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STYLE IXXCONS


Sean CONNERY


Couldn’t leave him off the list, obviously. One might reasonably say that Connery was the best Bond and, while that might be contentious to some, it surely is true that he made the role his and his alone. His sterling performances almost always called for fine suiting - when he wasn’t frolicking in the waves with something nubile. The beguiling subtlety of the Goldfinger (1964) suit - a grey and white glen check made by Anthony Sinclair is immediately conjured. The roped sleeve heads give that slight interruption to inform the importance of the shoulders and suggest the spy’s physical prowess and streamlined determination.


One might reasonably say that Connery was the best Bond and, while that might be contentious to some, it surely is true that he made the role his and his alone


James STEWART


James Stewart and suits were made for each other and most will instantly recall his Charleston suit he wore in It’s a Wonderful Life, (1946) wide-lapelled and typical of a late 1920s design which is so redolent of the archival reference of say a designer such as Giorgio Armani. There is no way of telling the suits actual colour (even though the film has been retouched) but it is thought to be a sober dark blue, which would have appeared almost black under electric light. Of course Stewart had the perfect physique for a perfect suit and he radiated confidence and quiet authority. But perhaps his most compelling appearance in a suit was in Alfred Hitchcock’s urbane urban thriller, Rope (1948) where a simple but elegant, almost anonymous peak-lapel 3-piece clads his character as the murder-solving professor. It gives him gravitas and is pure New York of the time.


SAVILE ROW STYLE MAGAZINE 61


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