For James Bond’s return to London and to his old Whitehall office in No Time to Die, he dresses just like he used to in the most classically Bondian way possible. His outfit recalls not only Craig’s previous wardrobes but also Connery’s. He had to wear a garment that made him look like he belongs, and one that tells us James Bond is back. This garment is a grey Glen Urquhart check suit.
Bond has rarely worn checked suits to the office since they’re not traditionally formal business attire in London, particularly in a high-contrast check. The Glen Urquhart check, also known as a Prince of Wales check, is slightly sporty and relaxed, but it’s a classic check that doesn’t raise eyebrows. Solids and stripes were Bond’s usual choices for the office, but this isn’t the first time Bond wears a checked suit to the office; he wears them in Goldfinger, GoldenEye and Skyfall. Since Bond is a visitor to MI6 in No Time to Die rather than an employee, he’s dressing as the former. The suit looks serious enough for the occasion without making Bond look like an employee.
Tom Ford made this suit in a black and grey Glen Urquhart check, with the twill-woven pattern reminiscent of Sean Connery’s first checked suit in From Russia with Love and the darker colours reminiscent of Connery’s second checked suit in the film. It’s also similar to the glen check suit that Craig wears at the ‘New Digs’ in Skyfall but in a slightly larger scale with slightly higher contrast. This suit does not have an overcheck. The buttons are black to match the black in the check, which makes it look sportier than grey buttons would.
The suit is almost the same style as his Tom Ford ‘O’Connor’ suits from Spectre with a button two, show one jacket fastening, also called a ‘three-roll-two’. The jacket is cut like one with two buttons, and there’s a third button and buttonhole hidden under the lapel. This is the third film with the ‘O’Connor’ model, so even though there is a new costume designer in Suttirat Anne Larlarb, Bond’s tailored look is consistent with that of the last two films that costume designer Jany Temime worked on. This might suggest that Daniel Craig has had a large say in the tailored look since Skyfall, or that at the very least he’s a big fan of this tailored look. While the cut has some issues in fitting Craig, the consistency is welcome.
The jacket has a very close fit with a slightly short length. The cuffs have four buttons with only the first three fastened, and the last buttonhole is longer than the others, which is typical for Tom Ford’s finishing.
The jacket’s shoulders are lightly structured and have roped sleeve heads. There is a single vent in the rear of the jacket, following Craig’s preferred style since Skyfall. The jacket has narrow, high-gorge notched lapels, which are slightly narrower than in Spectre.
The breast pocket is Tom Ford’s usual curved ‘barchetta’ shape. The hip pockets are gently slanted with flaps, and the flaps look slightly large compared with the narrow lapels. The pocket flaps look the same as in Spectre, but they should have been made narrower like the lapels were.
The trousers have a low rise, a flat front, slide-buckle side adjusters, narrow straight legs and turn-ups.
This suit has an improved fit over what Daniel Craig wears in Skyfall and Spectre, but it’s not perfected yet. Like all of the suits in No Time to Die, the jacket’s collar stands away from the neck at times. The jacket is strained at the chest, and it bows open to show off too much of the shirt’s collar at the sides of the neck. The skirt is also too tight, and the single vent does not stay closed. Double vents are easier to fit with a jacket that is tightly fitted and should have been used here.
The white cotton Tom Ford shirt has the tab collar from Skyfall and the ‘Dr No’ cocktail cuffs from Spectre. The shirt has a placket front. Craig wears a folded white pocket square that matches the shirt.
The tie is navy silk ottoman, and it closely resembles the navy repp tie from Spectre. This one look like it is the same shade as the tie that he wears in Q’s lab in Spectre, and it is also 7.5 cm wide. He makes it in an asymmetrical knot, possibly a four-in-hand knot, but the full shape of the knot is hidden inside the narrow collar. The knot looks fairly fat, which is due to a thick tie.
The tie looks short because it does not meet the trouser waistband, but the tie is exactly the length it should be and the trousers look like they have fallen down a bit. The trousers should be sitting at least an inch higher on the waist, though knotting the tie so it’s an inch longer to meet the trousers would have been an easy bandage for this problem.
For the first time since Goldfinger we see Bond wearing a tie bar, in the form of a rhodium-plated tie slide from Benson & Clegg. They’ve since renamed the tie slide the ‘James’ to honour its use in the film. It is 4.4 cm long and 0.6 cm wide, so it goes nicely with the narrow tie. It slides onto the tie and stays on with pressure. There is no clip or clasp. It fits quite snugly on the tie and does not work well with very thick ties.
Bond wears it at the same height as his pocket square. This is a modern place to wear a tie bar, which is higher than where it was usually placed during its heyday in the 1960s. Here it competes with the pocket square, a problem that could be solved be wearing the tie bar lower. Placing it around the height of the jacket’s top button or between the top button and breast pocket would look better, not distract from the face and still show off the tie bar nicely.
The tie bar is meant to clip both the wide and narrow blades of the tie to the shirt’s placket so it stays in place, but the bar is not attached to Bond’s shirt and the tie flaps about. The tie has a keeper to keep its narrow blade tucked behind the wide blade, so Bond is merely using the tie slide for decoration and not for its intended purpose.
The black Crockett & Jones Highbury three-eyelet derby shoes from Skyfall return. Instead of a Dainite studded rubber sole these shoes have Crockett & Jones’ ‘City’ Sole, which is a studded rubber sole that they developed with the Harboro Rubber Co. It has more subtle studs, a sharper edge trimming and a reduced waist compared to the Dainite sole, so it looks dressier and more like an elegant leather sole from the side.
He wears the Barton Perreira ‘Joe’ sunglasses in black with Vintage Grey lenses with this suit. They have a wide and slightly angular look.
Between the suit, shirt, tie and shoes, the outfit has a consistency with Craig’s outfits from his previous two films, while it also pays homage to Sean Connery’s style in the most respectful way. The costume couldn’t be more classically Bond, unless the suit fit better.