Admittedly, I had some preconceptions about Matthew Goode. Other journalists described him as possessing “something rather naughty beneath his suave exterior” and being “completely, almost ludicrously, charming” – not a bad rap from people who, as Goode insinuates, are often out to find faults. In his words: “You set yourself up for people to criticise you, but you just drink through it darling.” Fair enough. 

For a Devon boy – born to a nurse and geologist and having grown up outside Exeter – Goode has an impressively posh accent that could in no way be traced back to his south west roots, or perfected during his tenure at Birmingham university. His RP lilt, however, (which no doubt helped him fit into his current home in the Surrey Hills) has almost become his trademark. Goode is famous for playing an array of articulate Brits on screen, in films such as A Single Man with Colin Firth and The Imitation Game with Benedict Cumberbatch (just Ben to Goode, though) as well as in ITV’s Downton Abbey as the man who memorably taught Lady Mary to love again, and The Crown, where he was cast as Antony Armstrong-Jones, 1st Earl of Snowdon and husband of Princess Margaret. 

But despite his CV, the father of three displays a humble side that is, quite clearly, tinged with imposter syndrome. Throughout our interview (Goode dials in while stirring a homemade spag bol in the Edinburgh flat he’s currently filming from), he talks of the great actors he’s worked with – Julianne Moore, Emma Thompson, Matthew Rhys, Nicole Kidman – but hints he should never have been cast alongside them. “I don’t know if I’ve had a job yet [that I would describe as a turning point] but you’re lucky to work, right? I think about people who I was at drama school with who never got the opportunity and were so talented, and it’s so sad,” he tells me. “Every job you have makes you stronger and bolder. It’s a weird beast and I love it to death – we’re always criticised and always afraid.”

It’s a ‘beast’ that affords him opportunities though – such as becoming the face of Savile Row tailor Hackett’s SS24 campaign, shot in Seville alongside F1 star Jenson Button. “I worked with Hackett years ago and I had such a lovely experience with them and I love Jeremy [Hackett]. People think it’s quite a glamorous job but I’m quite shy really; I potter about with our kids at home and lead quite a quiet life, and then suddenly you’re in Seville having photographs taken with Jenson Button. You will not meet a nicer man; I think the word superb sums him up nicely. 

“My wife [Sophie Dymoke] is a very good judge of character and has been in rooms with very famous people, and most of the time she will come back to me and say ‘shall we go to the bar, they’re a bit of an ass’. But Jenson is fantastic fun, has great stories and we both love the clothes – [plus] we get to call it work in inverted commas.” 

It’s quite the trajectory for a man who happily tells me his first suit came from Oxfam – and makes his appreciation for top-notch craft that bit more sincere. “I’m a small town boy but I’d heard of Savile Row before I got my first suit. These people have been studying for years, they are the best in the business. I feel about tailors the same way I do about directors and photography – I don’t know how it works. It’s a work of art and such a level of skill, and they work so quietly and officially. I know there are brilliant tailors all around the world but I’m telling you, the way they do it in London is the best.”

It helps, of course, that many of his notable roles have required the donning of impeccably tailored suits. “I think The Crown fitting was one of the quickest I’ve ever done. They said they'd love me to wear this and I tried it on and it was perfect I was in and out really quickly. They have such great integrity on that show.” Goode’s appearance in season two opposite Vanessa Kirby’s Princess Margaret resulted in an Emmy nomination. Not that he was that bothered: “I don’t believe in award shows, don’t like them, never have.” 

"Any kind of tailoring in an era that you’re not used to is always fun and it transforms you – and that’s what its purpose is."

Matthew Goode

His thoughts on The Crown now? “It was always going to get complicated when it got more modern. Effectively it’s like a history show, especially in the early days, and then the closer it gets to Diana, it was always going to get a bit hairy.” But working with Kirby was evidently a highlight. “My goodness, it was shangri la to work with someone like Vanessa. I read an interview where she said ‘Matthew and I spent most of our time laughing’ and I totally agree. It wasn’t work; if we could just about squeeze a scene in without laughing on the floor it was a success. She’s world class.”

Kirby is one of many homegrown actors that Goode adores, but it’s not so much the individuals as it is the whole UK film industry. “I’m painfully on the side of British actors; I do think we are pretty good. We should be very proud of our industry and I find it very odd that it’s not funded as it should be. It will be in someone’s political speech: ‘Kate Winslet won an Oscar and that’s good because we’re funding the arts’ – but no, you’re not. One of the reasons the streets are dangerous is because you cut 50,000 police officers and you're doing something similar to the arts, so shut up.

“I feel for these young actors because due to the pandemic, people are auditioning in their kitchens. Auditions are scary and they always will be; you’re showing someone your work and it’s a fragile place to be because most of the time it’s a no. But the audition is a brilliant thing because you’ve got to perform, and when you get it, it builds a suit of armour. I’m working with people who are coming onto set because they’ve done something in their kitchen really well and they’re fired because they haven’t been in the room with producers and directors. They should bring proper auditioning back, because it’s not necessarily the best thing someone can do from home.”

Back in the costume department, Goode does admit that he can be a bit of a “nightmare” – but perhaps not in the sense you’d automatically assume. “I don’t ever really want to stand out so I’m a nightmare for a costume director because I just want to wear black. I'd want it to be the work [standing out] rather than what I’m wearing.” Still, he’s aware of the importance the costumes bring to a production – especially period pieces. “Any kind of tailoring in an era that you’re not used to is always fun and it transforms you – and that’s what its purpose is.” 

No matter his experience and no matter the costume, Goode would always prefer to act with a prop: “A cigarette and a drink are the best props in the world. It takes your focus off your performance because you have something to do. You’re never more naked than when you’re centre stage with your arms by your side. Jesus Christ, do I want to work with Andrew Scott – he can stand centre stage with his arms by his side and hypnotise you. He also happens to be a wonderful human being and I’m just so pleased he’s flying now.”

So, when he’s not being styled by someone else, what does he like to wear? “I just chuck on whatever is closest to the bed,” he laughs. “When I’m not working, I’m dog walking twice a day and my wife thinks I couldn’t look any more like Ricky Gervais. What am I meant to wear on a dog walk – a suit?” I guess not. 

Now, however, it seems Goode’s days off are few and far between as he works on his undisclosed next project – “It’s work until June and then I’m going to go to a beach with my wife and get absolutely wrecked” – but when he is back home in Surrey, what’s his ideal off-duty day? “[It would be] the family together, but really and truly, it would be to drop the kids off at school, and Soph and I go for a dog walk before going out day drinking and laughing.” 

Matthew Goode is the face of the Hackett SS24 campaign. Visit hackett.com.

Read more: The SS24 trend report