A tan wool gabardine suit is perfect for in San Francisco’s mild autumn and spring, and even summer there too. Tan has always been a flattering colour to Roger Moore’s warm spring complexion, but it’s especially beneficial to his aging visage (or facelift) in A View to a Kill.
This suit has the usual cut of Roger Moore’s classic 1980’s suits, with natural shoulders, roped sleeve heads and a clean chest. The jacket is a button two with double vents, flapped pockets and three buttons on the cuffs. The buttons are lighter than the suit, made of beige horn. The lapels here differ in shape from Douglas Hayward’s signature notch lapels, which are cut straight across the top. This suit jacket’s lapels have a concave curves along the top, and the pocket flaps are also curved on the side instead of straight down. This difference does not mean that the suit was not made by Hayward. The shoulders match Hayward’s natural shoulder and the cut through the body is the same, down to the low placement of the buttons and the hip pockets. The trousers have a flat front and a straight leg with a plain hems.
Moore wears a cream voile shirt by Frank Foster with a spread collar, front placket stitched close to the centre and rounded single-button cuffs. The tie is bronze with white and blue stripes that point up to the left shoulder, which is the English direction. Moore wears burgundy slip-on shoes and black socks with grey stripes, which don’t match any other part of the outfit. He also matches the shoes with a burgundy belt with a silver-toned buckle.