While the colours of James Bond’s suits are evident in the films, the more specific fabrics or cloths that the suits are made from—known as suitings—and the composition of those fabrics is a bit more complicated. Each Bond wears suits of various types of fabrics, many familiar and some more luxurious. Sean Connery is no exception to this.
James Bond’s creator Ian Fleming typically dressed the character in a “dark blue light-weight worsted” or a “dark blue tropical worsted” suit in the original novels. Sean Connery’s Bond is often said to take after Fleming’s Bond with a preference for lightweight suits, but his suits are far more varied than Fleming’s Bond’s are. Connery’s Bond’s most preferred colour is grey instead of dark blue, but he occasionally wears suits in blue and brown along with the occasional black and cream suits for very specific purposes and locations.
Starting with the lightweight worsteds that Fleming’s Bond wears, Connery’s Bond tailor Anthony Sinclair tailored plenty of suits in classic twill, plain and hopsack weaves, making up herringbone, sharkskin and glen check patterns. “Lightweight” for suitings in the 1960s had a very different meaning than it has today. With 9-ounce cloth being a standard weight for a suit today, a lightweight suit would be a 7- or 8-ounce cloth. In the 1960s, an 9- to 11-ounce suit—which would not feel lightweight to most people today—would have been around the weight of Connery’s warm-weather suits in the 1960s. Global office warming, the over-heating of offices during winter, has killed off not only heavy-weight suits but also medium-weight suits.
Alongside the lightweight worsteds, medium-weight grey woollen flannels were another staple of Connery’s Bond wardrobe, featuring in 5 out of his six Bond films. At around 14 oz, such suits would be very heavy by today’s standards and unbearably warm for many men in a building with central heating, but for the 1960s these flannels would have been on the lighter side for a woollen flannel.
Though Connery’s Bond typically dresses in an understated manner, he also likes wearing some flashier fabrics. One of these is “tonic”, which is a two-tone worsted wool and mohair blend that was trendy in the 1960s and has a bit of a sheen. In 1957, Dormeiul started making the original fabric that they called “Tonik”, and knock-offs known by the generic name “tonic”—avoiding the trademarked name with a “K”—soon became widespread.
These suits appeared in a few of Connery’s Bond films, and he wears two suits of this in Thunderball, in grey and dark brown. He also wears dinner suits made up of wool and mohair blends for the evening, when the sheen of mohair gives depth to the suits under artificial light.
Dupioni silk is perhaps the most luxurious and showy fabric for a suit that Connery’s Bond wears, but in charcoal it doesn’t draw too much attention on screen. But nevertheless it’s still a silk suit, and it dispels the notion that Connery’s Bond always wears clothes that help him to blend in amongst the crowd.
For jacketings, Connery’s Bond prefers woollens. Jacketings are fabrics that are appropriate for jackets rather than suits, and often due to a looser weave they do not make up in trousers so well unless they are very heavy. Connery’s blue blazers are made of heavy doeskin, a finely napped woollen flannel with a smooth surface. His hacking jackets are proper tweed, and at around 16 ounces they are amongst the heaviest of Connery’s Bond clothes.
Today, wool is familiarly graded by S numbers, like 90s or Super 120s. The S number describes the fineness of the wool fibres directly from the sheep, not the quality of the finished cloth or the weight of the cloth. Finer wool fibres are softer but are less durable and don’t keep their shape as well. There are very high-quality Super 100s fabrics and there are very poor quality Super 150s fabrics, though the poor Super 150s will likely feel softer and be more appealing at first until it quickly shines or falls apart. Even the best-quality Super 150s, however, may be too fine and delicate for the stresses Bond puts his suits through. Despite the hype from S numbers, a wool cloth is much more than the fibres that it is made from and cannot be judged from the S number.
70s and 80s wool was the standard at the start of the 1960s, but in the early 1960s Lumb’s Huddersfield developed a 100s wool from only the finest fibres that they dubbed “Super 100s” because they had reached what had been previously unthinkable. According to Nicholas Antongiavanni in an article for The American titled “The Controversy Over Super Wool”, “Lumb bought an entire year’s lot of the wool and, in partnership with the cloth merchant H. Lesser, brought to market suitings dubbed ‘Lumb’s Huddersfield Super 100s.'”
Super 100s seems like a low number for today, but it was the finest wool in the early 1960s. No worsted had ever been so fine before. Fibres of Super 100s wool are 18.5 microns in diameter, and sometimes such wool is known as “superfine” wool. Super 110s to 120s is the standard for quality suitings today, which are made up of fibres 18 microns and 17.5 microns in diameter, respectively.
Though Antongiavanni says that Super 100s wool did not catch on with Savile Row tailors at the time, Anthony Sinclair—with his shop off of Savile Row on the less stodgy Conduit Street—was more willing to experiment with the latest and likely made Connery some suits in Super 100s wool. For Dr. No the worsted suits are still likely in 70s or 80s wool, since Super 100s may have cost more than it would have been worth for a film wardrobe that only allowed for 5 tailored outfits.
Where did Connery’s suitings come from? David Mason of Mason & Sons, who now has control of the Anthony Sinclair name, wrote about one of the suppliers of when discussing recreating Connery’s midnight blue mohair and wool blend dinner suit from Dr. No:
Smith & Co. (Woollens) Ltd. was established in 1923 and together with it’s [sic] slightly older sister company, W.Bill Ltd. (Est 1846), represents the last of the London merchants to hold stock of their cloth in the West End, which often proves useful to Mayfair tailors who sometimes need to expedite urgent orders. They have been regular suppliers to Anthony Sinclair since the 1950’s when (as can be seen from their advertisement of the time below) they were based in Beak Street, Soho – the location of Sinclair’s business before he moved to Conduit Street in Mayfair.
Many cloth merchants that were once in London are no longer around, and unfortunately the records of Connery’s Bond suits no longer exist.