Doctor Who - Season 14 (1976)

'The Masque of Mandragora'

Costume Design by James Acheson

Pretty much all of the Renaissance-era Italian costumes in this serial were found from local theatre companies or earlier TV productions. I do feel the gold-collared robe worn by Norman Jones as the astrologer Heironymus was actually designed and made by Acheson for the production however.

Norman Jones also sports a vivid purple robe as part of nefarious role as a cult leader, with his minion Robert James wearing a black robe (as seen in the third image down); these were no doubt designed and made by Acheson for the production, as their sweeping design differs to the generic monk habits (reused from wardrobe stock) worn by the extras playing the other cultists.

(How many times has a production involving an evil Satanic cult saved on budget by just clothing the extras in generic monk habits from a costume house? Even outside Doctor Who - which did it three times, in 'The Daemons', 'The Masque of Mandragora' and 'Image of the Fendahl' - it's such a common thing!)

The cultist masks, along with the masquerade ball masks, were sculpted by John Friedlander, who had already translated many of Acheson's designs into practical real-world creations.

Costume Reuse note; Elisabeth Sladen's masquerade ball dress had been previously worn by Maggie Smith in a 1972 production of The Merchant of Venice.

(A long-running myth is that Acheson reused costumes from two film adaptations of Romeo & Juliet; Franco Zeffirelli’s 1968 version and Renato Castellani's 1954 version. Ignoring how Acheson was supposed to quickly acquire costumes from Italy, no costumes from either film appear in this serial! The source for this myth is, of course, the notoriously inaccurate (when it comes to costume design) In-Vision fanzine!)

'The Hand of Fear'

Costume Design by Barbara Lane

Most of Lane's costume design duties went to relegating the serial's rock-like aliens, but also required two futuristic robes to be worn by the spacecraft pilots during the first episode's opening. The two robes seem to be made of a quilted material, with holes cut for the arms.

'The Deadly Assassin'

Costume Design by James Acheson

For this serial, Acheson designed a rather more 'swashbuckling' look for Baker, consisting of a vest with billowing sleeves and burgundy pants; presumably the action-oriented script did not want him performing the stunts in a heavy coat.

One of Acheson's main duties for the serial was to reimagine the attire of the Time Lords, something he had already done before on 'The Three Doctors'. This would prove to be Acheson's last work on Doctor Who, and he would leave the BBC soon afterwards. In an interview with In-Vision #18, Acheson recounted;

'I think I realized I was producting the same old tired ideas. I got more and more frustrated about not being able to produc what I wantd. I did lots and lots of drawings, and time was getting shorter. Also I was in the situation where I hadn't got enough money to make the costumes.'

'So I went to the head of department and said 'Look, I'm in a predicament. I don't have enough budget, and I don't have enough time, and I'm floundering. And they said 'You're tired, you're overworked, we'll put somebody else on it' And thn I told them the dates of transmission, and they said 'Oh no, you've got to do it!' Doctor Who finally broke me! I ran away to Spain and worked as a manager in an ice circus.'

The new designer allocated to replace Acheson was Joan Ellacott, though she worked from Acheson's designs. The hard collars and caps worn as part of the costumes were made by sculptor Allister Bowtell, who had previously collaborated with Acheson on 'The Mutants' and 'The Three Doctors'.

Acheson's design for the Time Lord robes took some slight inspiration from clerical garments as worn in the Vatican, with some space age flourishes, especially when it came to the collars. Of note is also the chevron makring around the chest.

George Pravda sports brown and black robes as Castellan Spandrell. Pravda also wears a robe of brown fabric, with golden lining on the lapels and shoulders.

Costume Reuse note: Many of the Time Lord costumes in this serial would be reused in later serials set on Gallifrey. Pravda's brown and gold robe would be worn again by 'Castellans' in 'The Invasion of Time', 'Arc of Infinity' and 'The Five Doctors'.

Similar gowns were made for Erik Chitty as Co-ordinator Engin and Hugh Walters as Runcible; Chitty's robe is black as per his utilitarian role, while Walters' robe is beige and brown, with an extra chevron marking.

Costume Reuse note: Engin's black gown was worn again by extras in 'Arc of Infinity' and 'The Five Doctors', and Runcible's costume was reworn in 'Arc of Infinity'.

A gown made of a richer material was made for Bernard Horsfall as Chancellor Goth, in a fiery orange colourscheme too. A silver-lined robe and collar piece was also made for Horsfall, worn over the gown in certain scenes. And of course, the collar and skullcap which was sculpted by Bowtell - the collars were notoriously hard to walk in due to their stiff construction.

Costume Reuse note: Goth's gown and robe was reworn briefly in 'The Invasion of Time', and was then reused again in 'Arc of Infinity', worn by genre film/cult TV stalwart Michael Gough.

A similarly vibrant robe was made for Angus MacKay as Borusa, consisting of a deep pink gown and silver-lined purple patterned robe. Sadly, the gown is never seen without the robe on top in this serial!

Costume Reuse note: The Borusa robe and gown was reused on an extra in 'The Invasion of Time', and the gown on its own was worn by another extra in 'Arc of Infinity' - allowing us to see it without the robe over it!

Interestingly, one extra robe in the same cut and chevron pattern was made for a bit-part actor; it's odd that this robe was never seen again in any later serials set on Gallifrey, despite? It's quite a shame, as it would let us see the robe in full!

Many scenes required several extras as Time Lords, with the extras' robes all following a similar outline and serrated cut to the shoulders. There of course was not enough money to make more gowns similar to the principle actors', so instead simple tabard-like garments were fabricated. Several collars were also made for the extras as well.

Costume Reuse note: The various extra robes and collars were reused in later serials set on Gallifrey, in particular 'The Invasion of Time', 'Arc of Infinity' and 'Trial of a Timelord'.

Two unique robes were made for Llewellyn Rees and Maurice Quick as the Time Lord President and Gold Usher, respectively; Rees' robe is of a pale cream pattern, while the Usher's is two-tone gold.

Acheson also designed the uniforms of the Chancellery Guard, which consist of a tunic and trousers made of a brick-red wool-mix fabric, with white and black stripes over the front. The uniform is completed with a sculpted helmet (courtesy of Allister Bowtell) and a cape with white tubing. The guard's captain is distinguished with a slightly different helmet, and an armor chestplate also sculpted by Bowtell.

Costume Reuse note: The Chancellery Guard uniforms were reused in every ensuing serial set on Gallifrey. In 'The Invasion of Time', a new chestplate was made for Chris Tranchell as the guard captain Andred, with a yellow lanyard worn with the tunic. In 'Arc of Infinity' the boots were painted silver, and the uniforms were reused again in 'The Five Doctors' and 'Trial of a Timelord'.

Acheson also designed the costume for Peter Pratt to wear as the undead Master, fabricating an especially disgusting looking tattered cloak worn over a black robe.

Costume Reuse note: This costume was reworn by Geoffrey Beevers as the undead Master in 'The Keeper of Traken' a few years later.

Costume Reuse note #2: In one very brief scene, the Doctor is menaced by a samurai. I find it highly unlikely that a full set of samurai armor - and one so detailed! - was made for the production, only to be used in such a brief scene. So the question is, where did that samurai suit come from?

'The Face of Evil'

Costume Design by Ann & John Bloomfield

The serial's plot revolved around two tribes descended from a crashed spaceship crew. Ann & John Bloomfield, who had previously been costume designers on the BBC's The Six Wives of Henry VIII miniseries, came up with a typical 'tribal' look for the Sevateem clan, with their costumes cobbled up from salvaged junk.

This would prove to be a testing ground for the Bloomfields, as they would go on to design for many films centering on pre-industrial tribal cultures (Rapa Nui, The Mummy), fantasy barbarians (Conan the Barbarian, Conan the Destroyer and The Scorpion King) and post-apocalyptic societies (Waterworld, The Postman).

One of the main tasks was to design a costume for Louise Jameson as the warrior woman Leela; the Bloomfields designed a stitched leather corset, with black leather panelling to form a rudimentary loincloth. The look is finished with a pair of cloth boots, that also appear to have been taken apart and stitched together.

The Sevateem tribesmen wear similar 'caveman' outfits cobbled up with strips of leather and junk, forming primitive versions of riding chaps; the tribal chief Andor (Victor Lucas) is distinguished with a cape made of a patterned material, presumably intended to be what's left of a tarpaulin.

The tribal shaman, Neeva (David Garfield) is distinguished by his two costumes being remains of a spacesuit; the first costume is made of wiring and tubing with a helmet made out from a spacesuit glove, while the second outfit consists of a cape made out of a tatterd spacesuit - sleeves still visible - and a helmet on the back.

The 'Tesh' meanwhile are what's left of the spaceship's technical crew, and so still sport their futuristic garb consisting of pink-lined tunics and rounded caps; the Tesh priest Jabel (Leon Eagles) has a slightly different uniform to his underlings, with his tunic having a darker-coloured fabric and little stones on the cap.

One Tesh guard wears a spacesuit. While the helmet is clearly one of the helmets reused from Pathfinders to Mars, the rest of the costume was no doubt made for the production, being made of the same fabric as the other Tesh costumes.

'The Robots of Death'

Costume Design by Elizabeth Waller

An Agatha Christie pastiche set on a futuristic mining vessel, this serial's general design sense of this serial was meant to evoke Art Deco, something which Elizabeth Waller - who had previously been costume designer on the BBC's Elizabeth R miniseries - ran with for the costumes. Each cast member playing the mining crew would have their own unique costume; the serial's writer Chris Boucher explained why to In-Vision #20:

'The costumes did not denote rank ~ the crew were civilians — but rather personal choice. They were a long, tedious time in the desert on a tour of duty, and it was also a reaction against the uniformity of the robots.'

Several of the men's costumes follow a similar design consisting of a billowy sleeved vest and pantaloons, made of a shiny fabric, with a tabard-like garment worn over the chest; Russell Hunter, as the mine operation's leader Uvanov, also wears an ornate headpiece as part of his outfit, coated in gold material.

David Bailie sports a similar costume as the engineer Dask, with his underclothes coming in a grey-striped pattern instead; perhap the grey colour signifying his relationship with technology?

Tariq Yunus and David Collings both sport similar costumes as Cass and Poul respectively, with Colling's being beige while Yunus' is is deep purple; both of them have tabard-like collars of the same design, with a little zig-zag panel on the collar underneath.

The other male crewmembers deviate in their style; Brian Croucher wears a soft velvet tunic of a lilac colour with silver collars and red baggy trousers, while Rob Edwards as Chub sports a dark grey silvery vest with tubing around the collar and cuffs.

Pamela Salem sports two outfits as Toos, with her main one being a dark gold dress with a cape of glittery material; it is worn with a belt fitted with gems, which also adorn the collar as well. The look is completed with an ornate headpiece.

Salem later sports a nightgown, more reserved in design but with strips around the collar fitted with beads.

Tania Rogers stars as Zilda, and sports a dress similar in design to Salem's first one; the dress is of a blue colour, with a semi-translucent skirt and a shiny collar and cap evoking sealife.

Costume Reuse note: The Zilda costume's belt, collar and cap was worn by an extra in the opening sequence of 'Destiny of the Daleks' a few years later.

Dask also happens to be Taren Capel, the serial's villain; his identity is kept secret for most of the serial, with his appearance disguised by wearing a robe made of a pleated fabric, fixed with a hooded mask made of a shiny material, resembling an executioner's hood.

The bulk of the costume department's duties went to realizing the 'Voc' robots, with help from the BBC's visual effects department who sculpted the masks. The Voc robot costumes consisted of a jacket with a futuristic tabard worn over it - the Bonhams auction photograph shows how the jacket did not have the quilted shiny material where the tabard would hide it!

Three versions of the robot costumes were made; a silver 'Super Voc' costume, five green 'Voc' costumes, and two black 'Dum' costumes. One extra tabard was made for David Bailie as Taren Capel.

'The Talons of Weng-Chiang'

Costume Design by Ann & John Bloomfield

This serial was a pastiche of Sax Rohmer's Fu Manchu novels, with all the racist baggage and 'yellowface' makeup that entails, but we'll get to that in a bit. The serial's budget was enough that at least three period costumes were constructed for Louise Jameson, as well as a full period costume for Tom Baker's Doctor.

Baker's costume was a pastiche of Basil Rathbone's Sherlock Holmes, consisting of a deerstalker cap, tweed Inverness cape, and velvet smocking jacket and waistcoat. All of the costume's components were designed and constructed for Baker, presumably at - like the Magnus Greel costume - Bermans & Nathans.

Bloomfield designed multiple costumes for Louise Jameson to wear as Leela - a sign of the serial's fairly lavish budget, as usually companion's got one costume at most! Leela's first costume is a knickers suit with large sleeves, made of a mottled green fabric with red lining across the back and sleeves.

Leela's second main costume is a green chevron-patterned dress, with red and black lining on the cuffs and collar, as well as wide sleeves. A red waistband, with a cut also evoking the chevron pattern of the main dress, completes the look.

When going outdoors, it is worn with a billow-sleeved cape with feathers around the collar. The videotape quality obscures the floral pattern on the cape!

I don't know if the Victorian menswear sported by Christopher Benjamin and Trevor Baxter as Jago and Litefoot, or John Bennett as Li H'sen Chang, were made by Bloomfield or rented from wardrobe stock.

However, this gown sported by Baxter shows all the hallmarks of a Bloomfield design with the cut, patterns and fabrics used. Given it's worn in such a small scene, perhaps the rest of the principal cast's Victorian garb was also designed and made for the production?

Bloomfield designed a beautiful red and gold patterned 'Ru'-style robe for John Bennett as Li H'sen Chang; the robe has golden trim across the collar, with silver trim on the lapel and cuffs, and finished with a 'nuanmao'-style hat in the same mottled gold and red fabric. Shame that it's worn with racist yellowface makeup.

Production photo showing the detail of the robe more clearly.

Deep Roy starred as the killer doll Mr Sin, whose costume was also designed and fabricated by Bloomfield - and the design is finished with a, yet again, racist makeup. There was at least two Mr Sin costumes made (a 'hero' and a stunt double) both made of a blue and red patterned fabric with pointed shoulders and silver trim.

(The Bloomfields would once again provide sumptiously designed costumes for another racist production; this time Peter Sellers' trainwreck of a swansong, The Fiendish Plot of Dr Fur Manchu a few years later. The Bloomfields skill with historical Asian garb would also get them work on 1986's Tai-Pan as well.)

Bloomfield designed another ornate historical Chinese costume for Michael Spice to wear as the serial's main villain, Magnus Greel. Greel's hanfu robe has golden embroidery around the collar and sides, and is worn with a gold robe. The robe is tailored in wool, with satin detailing stitched over it. According to the DoctorWhoProps website's photo of the robe, it was constructed at the world-famous Bermans & Nathans costumiers.

Also part of the costume is a mask made up of stitched leather strips, evoking the popular imagery of historical executioners and torturers, as well as evoking The Phantom of the Opera - perhaps that's why a wide-brimmed hat and wide-collared green-lined cape is also worn by Spice in the earlier episodes!

Costume Reuse note: The robe was later reused, and reworn by Christopher Green - one of Britain's tallest men - in David Lynch's The Elephant Man. It was then reused in another production - possibly Richard Carpenter's Robin of Sherwood - upon which it had its sleeves removed.