The Suit

James Bond in Dr No

Bond is back - and so is his tailor.

Come October, Daniel Craig’s burly Bond will reappear on our screens in Sam Mendes’ new 007 flick, Skyfall.

Though Craig will no doubt sport his trademark Tom Ford suits and Sunspel polo shirts, this year also sees the return of Anthony Sinclair, Bond’s original tailor, to a brand new premises on Mayfair’s Sackville Street (just down the road from Savile Row).

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Best known for dressing Sean Connery for his every appearance as Bond (remember the midnight blue dress suit he wore in Dr No? That was Sinclair. That Prince of Wales three-piece from Goldfinger? Him again.)

Anthony Sinclair fast became the go-to tailor of the Sixties. Though the great man retired some 30 years ago, tailor David Mason has taken the helm and is reinvigorating the  suits that made Sinclair’s name.

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We asked Mason to sew us up a contemporary take on Connery’s summery mohair suit from Dr No, and this is the result. Wear with a white shirt, a dark silk tie and a crisp white pocket square (martini optional).

(Blue mohair hand-tailored suit, £2,350; white cotton shirt, £145; red silk tie, £85; white linen pocket square, £25, all by Anthony Sinclair)

The Cut
Sinclair’s signature Conduit Cut, named after the tailor’s original Mayfair premises on Conduit Street, marked a move away from boxy double-
breasted suits — a Fifties trend. The style features a close-cut jacket with a nipped waist, slightly flared skirt (to balance the shape) and slim cavalry-cut trousers.

The Connery (on top)
While prepping for his role as Bond, Terence Young, who directed the first film, Dr No, urged Connery to wear suits around the clock — he even slept in them — in order to feel completely natural during filming. (Pre-Bond, Connery was more of a jeans and T-shirt kind of guy.)

The Connection
Young, a client of Sinclair’s, encouraged Connery to don one of the tailor’s suits. Ian Fleming’s wardrobe, influenced by his time spent living in Jamaica, inspired the lightweight, summery style.

Photograph by Daniel Herendi

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