After completing The Man with the Golden Gun, Roger Moore starred alongside Susannah York in a 1975 British-German movie filmed in Belgium called That Lucky Touch. In 1975, Roger Moore became a tax exile for one year, and his tailor Cyril Castle was not willing to travel to fit Roger Moore outside of the UK. At the insistence of Moore’s Italian wife Luisa Mattioli, Moore found an Italian tailor. This tailor was Angelo Roma, and That Lucky Touch is the first film that features what is most likely his work. Though Moore returned to the UK, he continued to use Angelo Roma through the rest of the 1970s for his two Bond films that were both partially made in Italy, for an Italian production called Street People and possibly for Sunday Lovers. Moore became a permanent tax exile in 1978.
The result here is a combination of Roger Moore’s personal style and the efforts of costume designer Anthony Powell. For That Lucky Touch, Angelo made Moore a wide-lapelled medium grey lightweight flannel suit that is similar in cut to what Roger Moore would later wear in the two Bond films that would follow this one. The suit’s button two jacket is cut with straight, padded shoulders, roped sleeve heads, a lean and clean chest and a suppressed waist.
The jacket is detailed with many sporty details, including three rounded open patch pockets, with one on the chest and two on the hips. Another sporty detail are swelled edges, which comes from stitching away from—rather than along—the edges on the lapels, collar, quarters, pockets and vent. There is also one button on each cuff rather than three or four, further to cement this as a sports suit. The jacket’s buttons are shanked, domed (not braided) black leather. And there is a long (approximately 14-inch) single vent in the rear, which is too long for a jacket from a more formal suit than this but appropriate for a suit with an equestrian heritage. Being flannel—particularly with patch pockets, swelled edges, single-button cuffs, leather buttons and a very long single vent—the suit is sporty enough that the jacket could easily work alone without the suit trousers. Contrasting trousers such as tan, dark brown or charcoal flannel, whipcord or cavalry twill would make an excellent pairing.
But this sporty jacket is part of a suit with matching trousers. The suit trousers have flared legs similar to what angelo made for Roger Moore to wear in The Spy Who Loved Me and Moonraker.
Even when Roger Moore became a tax exile, London-based shirtmaker Frank Foster continued to make Moore’s shirts. This outfit’s ecru shirt has a long spearpoint collar to match the size of the lapels and has enough tie space to fit the large knot of his tie. It also has two-button cocktail cuffs made in a similar style to what Moore wears in The Man with the Golden Gun and a placket stitched close to the centre. The wide burgundy tie has a matte finish with a subtle texture, suggesting that it could be made from a wool and silk blend. Moore ties it in a four-in-hand knot.
Moore’s shoes are black slip-ons with an apron toe; they’re loafers but not moccasins. Black shoes match the suit’s black leather buttons, though loafers don’t look quite heavy enough to match the weight of a flannel suit. Pairing loafers with just about everything is one of Roger Moore’s most consistent sartorial faults. Derby or monk shoes or boots, plain or brogue, would be a better choice with a flannel suit, but they wouldn’t be Roger Moore’s style.
Over the suit, Roger Moore wears a classic tan cotton gabardine trench coat. The trench coat is one of Roger Moore’s staples outside of the Bond series, which he wears in The Saint, The Persuaders, The Wild Geese, The Muppet Show and Happy Anniversary 007. In the Bond series Moore never wears a trench coat, but he carries one into the office in For Your Eyes Only.
The double-breasted trench coat in That Lucky Touch is from Burberry’s and is knee-length with ten buttons. It has raglan sleeves with shoulder straps, a double hook closure at the collar, a yoke across the upper back, a storm flap on the front right, slash pockets, and a self belt and wrist straps that close with a leather buckles. The buttons are beige plastic and lighter in colour than the trench coat. The lining is Burberry’s iconic ‘Nova Check’ in black and white on tan with a red windowpane. Moore also wears a corduroy trench coat later in the film.
This is overall a classic Roger Moore outfit. The suit is made in the infamous 1970s style that Moore is known for, but it’s made in a classic and elegant grey flannel. The shirt is ecru, a favourite colour of Moore’s because of how good it looks on him, and it has Frank Foster’s famous cocktail cuffs that Moore wore almost exclusively for eight years. The burgundy tie is also a classic colour for Moore’s ties. The suit, shirt and tie colour combination should look familiar; Moore wears this in a lighter weight when he arrives in San Monique in Live and Let Die. Update this outfit with narrower proportions for the lapel width, collar point length, tie width and trouser hem width, and the concepts of this outfit can still work well today.