It’s the most celebrated, the most special, the most significant watch of all time; Rolex is symbolic of many things in the movies: style, wealth, attitude, and perhaps most importantly, taste. That is not to say a Rolex is elitist, but rather that the wearer on screen, anyone from James Bond to Steve McQueen, is someone possessed of the knowledge that there is no better. Rolex is the pinnacle.
The history of Rolex on film is not nearly as interesting as the scope of its wearers and how this simple act of either discreet or ostentatious display can define character. Take James Bond, a man whose breeding was forced upon him; he developed taste and nurtured it. Roger Moore’s incarnation of 007, the most overlooked style wise, is 100% a Rolex customer – even if his custom Submariner in Live and Let Die (1971) was modified somewhat by Q Branch. Sorry, but...
The history of Rolex on film is not nearly as interesting as the scope of its wearers and how this simple act of either discreet or ostentatious display can define character. Take James Bond, a man whose breeding was forced upon him; he developed taste and nurtured it. Roger Moore’s incarnation of 007, the most overlooked style wise, is 100% a Rolex customer – even if his custom Submariner in Live and Let Die (1971) was modified somewhat by Q Branch. Sorry, but...
- 6/10/2016
- by Lord Christopher Laverty
- Clothes on Film
This is part 2 (part 1 Here) of an expanded article Clothes on Film editor Christopher Laverty wrote for men’s style resource Mr Porter analysing Michael Caine’s suits in The Italian Job. This post covers all the costumes he wore during the film.
We rejoin Charlie and his ragtag crew at the big meeting when the gang are all introduced to each other. It had to be a Doug Hayward moment and thankfully does not disappoint. In actual fact it is probably Michael Caine’s best fitting suit in the whole movie:
Dark blue worsted wool suit; double breasted jacket, wide peaked lapels, 6 on 2 fastening, slanted hip pockets, ticket pocket, high rear vents; white high collar medium spread shirt with double cuffs; narrow leg trousers; white silk necktie.
Odd to wear a white tie out of formal occasion or evening wear, but it works well as part of the ensemble.
We rejoin Charlie and his ragtag crew at the big meeting when the gang are all introduced to each other. It had to be a Doug Hayward moment and thankfully does not disappoint. In actual fact it is probably Michael Caine’s best fitting suit in the whole movie:
Dark blue worsted wool suit; double breasted jacket, wide peaked lapels, 6 on 2 fastening, slanted hip pockets, ticket pocket, high rear vents; white high collar medium spread shirt with double cuffs; narrow leg trousers; white silk necktie.
Odd to wear a white tie out of formal occasion or evening wear, but it works well as part of the ensemble.
- 2/20/2014
- by Lord Christopher Laverty
- Clothes on Film
The following is an expanded article Clothes on Film editor Chris Laverty wrote for men’s style resource Mr Porter analysing Michael Caine’s suits in The Italian Job. This post covers all the costumes he wore during the film.
If The Italian Job (1969) needs any introduction at all it might be possible you’ve been in a coma for the past 40 years. It’s so well known and so well loved that were it not for the fact that no-one has really delved into the sartorial details of Michael Caine’s suits there would be nothing left to talk about. As it happens we have spent time studying and researching The Italian Job for this very purpose; we even got in touch with Caine’s original tailor for the film, Douglas Hayward (now just ‘Hayward’ since he sadly died in 2008) to confirm the particulars on those scalpel sharp suits that still make us drool.
If The Italian Job (1969) needs any introduction at all it might be possible you’ve been in a coma for the past 40 years. It’s so well known and so well loved that were it not for the fact that no-one has really delved into the sartorial details of Michael Caine’s suits there would be nothing left to talk about. As it happens we have spent time studying and researching The Italian Job for this very purpose; we even got in touch with Caine’s original tailor for the film, Douglas Hayward (now just ‘Hayward’ since he sadly died in 2008) to confirm the particulars on those scalpel sharp suits that still make us drool.
- 1/28/2014
- by Lord Christopher Laverty
- Clothes on Film
Matt Spaiser analyses the suits of George Lazenby’s James Bond in On Her Majesty’s Secret Service and draws an interesting comparison with Daniel Craig in Skyfall.
James Bond fans know George Lazenby as the man who played Bond in one of the best films of the series, On Her Majesty’s Secret Service. Before Bond, Lazenby was a car salesman, a mechanic and a model. Except for in a few commercials, he was not an actor. Despite his limited acting experience, On Her Majesty’s Secret Service was still an excellent film due to its great story, capable director and talented cast. From his modelling days, Lazenby knew how to wear clothes and director Peter Hunt brought his own fresh new fashion sense to James Bond. Lazenby’s suits had an increased English flair and were at the height of fashion in 1969.
The 1969 fashion in On Her Majesty...
James Bond fans know George Lazenby as the man who played Bond in one of the best films of the series, On Her Majesty’s Secret Service. Before Bond, Lazenby was a car salesman, a mechanic and a model. Except for in a few commercials, he was not an actor. Despite his limited acting experience, On Her Majesty’s Secret Service was still an excellent film due to its great story, capable director and talented cast. From his modelling days, Lazenby knew how to wear clothes and director Peter Hunt brought his own fresh new fashion sense to James Bond. Lazenby’s suits had an increased English flair and were at the height of fashion in 1969.
The 1969 fashion in On Her Majesty...
- 10/12/2012
- by Contributor
- Clothes on Film
Photographer Terry O’Neill has been snapping shots of James Bond behind the scenes since his arrival in 1962. This book, tied together with essays written by journalists, cultural historians and interviews with Bond girls is a collection of O’Neill’s finest and most revealing work. Though many of the images have not been widely published, O’Neill’s work is easily recognisable by his eavesdropping, yet highly artistic style. Surely you have seen that classic shot of Bond creator Ian Fleming close-up in dotted silk cravat smoking a cigarette? O’Neill took it.
Despite some perfunctory text, All About Bond wisely focuses on O’Neill’s photographs. The best feature Sean Connery goofing about on set, primarily on Diamonds Are Forever (a film he reputedly hated shooting). See the man widely regarded as the best dressed James Bond of all time in two-button Savile Row suit and Turnbull & Asser shirt,...
Despite some perfunctory text, All About Bond wisely focuses on O’Neill’s photographs. The best feature Sean Connery goofing about on set, primarily on Diamonds Are Forever (a film he reputedly hated shooting). See the man widely regarded as the best dressed James Bond of all time in two-button Savile Row suit and Turnbull & Asser shirt,...
- 10/8/2012
- by Chris Laverty
- Clothes on Film
The Barbican in London will present a major exhibition dedicated to the style and design aspects of the James Bond films. The exhibit will run from 6 July to 5 September, in commemoration of the 50th anniversary of the film series. Here is an official announcement:
With unprecedented access to Eon’s archive, Designing 007 – Fifty Years of Bond Style is a multi-sensory experience where screen icons, costumes, production design, automobiles, gadgets, special effects, graphic design, exotic locations, weapons, stunts and props combine to immerse the audience in the creation and development of Bond style over its auspicious 50 year history.
Highlights include gadgets and weapons made for Bond and his notorious adversaries by special effects experts John Stears, Syd Cain and Chris Corbould; artwork for sets and storyboards by production designers Sir Ken Adam and Peter Lamont and costume designs by Bumble Dawson, Donfeld, Julie Harris, Lindy Hemming, Ronald Patterson, Emma Porteous, and Jany Temime.
With unprecedented access to Eon’s archive, Designing 007 – Fifty Years of Bond Style is a multi-sensory experience where screen icons, costumes, production design, automobiles, gadgets, special effects, graphic design, exotic locations, weapons, stunts and props combine to immerse the audience in the creation and development of Bond style over its auspicious 50 year history.
Highlights include gadgets and weapons made for Bond and his notorious adversaries by special effects experts John Stears, Syd Cain and Chris Corbould; artwork for sets and storyboards by production designers Sir Ken Adam and Peter Lamont and costume designs by Bumble Dawson, Donfeld, Julie Harris, Lindy Hemming, Ronald Patterson, Emma Porteous, and Jany Temime.
- 2/29/2012
- by nospam@example.com (Cinema Retro)
- Cinemaretro.com
Cool, coordinated, just a little loud; this is the timeless appeal of Jack Carter’s 3 piece suit. In portraying cinema’s ultimate anti-hero, Michael Caine wears his costume like a second skin.
Get Carter was shot mainly on location in Newcastle for just £750,000. By no means a tremendous success on its release (in the U.S. Get Carter was a double feature with a Frank Sinatra movie), it has since acquired cult status and is now widely recognised as one of the greatest British films ever made. Much has been written about the ‘style’ of Carter; photo shoots of models in trench coats carrying shotguns, etc, yet there has been little appreciation for the fine detail of its central costume itself, a dark blue mohair suit, and what it says about the man who wears it so triumphantly.
Director of Get Carter, John Hodges, admits he personally paid little attention to costume.
Get Carter was shot mainly on location in Newcastle for just £750,000. By no means a tremendous success on its release (in the U.S. Get Carter was a double feature with a Frank Sinatra movie), it has since acquired cult status and is now widely recognised as one of the greatest British films ever made. Much has been written about the ‘style’ of Carter; photo shoots of models in trench coats carrying shotguns, etc, yet there has been little appreciation for the fine detail of its central costume itself, a dark blue mohair suit, and what it says about the man who wears it so triumphantly.
Director of Get Carter, John Hodges, admits he personally paid little attention to costume.
- 7/22/2011
- by Chris Laverty
- Clothes on Film
12.00 Normal 0 false false false En-us X-none X-none MicrosoftInternetExplorer4 One thing that's abundantly clear in the modern studio system is that Hollywood really just can't get a handle on age. While commanding, intelligent roles for old women are tantamount to rocking horse shit, the issue of aging men is typified in one of three main varieties: the cantankerous coot (Secondhand Lions), the stoically masculine (Gran Torino), or the sprightly sage (the likes of Alan Arkin in Little Miss Sunshine). Rarely does Hollywood directly address the realities of old age and the ravages of senility, preferring instead to maintain a kind of reverential distance with the elderly that's warm and comfortable. Unsurprising then that this semi-autobiographical tale from writer Peter Harness about a senile old magician and a death-obsessed tween comes courtesy of Britain, a country whose film industry was founded on no frills, kitchen sink misery.
From Boy A director John Crowley comes this 80s set,...
From Boy A director John Crowley comes this 80s set,...
- 5/2/2009
- by Neil Pedley
- JustPressPlay.net
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