Chasing the iconic skyfall across Scotland in classic casual style Introduction

I wouldn’t be the editor of Primer if I didn’t try to find it. Fitting, as Autumn Dress Week was all about layers of British country clothing, waxed canvas and sturdy boots.

Thank you to Thursday Boot Co. for supporting Primer’s mission and collaborating on this article.

The road out of Glencoe doesn’t ask for much. You slow down, watch the clouds creep over the peaks, maybe stop just to stay there for a minute. The crew that filmed Skyfall did the same thing: same landscape, same road, better car. We were there chasing the light, not Bond, but the location made sense for what we were filming. Fall Getup Week was built on the same idea: clothing that holds up when the air changes, layers with structure, fabrics that look better when put to work against the weather.

There is a particular honesty to waxed canvas and thick fabrics when the wind moves. Something about the resistance they offer. The outfit relies on that instinct, all country layers and clean edges, modern cuts with a practical attitude. A structured silhouette, leg room… it could have come from a wasteland or a coffee shop in Chicago.

If you’ve ever watched Skyfall and thought: Bond looks better without the suit, you’re not alone.

Costume designer Jany Temime thought the same. For the last act of Skyfall, he took Bond out of the city, stripped him of his armor, and put him in things designed for the weather: waxed cotton, cable knits, boots with soles that require no detour around puddles. His description was “a country gentleman.”

And it fits. Not just him, but the franchise. Bond clothing has always been at the service of the stage. That was the trick: put it where it doesn’t usually go, but dress it in a way that makes sense.

One of the most memorable scenes in the entire Bond franchise didn’t involve a fight or a device. No stunts, no explosions, hardly any dialogue. Just Bond and M standing next to the DB5 under a foggy sky: