Roger Moore was introduced as James Bond in Live and Let Die in 1973, a time when Bond’s clothing somewhat reflected the fashions of the period. The 1970s fashion influence can be seen in the slightly wider lapels, ties and pocket flaps, tall collars, deep vents, and flared trousers. Whilst Bond’s clothing in Live and Let Die (as well as in The Man With the Golden Gun made a year and a half later) takes cues from 1970s fashion trends, it’s quite tame compared to the villains’ wardrobes.
James Bond briefly wears a light grey tropical wool suit on his arrival in San Monique. Tropical wool is lightweight and woven in a plain weave, and it helps keep Bond looking cool and presentable in the tropical location. The suit’s grey is made up of yarns in different shades of grey to give it a textural interest and prevent it from looking flat. This cloth recalls the light grey suits that Sean Connery wore as Bond in tropical locations, helping to connect the look of the new Bond with the old.
The suit is tailored by Roger Moore’s long-time tailor Cyril Castle, who like Sean Connery’s tailor Anthony Sinclair also operated on Conduit Street in Mayfair. Castle made Roger Moore’s suits for his television series The Saint and The Persuaders, as well as for other movies in the 1960s and 1970s.
Prior to the Bond films Roger Moore typically wore his single-breasted suit jackets with a button-three front, but as Bond he follows Connery’s Bond tradition with a button-two jacket. Like Connery’s suit jackets, Moore’s jackets have a somewhat low button stance, though the wider lapels on Moore’s jackets help balance the low stance. The jacket is cut with soft shoulders and has a cleaner chest than Sean Connery’s suits. The jacket is detailed with grey plastic buttons, slanted flap pockets. The jacket’s only exaggerated detail is its deep side vents, which appear to be over 12 inches long.
The most unique part of the jacket is the sleeve cuff (pictured below). It flares out and fastens with one link-style button. The end of the cuff is similar to a linked shirt cuff where the ends kiss rather than overlap like on a barrel cuff. There is a button seen on either side of the cuff, and it looks like cuff links. The sleeves’ flare harmonises nicely with the slight flare of the trouser legs.
The trousers have a darted front with three-button ‘DAKS-tops’ side adjusters, two rear pockets, cash pockets—like large coin pockets—on both sides of the trousers accessed from just below the waistband. There are no side pockets. The trouser legs are boot-cut with a slight flare.
The shirt is cream with a semi-spread collar, a hidden-button fly placket with one stitching line down the centre and two-button cocktail cuffs, made by Frank Foster. The tie is plain burgundy silk satin, tied in a four-in-hand knot with a dimple. While Sean Connery always wore navy or black ties with his light grey suits, the burgundy tie helps distinguish Moore as the new Bond. The lower-contrast combination of this outfit as a result is also more flattering to Moore’s softer complexion.