You are a huge fan of vintage clothing, which you and Daniel Craig discussed a lot for the film. What are the vintage pieces in “No Time to Die”?
In her whole wardrobe, I would say there is an element. I think the big vintage ticket is the end, the final costume of his, which is this tactical look [costume]. We had discussed wanting to send Daniel’s Bond into movie history with something we hadn’t necessarily seen him in before, something that looked like an iconic figure.
Not a figure in the way costume and fashion people talk about the figure of a suit, but literally like a figure, like the shadow of a figure you see in that famous Bond iconography running across the globe. barrel of a pistol, right? We basically wanted something that would tick those boxes. The sweater he wears at the end, I hesitated and I almost called it a sweater because of course in England, we call a sweater the sweater. This is basically an adapted version of a vintage WWII British commando sweater that I found and brought to Daniel.
When we started working on what that final look would be like, I brought it over to show him and he put it on and he loved it. We decided to use it as a starting point. There are things we have changed about this, however. The original still had some very vintage pattern shapes, which aren’t necessarily as modern as what you’re looking at in the movie.
So we adapted it for Daniel, changed the color, the material, all that, and worked with one of those longtime Bond partner brands to get them made, because we knew we needed something. like 48 of them I believe. We needed a lot of multiples of a lot of his suits and all the numbers ranged from 20 to 60. I think 48 was the number of sweaters. It also becomes an important prop in the film. We gave a nod to his naval heritage, his education in special services.
We wanted something different. But yes, there is a boat neck with drawstring. The original was a very thick wool, but obviously for the sake of our scene and all the action, we certainly don’t want him to endure days in the summer turning that into thick wool. So we made it from some kind of cotton blend.
The pants were also based on an amalgamation of different vintage combat pants of naval origin. The silhouette of WWII pants is not the silhouette you see on it. They have a much higher waist and fuller legs. We obviously wanted to get this silhouette idea of him as just the perfect human form. He sort of has an Adonis figurine. The development of these pants took some time. We made the pants in-house, had an amazing workshop, two tailors and cutters and a bunch of seamstresses and people in the dye shop.
I mean, just the number of hands within the department that each garment has gone through is an extraordinary amount of work going into it. We kept developing the prototype and redeveloping the prototype based on the fact that they were working on the final sequence and all the action and stunts. Every time Daniel came in for a fitting, we did more multiple looks with every fitting, but we were tweaking and perfecting various costumes each time.
And the pants were pants that took a long time to develop over the course of several months because the action in the final sequence was shifting, and he just came from a stunt rehearsal and was like, oh yeah, I did the rehearsal today and I know I’m going to take the gun from that angle, and so maybe we should move this pocket here. We wanted them to feel authentic about what he would need in the scene. This is not just an aesthetic decision or one based on the love of vintage clothing, but a practical and technical one.
The franchise usually looks back at the past, but still captures what’s modern and new. What other more modern keys you used?
I think fashion is in that phase where everything is happening right now. There is also a real love right now for vintage. It’s a bit of a catch-all. So with each character, I think the approach wasn’t necessarily to think, okay, they have a retro style, or they have a more contemporary and modern feel. It was more character-based. And so with Bond himself, that meant we could look back because there is this legacy of 24 films and a real evolution between the performers of Bond in their chapters, as well as the overall evolution of Bond himself in as a character.
The freedom to go in that direction has come with completely new characters. I think with returning characters there was always an obligation to make sure they fit their scale of evolution, like you have a lot of returning characters at MI6 HQ. The new characters like Paloma or Nomi or Safin by Rami Malek, we could just start over with them.