I wouldn’t be the editor of Primer if I didn’t try to find it. Fitting, since Fall Getup Week was built on British countryside layers, waxed canvas, and sturdy boots.
Thanks to Thursday Boot Co. for supporting Primer’s mission and partnering on this piece.
The road out of Glencoe doesn’t ask for much. You slow down, watch the clouds drag across the peaks, maybe pull over just to stand in it for a minute. The crew that filmed Skyfall did the same thing: same landscape, same road, better car. We were there chasing light, not Bond, but the place made sense for what we were shooting. Fall Getup Week was built on that same idea: clothes that hold up when the air turns, layers with structure, fabrics that look better when they’ve gotten to work against weather.
There’s a particular honesty in waxed canvas and heavy knits when the wind gets moving. Something about the resistance they offer. The outfit leans into that instinct, all countryside layers and clean edges, modern cuts with a practical attitude. A structured silhouette, room through the leg… it could have walked off a moor 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 had the same thought. For Skyfall’s last act, she took Bond out of the city, out of the armor, and put him in things meant for weather: waxed cotton, cable knits, boots with soles that don’t require rerouting around puddles. Her description was “a gentleman in the country.”
And it fit. Not just him, but the franchise. Bond clothes have always served the setting. That was the trick: put him where he doesn’t usually go, but dress him so it makes sense.
One of the most memorable scenes in the whole Bond franchise didn’t involve a fight or a gadget. No stunts, no explosions, barely any dialogue. Just Bond and M standing beside the DB5 under a fog-choked sky:
