Doug Hayward
Douglas Frederick Cornelius Hayward (5 October 1934 – 26
April 2008), was an English tailor, who dressed many famous people during the
1960s. The inspiration for customer Michael Caine's characterisation of his role
in the 1966 film Alfie, he was also the model for client John Le Carre's Harry
Pendel, aka The Tailor of Panama.
Born in Kensington, West London, Hayward and his brother
grew up in Hayes. His father cleaned heating boilers for the BBC and worked a
second job cleaning buses in Uxbridge; while his mother worked during World War
II in a munitions factory. Hayward won a scholarship to Southall Grammar
School. He had had a trial at inside-left for the Middlesex county football
team, but lost out to future England captain Johnny Haynes who was also a left
footer.
An unfocused rebel, Hayward left school at 15, looking for a
white-collar job:
“We didn't have a careers master, but I found a booklet
which listed possible occupations. I went down the list and when I got to T for
tailor, I thought: "I don't know any tailors. I can't ever be judged as
being a bad or a good one, so I'll be a tailor." ”
Apprenticed to a Shepherd's Bush Green tailor who visited
the flats in Cadogan Square, where his uncle was a caretaker. During this
period he worked a summer in Clacton-on-Sea as a Butlins Redcoat, and after
finishing his apprenticeship served his National Service in the Royal Navy, an
experience he later admitted got him focused.
Returning to civilian life, he continued working for his
original employer, but also started after hours work on his own creations.
Early clients like Peter Sellers, Terence Stamp and lyricist Herbert Kretzmer,
came through his excellent theatrical links at the local theatre, the BBC's
Lime Grove Studios, or through his first wife, Diana, sister-in-law of film
director Basil Dearden.
Unable to gain a cutters job on either Savile Row or even
Oxford Street due to his accent, Hayward then joined fellow showbiz specialist
tailor Dimitrio Major, based in Fulham. It was here that he developed a service
mentality, driving his Mini Countryman estate car to allow him to attend
customers wherever required, including Richard Burton at the Dorchester Hotel.
Hayward first set up on his own operating out of a small
room in London's Pall Mall, before moving to 95 Mount Street in Mayfair in 1966
where he lived above the shop which soon became a club for his famous clients.
In the rear was the cutting room overlooking the Mount Street Gardens.
His weekend home was on the Oxfordshire estate of client and
friend Lord Hambleden, near Henley on Thames); Described by many as like a
gentlemen's club, the shop acted as a hub for all of Hayward's clients when in
London. Tea or something stronger was often served and the coffee table was
littered with autographed copies of books written by writer clients including
Joseph Heller who wrote Catch 22 Doug's favourite book. There was also a
collection of teddy bears, a gift from his client Ralph Lauren, whose later
Purple Label line was inspired and advised by Hayward. but Hayward's best pal
was his Jack Russell terrier Burt who had his own made to measure suits. Client
Michael Parkinson said of the shop:
“ Hayward
ran the best salon in London. Anybody who's anybody was there. It soon became apparent
in the 1970s that everyone that was in town to do the show would visit there. I
met Alec Guinness there and Tony Bennett. He had this great ability to treat
everybody the same. ”
Hayward's client list included: actors Clint Eastwood, Sir
John Gielgud, Michael Caine, Terence Stamp, Ray Austin; film director, then
renowned stuntman and 1966 World Cup England captain Rex Harrison, Steve
McQueen and John Osborne; actor Tommy Steele; singer Tony Bennett; newsreader
Tom Brokaw; footballer and 1966 World Cup England captain Bobby Moore; Formula
1 world champion Sir Jackie Stewart; and businessmen Lord Hanson and Mark
Birley. Female clients included Faye Dunaway, Mia Farrow, Jean Shrimpton and
Sharon Tate. His design of suits for singer Mick Jagger lead him to designing
the wedding suit for Bianca Jagger, and later many of her iconic white
jumpsuits. His film credits included Caine's suits in The Italian Job, and
Roger Moore in James Bond. Actor James Coburn called Hayward "the Rodin of
tweed". Many of his clients became close friends. An early friend was
Ralph Lauren, who met Dougie in the early 80's on one of his first visits to
London. Ralph realized that Hayward's approach to his clients, and their
corresponding support of his style and tailoring, was very similar to his own
and exactly what he envisioned for his eventual entry into the London market.
Dougie recognized Ralph's ideas and talent and became a great friend and
supporter. In his approach to his clientele as a complete source of style, Hayward
sold hand-made shoes, and his own line of watches and leather luggage. He
lectured at the Royal College of Art on tailoring, placing emphasis on cutting:
"You can't do anything unless you can cut." Pragmatic and undemanding
of his clients body, Hayward believed that any one could be made to look
sleeker:
“ People
always wanted to know who had been the tailor to Cary Grant or Fred Astaire.
But what I'd want to know is who was Sydney Greenstreet's tailor? He was a
large man in The Maltese Falcon and Casablanca, who always looked good. ”
Every week until her death in 1984, he visited his mother,
Winifred. Each time he would present her with a £1 note, to pay for her Meals
on Wheels. He also gave her regular sums of money, always in cash. Convinced
that her son was running either a brothel or a game of chemmy, she kept it all.
After her death, the family found it beneath her bed in 15 empty ice cream
boxes, with a note: "This money is to get Doug out of prison when they
finally get him."
Which Tailor Dressed Roger Moore Best?
3 January 2017
While Sean Connery had the consistency of being dressed by
Anthony Sinclair for all six of his James Bond films, Roger Moore was fitted by
three different tailors over his seven Bond films. Cyril Castle, Roger Moore’s
tailor throughout The Saint and The Persuaders, dressed Moore for his first two
Bond films, Live and Let Die and The Man with the Golden Gun. Italian tailor
Angelo Vitucci of Angelo Roma dressed Moore for The Spy Who Loved Me and
Moonraker. The famous Douglas Hayward came in to dress Moore for his three
1980s Bond films: For Your Eyes Only, Octopussy and A View to a Kill, and
Hayward went on to dress Moore until the former passed away in 2008. Moore’s
three tailors each gave him a unique look, from the ultimate in fashion to
understated elegance. Vote at the end of the article for who you think dressed
Moore best.
Cyril Castle was a neighbour of Connery’s tailor Anthony
Sinclair on Conduit Street, though his cut was more flamboyant and focused on
fashion trends. Building on the first major* foray into fashion Bond took in On
Her Majesty’s Secret Service, Castle dressed Moore in tailored clothes that
took hints from the fashions of the early 1970s. He introduced Bond to flared
suit trousers, though they are more of a subtle bootcut than a bold flared leg.
The lapels are of a classic width in Live and Let Die but widened to a trendier
width in The Man with the Golden Gun. Castle also introduced the
double-breasted suit to Bond, though George Lazenby previously wore a
double-breasted blazer.
Though Castle cut a jacket in the English tradition for
Moore with soft shoulders and a full chest, the small details also fascinated
Castle. The cuffs of most of the jackets are notable for their flared shape
with a kissing link fastening. The silk ivory jacket in The Man with the Golden
Gun dispensed with the link cuffs for gauntlet (turnback) cuffs, a classic
Edwardian detail that also featured on Connery’s early dinner jackets. The
English details were important to Castle, and they also included deep double
vents and slanted hip pockets.
Castle mostly made clothes for Moore in the classic Bondian
blues and greys but also included brown, black and olive suits. Connery had
previously worn the first two of those three. Castle more prominently used some
of the flashier fabrics that Connery wore on occasion in his Bond films, such
as mohair and silk.
Angelo Roma is the tailor Roger Moore is more usually
associated with due to the bold 1970s look he gave Moore. Angelo Vitucci’s
suits are beautifully cut in the Roman style with straight shoulders and an
elegant clean cut. For The Spy Who Loved Me, Vitucci widened the already wide
lapels that Moore previously wore in The Man with the Golden Gun, and he also
widened the flared trouser legs for an update look.
The details of Vitucci’s clothes included flapped breast
pockets on some of the sportier jackets and front-pocket-less trousers. But he
normalised the jackets an ordinary four-button cuff and used a regular width
for the pocket flaps so not to overwhelm the front beyond the oversized lapels.
Vitucci dressed Moore in one blue suit and one grey suit in
Moonraker, but his most infamous suit for Moore is a rich brown silk suit in
The Spy Who Loved Me. Though the colour could not be more flattering to Moore’s
warm complexion, and it’s worn appropriately in the Mediterranean, the shade of
brown is unfortunately most associated with 1970s fashions. Vitucci also
modernised Moore’s blazers with four-hole metal buttons rather than the more
traditional shanked style. Following Bond tradition, Vitucci used silver-toned
metal rather than yellow-toned metal, except on the double-breasted blazer in
Moonraker.
Though Vitucci’s look was only featured in two films, Moore
will forever be notoriously remembered for wearing these fashionable 1970s
clothes, despite the many positive traits of these clothes.
Douglas Hayward is the most famous of Roger Moore’s three
Bond tailors for his work on many films beyond the Bond series and celebrity
clients such as Michael Caine and Terence Stamp. Of Moore’s three tailors,
Hayward gave Moore the most classic style appropriate for the 1980s without
worrying too much about 1980s fashions. Hayward brought back a more traditional
English air to Bond, with soft shoulders punctuated by roped sleeve heads.
Hayward narrowed the lapels for For Your Eyes Only, and then even more for
Octopussy so they were back down to a balanced, timeless width. The trousers no
longer were flared but featured a straight leg, which also got narrower from
For Your Eyes Only to Octopussy.
Whilst Hayward was not into gimmicks, his jackets feature a
very low button stance that was a hallmark of 1980s and early 1990s tailoring.
Apart from this, the suits would not look at all dated today.
Hayward tailored suits mostly in blue and grey flannel
solids and chalk stripes for city wear along with an appropriate tan or light
brown gabardine suit for the sunnier locales in each film. For evening wear,
Hayward tailored beautiful dinner jackets in black and midnight blue wool and ivory
linen, with either peaked or notched lapels. He also gave Moore a variety of
navy blazers and understated tweed sports coats for more informal occasions.
Each of Moore’s three tailors offered the Bond films
something special. Cyril Castle brought a unique creativity to Bond’s tailored
wardrobe. Angelo Roma made Bond look current, and despite the clothes being
some of the most dated in the series, they still look fantastic on Moore.
Douglas Hayward returned Bond’s wardrobe to the classic elegance that defined
Sean Connery’s Bond wardrobe, but he did it in a way that was appropriate for
an older Moore. Which approach do you like best?
Designing 007: James Bond's style
celebrated in Barbican exhibition
Barbican showcases costumes and props from the films'
50-year history, from suits and swimwear to gadgets and diamonds
James Bond exhibition
Thursday 5 July 2012 15.39 BST First published on Thursday 5
July 2012 15.39 BST
The Chesterfield coat and hat Sean Connery wears in Dr No
for his first meeting with M; Roger Moore's yellow ski suit and red backpack
seen on the slopes in The Spy Who Loved Me; George Lazenby's kilt donned in On
Her Majesty's Secret Service; the Brioni suit Pierce Brosnan wore to drive a tank
in Goldeneye; and Daniel Craig's infamously snug baby-blue swim trunks of
Casino Royale fame. All are featured in the Barbican's blockbuster summer show
Designing 007: 50 Years of Bond Style, which opens on Friday
Every aspect of this extensive retrospective of the Bond
films has been carefully thought through. It is as camp and fun as it is
nerdishly packed with facts, production sketches, storyboards and costume
drawings. Film screens playing classic clips are dotted throughout, with scenes
relating to the paraphernalia, from clothing to props, gadgets to 25-carat
diamonds.
The opening scene of Dr No, the first Bond film, featured a
close-up of a turned-back silk cuff on a tuxedo jacket designed by Anthony
Sinclair for Sean Connery. The tailor's involvement in shaping the look of Bond
is integral to the character's image. A three-piece grey-check suit by Sinclair
is worn by a Connery-lookalike mannequin leaning on a DB5 Aston Martin in this
show.
Bronwyn Cosgrave, fashion historian and co-curator of the
exhibition, says Sinclair's designs are the male equivalent of a Chanel suit.
Its athletic cut, she says, inspired designers such as Hedi Slimane, Tom Ford
and Thom Browne.
Ford's mohair and cashmere tuxedo, worn by Craig in 2008's
Quantum of Solace, also puts in an appearance in a section of the exhibition
dedicated to Bond casino moments.
As well as Craig's trunks, there is a recreation of
Connery's Thunderball shorts, which Bond costume designer and Oscar-winner
Lindy Hemming – the exhibition's other key curator – asked British brand
Sunspel to recreate. Such is the power of Bond – Cosgrave says many fashion
trends have been inspired by the fashions of this franchise – that Sunspel, who
also created clothes for Craig's Casino Royale wardrobe, has launched a new
swimwear line.
Designed to take visitors on a Bond-style narrative journey
– there are rooms dedicated to M, ski slopes and foreign locations. Cosgrave
says the show aims to reflect all 23 films. Visitors walk through a
bullet-shaped entrance covered with stills from the films, before arriving in
the Gold Room, which features a revolving circular bed complete with white
sheets and a gold-painted female body – a nod to the classic scene from
Goldfinger.
Pussy Galore's gold waistcoat and Scaramanga's golden gun
are displayed in glass cases alongside black-and-white footage of Connery
arriving at the premiere of Goldfinger and being mobbed by fans. "The film
Goldfinger made Bond a pop-culture phenomenon rivalled only by the
Beatles," says Cosgrave.
Other costume highlights in the exhibition include Ursula Andress's
Dr No bikini, which was created from the actor's bra and some bottoms found
locally during filming, alongside designs by Prada, Gucci and Versace.
In 2002's Die Another Day, Halle Berry's Jinx Johnson paid
homage to Andress by emerging from the sea in a similar bikini. But it is
Berry's Versace evening dress that is one of the exhibition's standouts. It is
a typically flesh-revealing gown in a pinkish purple and featuring glittering
jewels across the top section. Alongside the dress are the original sketches by
the designer Donatella Versace.
Similarly eye catching is a canary yellow Roberto Cavalli
affair which is slashed in the front and splattered with Swarovski crystals
around the bust. This was worn by Ivana Milicevic to play Valenka, the girlfriend
of Casino Royale's villian Le Chiffre. There is also the red silk georgette,
one-shouldered dress worn by Eunice Gayson to play Bond's girlfriend Sylvia
Trench in Dr No. This dress was apparently bought by the actor herself from an
inexpensive shop near Pinewood studios following the film director Terence
Young vetoing costume designer Julie Harris's original choice.
In a section dedicated to Bond villains and enigmas,
Madonna's fencing ensemble from Die Another Day and Jaws' metal teeth also feature.
"It's the longest running and most successful film
franchise of all time – and the most glamorously made," says Cosgrove.
"Nothing can touch it. That is why Bond and his sidekicks are
inspirational to people all over the world and to all ages."
Doug Hayward
Working-class tailor to the stars
Veronica Horwell
Saturday 3 May 2008 00.10 BST
Doug Hayward's distinctive sense of style came out of his
working-class childhood, a world where men like his dad, who had laboured all
week in mucky boiler suits, went out of a Friday night scrubbed, shining and
metamorphosed by their best - their only - suits, pressed to perfection. He
shared the satisfaction of the better persona that a man puts on with proper
tailoring, and for almost 50 years, until his death at the age of 73, he suited
blokes like himself, only with more money - movie stars and footballers and
snappers and hacks and even Americans. He upheld the centuries old British
tradition in which male style ascends, and transcends, classes.
His anecdotage and attitude were the source for the
character Harry Pendel in John Le Carré's The Tailor of Panama; his charming
manner, though not his emotional history, was the model for his mate Michael
Caine's 1966 performance as Alfie.
That remembered childhood had been in Hayes, on the edge of
London: his Cockney father stoked boilers at the BBC, his mother was recruited
into wartime bullet manufacture, and Hayward was bright enough to win a grammar
school scholarship, which was followed by an apprenticeship to a Shepherd's
Bush Green tailor since he did not have the accent to crack Savile Row. The
social ease began with a holiday gig as a Butlin's redcoat and national service
in the Royal Navy, another environment where working-class men appreciated cut
and finish of kit, and technical expertise outranked background.
Hayward's early clients, including Peter Sellers and Terence
Stamp, were acting at the local theatre or the BBC at Lime Grove, or came
through his first wife, Diana, sister-in-law to the film director Basil
Dearden. Then he joined Dimitrio Major in Fulham, also a specialist in showbiz.
Hayward was, and stayed, so driven that he attended customers wherever wanted,
arriving by secondhand Mini for fittings with Richard Burton in a suite at the
Dorchester.
His own first premises were a niche in Pall Mall (10 fearful
days passed before a single customer called), and then business was sound
enough for him to move in 1967 not to Savile Row - wrong, Victorian, vibes, too
many portraits of the Queen Mum - but to a house at 95 Mount Street, Mayfair.
He lived upstairs during the week; his cutting room overlooked the back garden;
in the front room, with its grey flannel walls, were sofas and armchairs.
Nobody glared at potential customers; they were poured tea or champagne, and so
were their girlfriends ("I get a lot of birds in"). Attendees felt it
was like a gentleman's club, but it was more liberal, never silent, closer to
an 18th-century coffee house, liquor welcome and parties liable to break out.
Hayward's services cost a fortune, but his patient ear for clients' troubles,
his advice, his contacts, and the therapeutic effect of a visit were thrown in
for free. The photographer Terry O'Neill, a regular on the sofa, especially
after a long mutual lunch at Langham's Brasserie, called him "the Buddha
of Mount Street". The premises got tatty with wear, and their suavity was
not improved by Hayward's Jack Russell terrier molesting the besuited teddy
bears supplied by customer Ralph Lauren, whose Purple Label line is homage to,
and was advised by, Hayward. They were still just right, though.
The clothes were just right too, even if Hayward was heretic
over details of Savile Row dogma - he did not disapprove of machine-sewn
buttonholes - shock, horror. He was pragmatic, undemanding of a body beautiful
beneath - any man could be made to look sleeker; he said people always wanted
to know who had been the tailor to Cary Grant or Fred Astaire but "What
I'd want to know is who was Sydney Greenstreet's tailor? He was a large man [in
The Maltese Falcon and Casablanca] who always looked good." Hayward was a
careful observer of hands shoved in pockets, shoulders braced or slumped, legs
hitched or crossed, and he structured to allow for the way that the repertoire
of Anglo-American gesture became more expansive and relaxed in the 1960s. He
didn't do tight - a female client who demanded a constricted elbow complained
that he tried to get her to swing her arms up as if she were about to shoot a
grouse to test the roominess of the armholes. The Hayward cut flattered stage
and screen: Caine, Roger Moore in his final, non-Austin Powers, James Bond
mode, Sir John Gielgud, John Osborne, Tom Brokaw, Tony Bennett, Clint Eastwood,
even the Zen cowboy James Coburn, who called him "the Rodin of
tweed". Rex Harrison gave him the ultimate establishment nod of approval.
He tailored sportsmen, too, including Bobby Moore, thought
him a classic neat dresser, same as his football. The game was Hayward's real
love (he had a trial as an inside-left for the Middlesex county team, but the
follow-up letter never arrived), and he easily persuaded his pal Steve McQueen
to stand in the London rain watching footie of a Saturday afternoon. His eye
was for the movement of a match rather than a particular team, although he was
fond, if not a fan, of Fulham and Arsenal. He had his own team, the Mount
Street Marchers and Social Club, fielding Richard Harris and Tom Courtenay.
Kickabout venue Hyde Park, Sunday mornings.
His second wife was the journalist Glenys Roberts, with whom
he had a daughter Polly (she took over the business in 2006); that ended in
divorce in 1978. None of his flings lasted, though Janet Street-Porter kept the
full length double cashmere coat he had made for her back in 1973: she had to -
despite their tendresse, she had only wheedled a small discount. His mother was
his definitive woman; she had suspected when the money rolled in that he was
running either a brothel or a chemmy game, and kept the hard cash he gave her;
one of his stories was that after her death the family found it all stashed
beneath her bed with a note: "This money is to get Doug out of prison when
they finally get him." He didn't intend to end in the nick, although he'd
have done something sharp yet casual with the uniforms if he had; but he always
anticipated that the party would be over soon.
· Douglas Frederick Cornelius Hayward, tailor, born October
5 1934; died April 26 2008
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