After Bond lands his hang glider, he reverses his navy leisure suit into an elegant beige linen-blend suit. Does this count as one of the brown suits that people criticise Roger Moore for wearing? Beige suits, along with darker tan and lighter cream suits, are all classic warm-weather suits. Since it’s not the best colour for business in the city, linen is a great cloth for it because it takes the suit down a level in formality. And even though Bond wears a tie with this suit, it’s the type of suit that can look appropriate without one.
The suit is cut by Cyril Castle in the same button-two style as the rest of the suits from Live and Let Die, with slanted pockets, flared link cuffs and double vents. The trousers have a darted front, button-tab side-adjusters and slightly flared legs. They have two rear pockets and large coin pockets on both sides of the trousers accessed from just below the waistband but no side pockets.
The lightweight cotton voile brown and white butcher stripe shirt is something different for Moore. It’s most likely one of the few shirts he wears in the Bond series that isn’t made by Frank Foster. It has a two-button spread collar with no tie space, square two-button cuffs, no back darts, and a front placket. The placket is stitched 1/4 inch from the edge, unlike Foster’s plackets that have the stitching close to the centre. The two-button collar suggests that this shirt is from an Italian maker, but the excellent fit means that the shirt is probably still bespoke or altered ready-to-wear. In high-twist cotton voile, this shirt is airy and breathable for the hot weather in San Monique, or rather in Jamaica where these scenes were films.
Bond wears a wide red-brown satin silk tie, tied in a large four-in-hand knot with a very large dimple. The black socks and tassel slip-on shoes are out of place with the casual linen suit, but they are a carry-over from the navy leisure suit worn earlier.