Monday, 29 May 2017

Roger Moore and his tailor

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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