James Bond’s second scene—after a brief swim—in No Time to Die finds him relaxing in Matera, Italy with Madeleine Swann. Daniel Craig’s Bond has rarely dressed as relaxed as he does here, in a linen-and-cotton shirt-jacket and linen henley. It’s not a typical look for James Bond, but it is the kind of outfit that Daniel Craig himself enjoys wearing.
The jacket is from Connolly, a British brand founded in 1878 known for providing the leather to high-end British car brands. Before wearing clothes from Connolly in No Time to Die, James Bond would have been more familiar with the brand for providing the leather inside his Aston Martins. Here, Bond wears a northern-Italian-made jacket from them in the ‘Giubbino’ model.
The Giubbino is a short, waist-length unstructured and unlined shirt-jacket in a navy cloth of 59% linen and 41% cotton. Connolly call it their ‘take on a 1950s lightweight bomber’. It has four large black horn buttons down the front with matching buttons on the flaps of the patch pockets. There are two pockets on the front at the waist with pointed flaps and inverted box pleats. The waist can cinch with a drawstring for a blouson effect, and the drawstrings can be seen hanging down at the front. The jacket has a one-piece notch collar that is similar to a camp collar.
The jacket has a full fit, which is unusual to see on Daniel Craig’s Bond since he last wore more traditional fits in Casino Royale back in 2006. The relaxed fit mirrors Bond’s relaxed emotional state, a state Craig’s Bond also hasn’t been in since Casino Royale. He also only fastens the third button down on the front of the jacket, helping the jacket to look more relaxed rather than buttoning it up. He doesn’t need to button it up for warmth anyway, not that linen would provide much warmth. He tightens the drawstrings so the jacket blouses quite a bit at the sides and back.
Bond wears the jacket over an off-white short-sleeve linen henley from the Savile Row tailor Anderson & Sheppard. The off-white colour gives it an aged look, which helps it look more worn-in and relaxed compared to a pure white. The knitted linen is slightly sheer, which helps it to be comfortable in warm weather.
The placket has two mother-or-pearl buttons, and Bond fastens the lower button. The shirt originally had long sleeves but they were shortened for a more summery look. The bottom hem is ribbed but the sleeve hem is plain because of how the sleeves were shortened. It has a fully fashioned cut for a good fit, and the costume department tapered the body further.
Henleys are one of Daniel Craig’s favourite items, and while it’s not traditionally Bondian it pairs well with the shirt-jacket. The shirt-jacket acts more like the shirt and the henley is effectively an undershirt. A henley is slightly more sophisticated than a t-shirt, but it’s a very casual item that is perfect for this setting.
At the hotel, Madeleine also wears the shirt. It’s a few sizes too large on her, naturally, but it looks like a shirt-dress on her and is perfect for the scene. It recalls when Bond girls in the past like Sylvia Trench and Jill Masterson borrowed Bond’s clothes. Here the shared clothes show an emotional connection.
The trousers are the Massimo Alba ‘Winch’ model in a warm grey colour called ‘Alluminio’. They’re made in a fine needlecord cotton with a flat front, a slim leg, side-seam pockets, two rear jetted pockets without buttons, a rounded tab fastening with a horn button, a zip fly and belt loops. The corduroy trousers provide a pleasant textural contrast with the linen on top, but their light weight goes well with the linen.
Bond’s boots are the Drake’s ‘Crosby’ moccasin-toe three-eyelet chukka boots in dark brown suede. These boots are unlined and have a crepe sole. The boots are a very casual style that goes better with this outfit than they do with the needlecord suit he wears them with in the following scene.
He also wears the Barton Petreira ‘Norton’ sunglasses with this outfit. The frames are in ‘Chestnut’ tortoiseshell with ‘Bottle Green’ lenses. They have a classic round shape with a keyhole bridge.
The outfit overall is a different kind of look for James Bond, and it hardly resembles anything he’s worn in the past, albeit in familiar colours. Every piece is traditionally un-Bondian, but since Bond is finding himself in a new place in life, being out of the service and enjoying himself, he’s a new man and wears new styles. These clothes are all of the sort he might have bought driving through Italy on his way to Matera. They look ready-to-wear, and that’s likely the point that costume designer Suttirat Anne Larlarb is trying to make.