Blazers do not always need to be navy. Other shades of medium to dark blue can work just as well in summertime for a blazer, such as Air Force blue. Air Force blue is a medium form of azure—a colour halfway between blue and cyan—and can be described as a warm blue-grey. Air Force blue became known as such when uniforms of surplus material in this colour were issued to the Royal Air Force. True Air Force blue is a medium shade, but shades of warm blue-grey that are a little darker than medium are still given the moniker. For people with a light, warm complexion like Roger Moore, Air Force blue is especially flattering. For people with a cooler complexion like Sean Connery, a cooler blue-grey will be more flattering for a similar effect to Air Force Blue.
In a two-part 1969 episode of The Saint titled “Vendetta for the Saint”, which was also released as a feature film with the same title, Roger Moore wears an Air Force blue blazer from his tailor Cyril Castle made of a cool-wearing open-weave worsted wool when in Naples and Palermo in Italy. The episode was filmed partially on location, but with nearby Malta standing in for Italy. These sunny mediterranean locales are the perfect places to wear an Air Force blue blazer. Moore’s blazer is technically slightly darker than Air Force blue, but it is still close enough that it deserves the name. “Vendetta for the Saint” features Bond-film actors George Pastell and Steven Berkoff.
Roger Moore’s blue blazer in “Vendetta for the Saint” has three buttons on the front, a single button on the cuff, gauntlet (turnback) cuffs, slanted pockets with narrow flaps and double vents. The buttons are shanked and crested silver-toned metal. The blazer is cut with wide soft shoulders, roped sleeve heads, a draped chest and a suppressed waist. A low button stance, along with the drape, provides Roger Moore with a more masculine physique. The combination of soft shoulders, drape and a low button stance also gives this blazer the relaxed look that it needs for southern Italy. The blazer’s drape and wide shoulders when combined with narrow lapels give Moore a strong, imposing chest, but this look lacks a certain elegance.
Moore wears two different pairs of trousers with this blazer: one pair in charcoal worsted and another pair in medium grey worsted. The charcoal trousers are darker than the blazer whilst the medium grey trousers are slightly lighter, and both trousers provide adequate contrast. Both pairs of trosuers have front darts, frogmouth pockets in front, two button-through pockets in the rear and tapered legs with plain hems. The trousers have belt loops, usually filled with a black leather belt. Many trousers colours would look great with this blazer, such as light grey, fawn, tan, khaki and cream.
There are continuity errors with the trousers. Moore wears the medium grey trousers on location when entering and exiting a bank, but the interior scene is filmed at Elstree Studios in England, and Moore wears charcoal trousers in that scene. Additionally, in some shots the belt is absent from the medium grey trousers.
The cream shirt that Moore wears in “Vendetta for the Saint” is unique amongst the shirts that Moore wears in The Saint. His typical shirt in The Saint’s sixth series production (of which this episode is a part) has a tall classic spread collar, a plain front and two-button cocktail cuffs. Frank Foster made those shirts and he made the shirt in “Vendetta for the Saint” too. This shirt again has a tall collar, but it’s a wider cutaway collar with considerable tie space instead that makes the collar band visible beside the tie knot. It’s a shame Moore doesn’t often wear these wider collars because they balance his angular jaw. This shirt has a raised unfused placket with stitching about 3/8” from the edge. The cuffs are the first appearance of Foster’s single-button-fastening button-down cocktail cuffs, which Moore would wear a few years later throughout The Persuaders and Sean Connery would wear over a decade later in Never Say Never Again. “Vendetta for the Saint” is the only appearance of button-down cocktail cuffs in The Saint. The back of the shirt has small shoulder pleats and darts at the waist.
Moore wears two similar narrow ties with this jacket, which both have wide light blue and navy stripes separated by narrow stripes. The narrow stripes are gold on the first tie and burgundy on the second tie. These ties both have square ends rather than the typical triangular ends, which was a fashion trend of the 1960s. Only a knitted tie traditionally takes a square end. The narrow ties knot with a small four-in-hand knot. Moore’s shoes are black calf slip-ons with a high vamp, low sides and black rubber soles. Brown shoes with the medium grey trousers would have been a better choice considering the location and casual nature of the outfit. Black shoes, on the other hand, are always a better match with charcoal trousers.
For the second half of the episode, Moore exchanges his blazer for a navy Harrington jacket (see below). He wears the Harrington jacket with the same charcoal trousers, burgundy-striped tie, shirt and shoes that he wears with the blazer.