While Sean Connery had the consistency of being dressed by Anthony Sinclair for all six of his James Bond films, Roger Moore was fitted by three different tailors over his seven Bond films. Cyril Castle, Roger Moore’s tailor throughout The Saint and The Persuaders, dressed Moore for his first two Bond films, Live and Let Die and The Man with the Golden Gun. Italian tailor Angelo Vitucci of Angelo Roma dressed Moore for The Spy Who Loved Me and Moonraker. The famous Douglas Hayward came in to dress Moore for his three 1980s Bond films: For Your Eyes Only, Octopussy and A View to a Kill, and Hayward went on to dress Moore until the former passed away in 2008. Moore’s three tailors each gave him a unique look, from the ultimate in fashion to understated elegance. Vote at the end of the article for who you think dressed Moore best.
Cyril Castle was a neighbour of Connery’s tailor Anthony Sinclair on Conduit Street, though his cut was more flamboyant and focused on fashion trends. Building on the first major* foray into fashion Bond took in On Her Majesty’s Secret Service, Castle dressed Moore in tailored clothes that took hints from the fashions of the early 1970s. He introduced Bond to flared suit trousers, though they are more of a subtle bootcut than a bold flared leg. The lapels are of a classic width in Live and Let Die but widened to a trendier width in The Man with the Golden Gun. Castle also introduced the double-breasted suit to Bond, though George Lazenby previously wore a double-breasted blazer.
Though Castle cut a jacket in the English tradition for Moore with soft shoulders and a full chest, the small details also fascinated Castle. The cuffs of most of the jackets are notable for their flared shape with a kissing link fastening. The silk ivory jacket in The Man with the Golden Gun dispensed with the link cuffs for gauntlet (turnback) cuffs, a classic Edwardian detail that also featured on Connery’s early dinner jackets. The English details were important to Castle, and they also included deep double vents and slanted hip pockets.
Castle mostly made clothes for Moore in the classic Bondian blues and greys but also included brown, black and olive suits. Connery had previously worn the first two of those three. Castle more prominently used some of the flashier fabrics that Connery wore on occasion in his Bond films, such as mohair and silk.
Angelo Roma is the tailor Roger Moore is more usually associated with due to the bold 1970s look he gave Moore. Angelo Vitucci’s suits are beautifully cut in the Roman style with straight shoulders and an elegant clean cut. For The Spy Who Loved Me, Vitucci widened the already wide lapels that Moore previously wore in The Man with the Golden Gun, and he also widened the flared trouser legs for an update look.
The details of Vitucci’s clothes included flapped breast pockets on some of the sportier jackets and front-pocket-less trousers. But he normalised the jackets an ordinary four-button cuff and used a regular width for the pocket flaps so not to overwhelm the front beyond the oversized lapels.
Vitucci dressed Moore in one blue suit and one grey suit in Moonraker, but his most infamous suit for Moore is a rich brown silk suit in The Spy Who Loved Me. Though the colour could not be more flattering to Moore’s warm complexion, and it’s worn appropriately in the Mediterranean, the shade of brown is unfortunately most associated with 1970s fashions. Vitucci also modernised Moore’s blazers with four-hole metal buttons rather than the more traditional shanked style. Following Bond tradition, Vitucci used silver-toned metal rather than yellow-toned metal, except on the double-breasted blazer in Moonraker.
Though Vitucci’s look was only featured in two films, Moore will forever be notoriously remembered for wearing these fashionable 1970s clothes, despite the many positive traits of these clothes.
Douglas Hayward is the most famous of Roger Moore’s three Bond tailors for his work on many films beyond the Bond series and celebrity clients such as Michael Caine and Terence Stamp. Of Moore’s three tailors, Hayward gave Moore the most classic style appropriate for the 1980s without worrying too much about 1980s fashions. Hayward brought back a more traditional English air to Bond, with soft shoulders punctuated by roped sleeve heads. Hayward narrowed the lapels for For Your Eyes Only, and then even more for Octopussy so they were back down to a balanced, timeless width. The trousers no longer were flared but featured a straight leg, which also got narrower from For Your Eyes Only to Octopussy.
Whilst Hayward was not into gimmicks, his jackets feature a very low button stance that was a hallmark of 1980s and early 1990s tailoring. Apart from this, the suits would not look at all dated today.
Hayward tailored suits mostly in blue and grey flannel solids and chalk stripes for city wear along with an appropriate tan or light brown gabardine suit for the sunnier locales in each film. For evening wear, Hayward tailored beautiful dinner jackets in black and midnight blue wool and ivory linen, with either peaked or notched lapels. He also gave Moore a variety of navy blazers and understated tweed sports coats for more informal occasions.
Each of Moore’s three tailors offered the Bond films something special. Cyril Castle brought a unique creativity to Bond’s tailored wardrobe. Angelo Roma made Bond look current, and despite the clothes being some of the most dated in the series, they still look fantastic on Moore. Douglas Hayward returned Bond’s wardrobe to the classic elegance that defined Sean Connery’s Bond wardrobe, but he did it in a way that was appropriate for an older Moore. Which approach do you like best?