are what throw off this dinner jacket. The most obvious error is a button two front, which already brings this dinner jacket down to the level of Timothy Dalton’s black dinner jacket in Licence to Kill. A single-breasted dinner jacket should only have one button, no exception. The second button disrupts the elegant lines that a dinner jacket should have. The single vent is another error on this dinner jacket. Most traditionally, a dinner jacket should not have any vents, though short double vents have been acceptable for half a century. The single vent is the sportiest of all vent styles and is completely out of place on a dinner jacket.

Silk facings—grosgrain silk on this dinner jacket—are also an untraditional detail. The lapels, jetted pocket and covered buttons (including the five on the sleeve) are all trimmed in grosgrain silk. Whilst black and midnight blue dinner jackets need silk facings to distinguish them from suit jackets, a ivory dinner jacket does not need this differentiation. Without silk facings, an ivory dinner jacket still looks nothing like a sports coat. On film, the silk facings aren’t very apparent, but the facings on this jacket look quite gaudy in person. Silk facings also mean that there will be two different silks in the outfit—white on the jacket versus black on the the trouser stripes and accessories. The black silk bow tie clashes against the white silk lapels.

All of the untraditional details—the second button on the front, the single vent and the silk facings—are marks of a cheap rental and separate this dinner jacket from the five elegant dinner jackets Bond has previously worn. The construction—apparent in the shaping—and materials put into a Tom Ford jacket, however, ensure that it does not look cheap. This dinner jacket stands above Dalton’s from Licence to Kill based on its better fit and superior quality, but all others in the series—ivory, black or midnight blue—are done better.

Bond wears the ivory dinner jacket with black wool and mohair blend grain de poudre black tie trousers. Grain de poudre translates from French into English as “grain power”, and it has a fine diagonal grainy texture. Mohair gives the trousers a bit of sheen whilst making them slightly more comfortable in the Moroccan heat. The trousers have a flat front, medium-low rise, an extended waistband with a hook-and-eye closure, slide-buckle side adjusters and a black satin silk stripe down the outseam on either side. The lower rise of the trousers is masked by a black satin silk cummerbund from Tom Ford, which has only two large pleats. White moiré braces from Albert Thurston hold up the trousers, and these are the same braces Bond wears with his black Brioni dinner suit in Casino Royale and his midnight blue Tom Ford dinner suit in Skyfall.

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The white cotton poplin dress shirt is also from Tom Ford, and its details recall many of the shirts Sean Connery and Roger Moore wore in their Bond films. It has Tom Ford’s “small collar”, which is a slightly short classic spread collar. The front has a pleated bib and is fastened with mother-of-pearl buttons. Spectre marks the first time since The Living Daylights that Bond has had visible mother-of-pearl buttons down the front placket of his dress shirt. The shirts in the films since have either shown studs down the front or covered the buttons with a fly front placket. The shirt also has double cuffs, gauntlet button, a split yoke and darts in the back.

Bond’s black diamond-pointed, butterfly-shaped bow tie should be in satin silk to match the satin cummerbund and satin stripes on the trousers. However, it does not have much sheen and is likely grosgrain to match the texture of the lapels. This is the third time Bond wears the often-neglected classic diamond bow tie, after Dr. No and Quantum of Solace.

Daniel Craig chose a red carnation to wear in the lapel on this dinner jacket to pay homage to Goldfinger, even though the dinner jacket only superficially resembles the dinner jacket Sean Connery wears in Goldfinger. The heavy filters in Spectre make the carnation looks much darker than it looks in reality.

Bond’s shoes are the Crockett & Jones “Alex” model wholecut in black calf. The sleek and clean elegance of the plain wholecut is a modern alternative to patent plain-toe oxford or opera pump. Patent leather looks passé to some, whilst well-polished calf can have a more understated look. The “Alex” has five eyelet pairs and a chiselled toe. Bond wears the same shoes with his midnight blue dinner suit in Skyfall.