Screen Actors Guild Award 2001 Nominee Gary Oldman wears this all-weather overcoat throughout the highly anticipated new movie “Tinker, Tailor, Soldier, Spy.” Costume designer Jacqueline Durran worked closely with the actor to make sure that just the right shade of gray was found for his character of George Smiley, a career spy who counts on being able to blend in. The trench coat is autographed by Mr. Oldman on one of the front pockets. The winner will also receive a mounted movie poster signed by Mr. Oldman. A certificate of authenticity will be included.
Only 230 views on the auction although it was listed under movie wardrobe, I have a feeling that it was missed by many. I couldn’t be happier and the money does go to charity…so that’s awesome. Below are more insights into the costume from various sites:
Jacqueline Durran made headlines four years ago with the emerald-green evening dress she designed for Keira Knightley to wear in Atonement. It is unlikely the immaculately tailored suits worn by the agents in Tinker Tailor Soldier Spy will have the same impact, but working on the film was an unusual challenge for the Oscar-nominated costume designer; the clothes are just as vital to setting the emotional tone of the film as Knightley’s gown was in the adaptation of Ian McEwan’s novel. “You just had to pile on the detail to get any kind of message across,” she says. “With menswear it is all about detail, rather than making a splash with a big dress.”
Watching the film you are able to pick up hints about the characters from their choice of suit. Gary Oldman’s sombre George Smiley wears a dark-grey three-piece in the style of the 1950s and a plain Aquascutum raincoat from the same era, the latter inspired by a photograph of Graham Greene given to Durran by director Tomas Alfredson. Office dandy Bill Haydon (Colin Firth) sports a raffish suit made by Savile Row tailors Huntsman, ginger desert boots and bright red socks. “Le Carré gave me some notes where he pointed out that some of the men were quite eccentric dressers,” she says.
Durran looked at contemporary images of politicians and civil servants to get an idea of how men of a certain age and status dressed. Anxious to avoid the cliches of early-1970s fashion, such as loud colours and bold patterns that would have been out of place in Alfredson’s elegant, wintry film where sunlight is seldom seen, she also researched earlier decades for inspiration.
“I thought that lots of these middle-aged men had bought suits 10 or 15 years ago and stuck with them,” she says. “I would look at a character and try to work out where they had bought their suit.”
She decided that everything in the film could have been bought from shops within half a mile of Piccadilly in London: “Things from Savile Row, Jermyn Street, Fortnum & Mason, Burlington Arcade – one of those upper-middle-class shops that are never fashionable but always do a certain kind of clothing.”
- The specs: Oldman found his own glasses at a vintage store in LA—he wanted frames similar to the ones Alec Guinness wore in the original 1979 TV miniseries adaptation.
- The shirt: Traditional single-cuff (French cuffs would be ostentatious) and with a formal collar shape—none of that disco-batwing ’70s stuff.
- The tie: Only in restrained colors. This one is made from English silk, since a conservative middle-aged man would’ve supported classic British goods rather than pick a tie of trendy imported Indian silk.
- The suit: A gray three-piece in a formal style. At the time, tailors were plentiful, and off-the-rack suits weren’t the norm yet, so Durran had the suit cut and sewn by hand at British suitmaker Timothy Everest.
- The buttons: Back then, a quality suit came with buttons made from cow bones; Smiley’s are cow horn, dyed gray to match the suit.
- The scarf: Cashmere, also in muted colors and woven in Scotland.
- The trench coat: A traditional Mac material and color: beige with gray lining. To get the style right, Durran consulted the archivist at the classic British haberdasher Aquascutum, which re-created a 1970s coat for the film.