Death of a Fraudster

It was only two days ago that I found out that costume designer, and nemesis to classic film fans and costume design enthusiasts everywhere, Jean-Pierre Dorleac, died last month. He was 83 years old, and had no funeral or memorial service. His @spclsmthin Twitter account was deleted days before his death was made public.

I will be upfront; Dorleac was one reason I stopped updating this blog as much as I did in the past, alongside other reasons such as the burnout, embarrassment at how badly written the old articles were, and general frustration at how poorly documented costume design is in older productions.

When I first encountered Dorleac (that surname will be phased out as this post goes on...),it was during 2020, when my silly little blog was run by a much younger and much more immature self. I had followed him on Twitter, and at once Dorleac messaged me if 'Do you want to do an interview?'

That was the first warning sign. The second was, when I asked him to confirm how much he designed for sequel series Galactica 1980, he barked at me to remove costume designer Al Lehman's name from my article, and used the chance to insult both Lehman and the cast and crew of the 2003 Battlestar Galactica revival.

Anyone who is already familiar with the late Dorleac's online presence knows what an absolute mess it was. The man had boundless energy to get into online arguments, hiss and complain at anything he saw, or just be snappy and confrontational even when asked polite questions. And he was not getting younger.

His Twitter following could be likened to some kind of cult, with hordes of hapless followers taking his word for gospel. And for a while, I was one of them, because Dorleac felt he could use me to spread his lies.

When I set up my costume blog, I was a lot more opinionated and didn't like the 'look' of most modern genre productions. At the age of 31 now, I don't particularly care anymore. But when Dorleac claimed it was because the entire industry was full of hacks who couldn't draw or design, my younger, more catty self latched onto it. 

The idea that it was all the work of a corrupt, incompetent industry was scandalous, and even better provided a moral excuse to trash the work of the people behind it. And the guy saying this was a veteran costume designer who did cult classics like Battlestar Galactica! He surely knew what he was talking about!

But even at the time, there was cracks showing. I have always been interested in history, and have always been allergic to bullshit. And the longer I was near him, the more I felt his stories didn't add up.

Perhaps the biggest was, of course, Battlestar Galactica.  To me, and everyone else who would listen (or be stupid enough to buy his toilet paper substitute of an autobiography), Dorleac denied that Ralph McQuarrie designed the program, and even worse totally unpersoned Andrew Probert's role, despite that Probert came up with the final Cylon design. Dorleac hissed to me that Probert was 'one of the stuntmen who wore one of the Cylon suits'. This was a lie. Probert never worked in stunts in his entire life.

When I brought up the old Galactica.TV fansite had an article interviewing Haleen Holt, who worked with Dorleac, confirmed it was Probert's, he hissed 'Don't listen to Marcel Damen, he is a total asshole creep'. 

Marcel Damen's proof that 'Dorleac' copied Andrew Probert's drawing and Ralph Massey's maquette.

Why the hostility? Perhaps it was because of Marcel Damen's expose on the Colonial Warrior uniform, exposing that Dorleac had copied the design from a panel of Philippe Druillet's Lone Sloane,  also preserved on the Wayback Machine, though it did not save the images sadly.

I discovered this when I already had tired of Dorleac's abrasive behaviour but this was what made me realise he was full of shit. He always came out with a story that he 'sold the design to a comic book', never naming the 'comic book'. Because yeah, Philippe Druillet hardly needed help designing a jacket and trousers.

I regularly discussed with a friend at the time how many of his other career stories were full of holes. His supposed work on Barbarella and Bird with the Crystal Plumage, supposedly being shortlisted to work on Nic Roeg's cancelled Flash Gordon, his stories of meeting other costume designers in 'costume workrooms' and 'Oscar dinner parties', the way the dates regularly conflicted or were vague.

I was so frustrated and depressed about realising I had been taken for a ride, that I deleted the lengthy interview I had done with Dorleac on this blog, and quietly removed his name from that tag list of 'notable costume designers'. I don't believe in platforming bullshitters.

In a way, I got lucky, maybe because I got closer to him than most of the fan bloggers who fell afoul of his bad temper. I regularly talked with him on direct messages in Twitter, foolishly asking him the ins and outs of costuming, other designers and just was barraged with vague answers, half-truths and lies. I fell for, and unfortunately repeated, his lies about various costume designers, and I guess he liked that. 

This is a guy who, aside from his fierce hatred of Marcel Damen, also regularly harassed fan blogs such as Filmsketchr or Frockflicks, outright sending them angry emails to 'correct' them and swipe credits or to berate them with his (outdated) 'knowledge', and regularly snipe or insult them in public or in private.

Perhaps, because I had got so close, and been privy to so many of his lies and insults about other designers, directors, bloggers, etc, he was wary of crossing me? Or maybe he didn't care, because my stupid interview with him had, as he proudly told me, gotten a rise of purchases of his crappy autobiography. 

In the years since I quietly cut ties, I had more or less forgotten about him outside of being a personal cautionary tale of letting ex-industry guys get parasocial - something I remembered when I pivoted to another blogging project about a different flavour of movie magic.

And then, on a whim, I searched his name and found out he had died. And then, I found a Substack blog article written by film critic Farran Smith Nehme, 'The Man Who Would Be Dorleac'.

To call this article eye-opening would be an understatement; I have to truly commend Nehme for putting in the effort to document the truth of Jean-Pierre Dorleac, or as I shall refer to him from now on, Jerry Paine. 

Nehme's article was not just damning for exposing the true origins of Jerry Paine (confirming my suspicions that his early career credits were fake) but also for proving Paine was a pathological liar right from the start.  

  

Even here, for this interior design gig in 1969, Jerry Paine is lying. He had attended none of these universities that he claims to have degrees from (over the years, the story would change so that he had degrees from Oxford University and Les Beaux Arts), nor did he ever live in Portugal.

The man's entire life and persona was fake. While I knew he was lying about his career, I did not expect it to be that much of a web of lies. A military brat roleplaying as a delicate Old Hollywood gay queen.  

(According to Nehme when we discussed this in private messages, Jerry Paine claimed he had affairs with actresses? Yet in private to me - and thirsty posts he made on Twitter when I first saw him around - he said he was gay? I could see Jerry Paine being a very messy bisexual man, quite honestly.)

In the newspaper clippings Nehme uncovered, one of the earliest mentions Jerry Paine makes of Edith Head is that 'we met on set and had lunch a few times'. Even this relatively minor interaction, I call bullshit on, as Paine in the same interview claims Edith Head praised him on a television show she never appeared on. 

Just like his first interaction with me - where he said Al Lehman was miscredited on Galactica 1980 'thanks to a union fuckup' - he starts with a small lie, to get to a bigger lie. The bigger lie, in that same first conversation, was that the reboot Battlestar Galactica's costume designer only got the gig cos she was married to Ronald D. Moore and that they phoned him to 'copy' the Cylon design 'he created'. Sure.

Jerry Paine was such a monumental liar, a fabricator of tall tales and slanderous libel, that I am going to flat out debunk his list of fake credits on here, that he has spread to so, so many hapless interviewers.

Jerry Paine never was mentored by, praised by, or ever interacted with Edith Head. 

Jerry Paine never attended any universities.   

Jerry Paine never was related to Catherine Deneuve or Francoise Dorleac.

Jerry Paine never worked on Barbarella.

Jerry Paine never was a couture designer in any country.

Jerry Paine never contributed to The Bird with the Crystal Plumage.

Jerry Paine never worked on the Royal Shakespeare Company's production of Marat/Sade.

Jerry Paine never worked on any Broadway production. 

Jerry Paine never 'submitted designs' to any comic books.

Jerry Paine never designed the Cylons in Battlestar Galactica.

Jerry Paine never 'invented' spandex pants. 

Jerry Paine never was assigned to Nicholas Roeg's aborted Flash Gordon.*

Jerry Paine never was assigned to Blade Runner.

Jerry Paine never worked with Michael Jackson.** 

Jerry Paine never was asked to (and thus 'turned down') work on any Star Trek series.

Jerry Paine never was asked to work on other scifi shows like Space: Above & Beyond 

Jerry Paine never was assigned to a cancelled adaptation of Interview with the Vampire. 

Jerry Paine never attended any 'Oscar dinner parties'.

Jerry Paine never 'shared the same workrooms' of other American costume designers.

Jerry Paine never met Anthony Powell, James Acheson, Jenny Beavan, Joanna Johnston or any other British costume designers.

Jerry Paine never went to court against George Lucas in his lawsuit against Battlestar Galactica 

Jerry Paine never was friends with or knew Alfred Hitchcock, and so on.

*(There are supposed Flash Gordon costume drawings by Jerry Paine that were auctioned off a few years ago, but these are absolutely a forgery in my opinion. Disgraced industry menace Sandy Collora keeps making fake drawings to prove he designed the aliens for The Abyss and Predator 2!)

**(Paine was dragged by Jackson's fans for claiming he didnt work with him for noticing he was a creep. While Paine was clearly just saying this for clout, Jackson was certainly a pedophile. Sorry Wacko Jacko cultists.) 

And that's not even considering that he finally succeeded in getting a bigger platform to spread his slander about actors and actresses, going to none other than notorious rightwing rag The Daily Mail, spreading his lies that Patrick Macnee sexually harassed him (Macnee wasn't even gay or bi). 

The man single handedly polluted film history, banking on the fact that costume design is not as slavishly documented as special effects, and using his age as a shield for when the dates don't add up. 

The nearest to a truthful account (though it repeats his lies about his ancestry) is his IMDB page, and it ain't a pretty sight. Paine has a good start on Battlestar Galactica, Buck Rogers in the 25th Century, and (his most respectable credit) Somewhere in Time, and then spends the 1980s and 1990s working on utter dreck.

Tales of the Golden Monkey. A mediocre TV version of Valley of the Dolls. Jake and the Fatman. Bland, cheap soap operas like Emerald Point NAS. The Greatest American Hero. The Road Raiders. The Highwayman.  A 90s Leave it To Beaver TV movie. Airwolf. Automan. Knight Rider. Manimal. Tequila & Bonetti?!

Freaked is better than anything in Jerry Paine's resume.

It's no wonder Jerry Paine had such a strange relationship to Quantum Leap, in particular Dean Stockwell's costumes. A constant reminder that it was the one thing that very briefly saved his dead in the water costuming career, before it then died for good a decade later. He was simply not a successful costume designer.

It actually makes Paine's regular hissy fits about the state of filmmaking, fashion, and especially costume design, all the more revealing. Paine regularly claimed that every other living costume designer around was, by and large, a 'hack', or a 'slut', or 'a producer's wife', or 'a jumped-up Home Economics teacher'. 

Yet throughout his career Paine was guilty of all the sins he lambasted other costume designers for; an amateur with no proper training who lied to get into the biz, was incapable of accurate historical costuming, stole other artist's designs, treated costume design like a fashion show and relied heavily on bought clothing.

Paine boasted about his work for Quantum Leap's 'historical' costuming, but that show is not a good showcase for period costume design at all. The show's then-recent settings meant that the costumes were by and large bought clothing (with a few wardrobe hires), yet Paine cooed that he 'made hundreds' of costumes.

Paine's few forays in historical costuming, past Somewhere in Time, aren't much to write home about. The few costumes he made for The Bastard and The Rebels are quite poor quality, as are the dresses he made for the insipid 1982 biopic Mae West. He seemingly had no access to more high-quality tailors, cutters or even fabrics for these productions, and rarely utilised the services of costume houses like Western Costume Company.

I wonder why he rarely went to costumiers or freelance tailors to make his costumes. Did he not want to be shown up by seasoned professionals? Was he wary that his phoney credentials would be easily rumbled by seasoned costumers? Was he that much of a control freak? Was it all of the above? 

Paine's costumes for Buck Rogers in the 25th Century were indeed made at Western Costume. Considering his prickly character, no doubt he immediately was made persona non grata at Western Costume. This IS a guy who publicly boasted that he once put horse hair into an actresses costume to 'punish her for being a horrid virago'. What person would think such a story is endearing in any way? What even was this man?

Paine's military background - both his father's service, and Paine's own stint in the Air Force - does explain what a bizarrely contradictory person he was. In some ways, Paine was an older generation's equivalent to the 'softboy' archetype - an abusive man who pretends he is more sensitive and cultured than he actually is. 

Underneath Paine's cultivated veneer of Old Hollywood prissiness was a boorish troglodyte who hated women, was cagey on his own gayness and so smeared other gay men as sex creeps, was cruel about people's bodies, and had no real appreciation for art or cinema outside of his shallow love for glitz and glamour.

It could explain why Paine detested almost anything associated with, what you would call in his day, 'monster kids'. He despised science-fiction, fantasy and horror, and similarly hated comic books and animation. Is that why he resented the Emmy for Battlestar Galactica, as he had to work with, in his mind, dorks and geeks?

We may never know, really. I am not a psychiatrist, but Paine's behaviour reeks of narcissism, and with how much of a liar and bully he was, a touch of sociopathy. Plenty of benign people have bitter feelings from their industry experience, but they don't try to set up cults of personality on Twitter to harass everyone they see.

Paine is not the only industry has-been who weaponised an online following with a 'telling it like it is' cult leader routine about The Good Old Days before the hacks and pinkos ruined everything. The infamous John Kricfalusi did the same for animation circles, as did hacky fanboy 'director' Sandy Collora for creature effects circles.

While both Kricfalusi and Collora were exposed when alive - after harming people for real, unfortunately - it wasn't until his death that the truth would come out about Paine. And, for what it's worth, Paine's crap stayed in the realm of namecalling and slander, not sexual predation or physical endangerment. 

(John Kricfalusi's foul reputation is common knowledge to any animation fan, while Sandy Collora's nonsense was chronicled in an expose archived here. Jerry Paine's behaviour was a combination of Kricfalusi's guru spiel and Collora's fabricated career. His railing against the Costume Designers Guild echoes Kricfalusi's hatred of Cal Arts, while his obsession with Edith Head mirrors Collora's weirdness towards Stan Winston).

At least now Jerry Paine can no longer desecrate the legacies of other designers and actresses. Outside of a few interviews (I wonder how many will be taken down...?), Daily Mail columns and any remaining copies of The Naked Truth (no doubt soon to all end up in landfills), his lies are lost to time and can do no more harm. 

All copies heading to a paper shredder, dustbin or bonfire near you!

There is one little coda I have to add; this article's name. It is a joke on Philippe Mora's film depicting the case of 'the Brownout Strangler' aka serial killer Eddie Leonski, played in the film by Reb Brown. 

Leonski was in the US Army, a crybaby and attention-seeker who caused chaos in bars, and killed women because he 'wanted their lovely voices'. The ex-military background, public troublemaking, vicious misogyny and self-contradictions of Paine instantly reminded me of Mora's semi-fictionalised Leonski.

It may be in poor taste to compare Jerry Paine to a serial killer but this is a guy who said worse when actors or rival costume designers died. When Allen Garfield passed away, the first thing Paine said was infantile insults about how Garfield 'was so fat he defecated and farted everywhere and broke every sofa he sat on'.

When Val Kilmer died, he was jeering in delight and claiming it was a good thing he was dead. When Joel Schumacher passed, at once he tried to spin the late director as a pedophile, 'whose films were just his elaborate schemes to be near young boys'. And years after his nemesis Al Lehman had died, he would say 'He was the worst costume designer who ever lived. His work was a joke, his ideas were a joke, his designing process was a joke. Thank god he is not around to give costume designers a bad name'.

Jerry Paine's relationship with Al Lehman. Or any other costume designer, honestly.

So, don't get up in arms about me making a comparison to a serial killer, especially given Paine's history of chronic lying and aggressive behavior is in line with that personality type. And after all, Paine ardently defended child molester Stephen Collins. Yet again, with viciously misogynistic language.

But there is a costuming note I do want to end this on. The costume design of Death of a Soldier was done by Alexandra Tynan, who for a while went by the screen name of Sandra Reid.

Tynan, like Paine, also worked on a cult science-fiction series with robotic villains; Doctor Who. She was responsible for designing the Cybermen in their first two appearances. 

Unlike Jerry Paine, Tynan actually did design the Cybermen on paper herself, and again unlike Jerry Paine, she never swiped credits, giving all credit to the Cybermen 'hard parts' to freelance propmaker Jack Lovell. And unlike Paine's jealousy at the rebooted Battlestar Galactica 'copying my designs', Tynan was impressed with Millennium FX's updated versions of her Cybermen costumes for their showdown with Peter Capaldi.

There's more Alexandra Tynans out there then there are Jerry Paines, and that's a fact to take comfort in.

- With direct thanks to Farran Smith Nehme aka @selfstyledsiren, and indirect thanks to Marcel Damen of (sadly offline) Galactica.TV, both of whom exposed the naked truth of Jerry Paine aka Jean-Pierre Dorleac.

Battlestar Galactica (1978) & Galactica 1980 (1980)

Costume Design by Jerome Paine with costume illustrator Haleen Holt

Almost all non-screenshot images on this page are originally from the By Your Command Battlestar Galactica fansite's gallery page on Galactica 1980, as well as their gallery page on the original Battlestar Galactica, hopefully they will not mind.

Battlestar Galactica was a project that Glen A. Larson didn't manage to get off the ground until the success of Star Wars, which proved to be a major influenced on Larson's series. Admittedly, Larson was always someone who liked to ride a trend, but the basic premise had been originally written in the 1960s.

The Cylons aren't included in this entry due to being the realm of 'creature effects'. Specialty prop makers were hired to realize them, and the Cylons were based on sketches by production artist Andrew Probert. Dorleac claims that only he designed the Cylons but this is disproven by the (as of now, offline) Galactica.TV interview with his costume assistant/illustrator Haleen Holt, who helped design the various costumes.

Being a military science-fiction tale, naturally uniforms were required for the 'Colonial Warriors' protecting the Twelve Colonies. The standard uniform of the Colonial's military is a beige tunic and pants, with checkered black and gold lining around a circular collar piece. The jacket was heavily influenced by a design by legendary comics artist Philippe Druillet for Lone Sloane, a comic series published in Metal Hurlant.

Being a space opera produced in the wake of Star Wars, there are of course various space dogfights. For cockpit scenes, a helmet with an Ancient Egypt-influenced design was fabricated by the the prop makers.

In some episodes the various pilots partake in celebrations, and for these they wear a gold-lined (the same sort of lining as around the collars of the tunic) brown cape over their tunics, as well as dangling golden plates on the front of the collar piece.

The Colonial Warriors' officers are in uniforms of identical cut to the standard uniforms, except that they are made of a dark blue fabric instead of beige, with silver checkered lining instead of gold.

The uniforms are pretty much identical otherwise, with the exception of Commander Adama (Lorne Greene), who at various points wears a silver-lined blue robe over his tunic, and for special occassions wears a blue cape over that in turn.

The Colonial Warrior's medics wear smocks of a similar cut to the main uniforms, with the same strip of material around the collars; the women of course have their smocks go down to the ankles.

'Saga of a Star World'

This was the pilot movie that started off the series, with the Cylons attacking the Twelve Colonies and causing the surviving humans to flee in the ragtag fleet led by the 'Galactica'. The fleet ends up encountering the planet Carillon, which is home to a casino (itself actually a front for the Ovions, an insect-like species allied with the Cylons), the various patrons of which are clad in some of the most stunning outfits of the film - special mention to the croupier whose pink and black glittery outfit is sadly never seen in full.

The casino also has a performance from alien singers clad in shiny raindbow striped dresses, which also end in streaming pieces at the skirt section, and worn with glittery necklaces - the outfits are really nice, but ain't the facial prosthetics uncanny!

The Cylons were aided in their attack by the traitorous Count Baltar (John Colicos), who would become the series main antagonist, and appear in multiple episodes to menace the main cast. While 'Saga of a Star World' introduced him wearing just a white gown, all episodes afterwards would have him in a much more striking outfit consisting of an almost medieval looking black-lined green tunic, worn with gloves and brown boots - in some episodes, Baltar wears a gold-lined green cape over it, and during his attack in 'The Living Legend' he wears a shiny golden helmet, designed to resemble the Cylons' own helmets, which themselves resembled the helmets worn by the warriors of ancient Greece. Whilst the Cylon helmets had the sliding light 'eye', Baltar's helmet has a light in the middle of the forehead.

Assisting Baltar in various episodes is the Cylon commander Lucifer (subtle name!) who in his first few appearances wears a shiny golden robe. Technically, Lucifer's very head is part of the costume as well, being a model one fitted on top of the actors actual head, instead of being a mask.

Lucifer's next outfit, worn for the remainder of the series, is the same in design to his previous robe but red in colour, with an open collar fitted on it later on.

'Lost Planet of the Gods'

This episode involves the Galactica drafting up new pilots, all women, who are seen wearing tight pressure suits, these being beige coloured with bold black lines printed on the front.

Serina (Jane Seymour) is one of these pilots, and later in the episode marries Apollo, during which she sports a shiny silvery wedding dress, with glittery pieces worn behind her hair with her headress.

'The Lost Warrior'

This episode was a total pastiche of the classic Western Shane , with most of the cast wearing reused Western wardrobe; the exception are the guards under the employ of Lacerta (Claude Earl Jones). Lacerta himself is just in a white suit, but the guards wear shiny vinyl cavalry shirts and glittery silver vests, trousers and cowboy hats!

'The Long Patrol'

This episode starts off with Starbuck doing a deal with a waiter in order to get into the Galactica's dining room, which is staffed by a waiter in a very crisp pinstriped tunic, which also has a rounded collar piece similar to the Colonial Warrior uniforms.

Part of this deal involves Starbuck becoming a test pilot for an experimental starfighter, for which he dons a new uniform - this is a very crisp one, consisting of a plum tunic (again, with rounded collar) and pants, with matching gloves and boots, and worn with a rounded golden helmet which sadly doesn't get seen too well thanks to the darkened pilot cockpit scenes.

Starbuck ends up being apprehended by the 'Enforcer' police force of a forgotten prison colony, whose officers are all clad in crisp white and black uniforms. The tunics have a fairly rounded cut with a diagonal black pattern on the chest, as well as a curved cut to the tunic. These uniforms aren't seen to well in the dim lighting but one of the costumes still exists, and in auction photos (as uploaded on the ByYourCommand fansite) can be seen much more clearly. A similar jacket is worn by 'Robber' (James Whitmore Jr.) but his has solid black sleeves and a stiff cut, and in all his scenes he's wearing a drab brown jacket covering it up.

'The Gun on Ice Planet Zero'

This episode involved the misguided Dr. Ravashol (Dan O'Herlihy), who wears a quilted blue nehru jacket with dark blue lining down the middle.

'The Magnificent Warriors'

This episode was another Western pastiche with a similar plot to The Magnificent Seven, set on the rural planet Sectar whose settlements are being raided by the pig-like Borays. The Borays wear brown and grey shirts and trousers with fringed edges to the sides and sleeves, with angular collars as well.

The Borays are raiding the settlement of 'Serenity', run by Bogan (Barry Nelson) who wears a vaguely 18th century feeling coat and waistcoat (right down to the cravat), worn with a brimmed hat.

His assistant Dipper (Eric Server) wears a tan jacket with split sleeves connected by straps, with hoops over the chest as well, worn with a round hat. The unlucky sheriff Farnes (Rance Howard) is dressed similarly.

The Galactica crew end up on Sectar and have to dress themselves as the locals, with Adama wearing a large shouldered grey coat.

In this episode Adam is trying to court Siress Belloby (Brett Somers), who wears a veiled lilac dress with ribbed panelling on the shoulders.

The rest of the crew wear a variety of jackets and vests, with Starbuck wearing a grey jacket with short curved lapels, Boomer wearing a mottled fabric vest, and Apollo wearing a brown-lined quilted white vest.

'The Young Lords'

This episode involved Starbuck crashing on a more primitive planet, where a Cylon patrol is being hassled by the young warrior Kyle (Charles Bloom), who is dressed in rather 'barbarian' gear, consisting of a feathered cape and a carved helmet fixed with two large feathers on each side.

Commanding the Cylon operation on the planet is the commander Specter, who sports a similar robe to Lucifers, the exception being his is in a wonderful striped red and gold colourscheme, with even the collar having stripes!

'The Living Legend'

This two part episode involved a daring attack on the Cylons base on the planet Gamoray, with Apollo and company all dressed up for the mission in rather slinky leather catsuits, with buckled collars and boots.

Staffing the Cylons are some more commanders, these being in glittery silver and black versions of the collared robes worn by Lucifer and Specter.

There are also several Cylon workers who are in shiny blue-lined golden hooded cloaks, made of a synthetic material - the robotic 'head' is evidently a mask as well.

'Fire in Space'

This particular episode involved, well, a fire breaking out aboard the Galactica, with several of the cast trapped inside. To stop the fire, the Galactica's contingent of firefighters is called in, clad in very striking futuristic uniforms, consisting of glittery orange and silver lined jackets, with the sleeves cut in a serrated fashion, and worn with silver helmets. These are perhaps some of my favorite designs of the series costumes, personally!

To help stop the fire, Apollo and Starbuck do repairs on the outfits of the ship, meaning they have to wear spacesuits - these spacesuits are form-fitting jumpsuits of the same colour scheme as the typical uniforms, with tan tubing around the shoulders and collar, and worn with a bulky plastic helmet, with a flashing piece worn around the knee, sadly never seen in full. These spacesuits would be tweaked and reused for the Galactica 1980 episode 'Space Croppers'.

In this episode Boxey (Noah Hathaway) wears this dark blue jumpsuit with a lighter triangular panel over the chest, with stripes down the trousers.

'War of the Gods'

This episode introduced one of the most infamous outfits of the series - the skimpy 'Triad' sport outfits, consisting of a top with straps over it, briefs (fixed with tubed piping), thigh high boots and bike helmets. These outfits were especially infamous for being a source of mild embarrassment to the actors who had to wear them, which was a source of great amusement for the women members of the cast and crew! Out of the four auction images used, two have black lycra underneath the skimpy suits, and the second image has the top back to front it seems.

This episode introduces the mysterious Count Iblis (Patrick Macnee), who sports an outfit consisting of a golden lined white tunic and cape, the tunic fitted with a circular collar like the Colonial Warrior uniforms, but with golden lining around it, as well as the cape having a pointed collar. The tunic also has a belt around which is also golden lining, and a badge in the middle, with a similar one worn on the collar.

When Iblis' evil nature is revealed during the final confrontation with Apollo and pals, he reverts to a demonic form which in the episode is overload with a negative effect - editing the images, plus behind the scenes photos, reveal that a recoloured version of Iblis' outfit was used for this scene, with the white now black, though still adorned with golden lining.

Opposing Iblis are the angelic Beings of Light, who are seen wearing glittery white veiled robes; as if the religious allegories weren't subtle enough!

At the end of the episode, Sheba (Anne Lockhart) wears this lovely shiny dress that sadly is only seen in shoulder view in its brief appearance.

'The Man with Nine Lives'

This episode featured Starbuck's father, the conman Chameleon (Fred Astaire), who is a rather striking outfit made up of a white jacket with a golden chain in the middle and  striped blue top section, worn with a blue cravat and golden necklac, and worn completed with grey trousers and black boots.

Chameleon is first seen courting the wealthy Blassie (Anne Jeffreys), who is wearing a glittery golden dress with a large pointed collar and long cuff sleeves. The vicious 'No Men' hounding Chamoleon however, are just in trampy rags and therefore not really worth covering at all.

There are several gambling dens inside the fleets various ships, these beign staffed by croupiers in glittery golden outfits, with piping around the collar, as well as arranged in a 'V' shape down the front - the outfit also has an emblem on the front, and has strips down the side. One of these golden croupier outfits was worn again in the Quantum Leap episode 'Future Boy' by a background character in the titular serial.

Less flashily dressed are the 'Nomen' warrior tribe hunting after Chameleon, who wear simple vests (made of a faint lattice pattern) and robes, the conical helmets being the most striking part of their attire.

'Murder on the Rising Star'

This episode involves Starbuck being framed for a murder in the aftermath of a heated sports match, and his prosecution is headed by Solon (Brock Peters), who wears a blue-lined grey tunic that is fixed with a circiular piece around the collar (similar designed to the uniforms of the Colonal Warriors), and wears a short cape over the tunic that is cut in a similar way to Adama's cape.

The actual murderer however is Karibdis (Lyman Ward), a former accomplice of Baltar's disguised as a civilian, and clad in a relatively not eye-catching outfit consisting of a white-lined brown tunic and trousers, the tunic's collar fastened with a buckle-like piece - various otherbackground extras in the series wear similar tunics of different colours, but most are just in more simple ones such as the other two fellows next to Karibdis.

A silver outfit is worn in the episode 'Murder on the Rising Star', by a sports referee present at another futuristic 'Triad' match; sadly there is no other shots of this costume in the episode, nor can I find any other photos of it online from auctions.

There are also commentators present at the Triad match, with the first refereer wearing a brown jacket with white checkered lining around the collar and chest. Sadly, there are barely any good shots of the costume in the episode itself.

Another commentator is seen, with her outfit being the same colour scheme as the previous one but with the lining on the lapels; again, barely seen in the episode itself.

'Greetings from Earth'

This episode involved the Galactic coming across a human sleeper ship, whose occupants are all in identical silver jumpsuits, with white bands on the arms and belts.

They also have a pair of robotic servants, Vector and Hector, who wear brown pinstriped wraparound overalls, as well as helmets to make them look 'robotic'.

'Baltar's Escape'

A communications officer is briefly seen, wearing a grey tunic with a curved collar like other Colonial outfits in the series.

There is also Siress Tinia (Ina Balin), who wears a lilac ruffled dress with a small bit of jewellery under the collar.

'Experiment in Terra'

This episode involved the Galactica gang ending up on the Eastern Alliance's home, the Earth-like planet Terra, whose denizens are almost identical to 20th-century humans other than their more futuristic technology - even the fashions on Terra are not that different, with most of Terra's denizens being in fashions that wouldn't be too amiss at the time, such as Brenda (Melody Anderson) and her rough beige shirt and skirt, worn with a short tie too.

Terra is ruled by its president, Arends (Peter D. MacLean), who is clad in a rather fancy orange and beige suit, designed in a way that feels both contemporary yet also futuristic.

His deputy wears a dark brown suit that is otherwise identical in design, worn over a green jumper with beige lines on the collar.

'Take the Celestra'

In this episode, mutiny erupts as several crewmen attempt to steal one of the fleet's ships - most of these crewmen sport silvery jumpsuits with rounded padded vests over the shoulders. These all-silver jumpsuits were bespoke made for the series, as opposed to the black and silver jumpsuits of the other crewmen which were reused from the original Outer Limit series!

The mutineers don stolen security uniforms consisting of grey trousters and buttonless vests worn over black lycra tops, more futuristic in design than the typical Colonial security uniforms in the series.

Galactica 1980

The much-loathed follow-up Galactica 1980, due to its contemporary (read; cheaper) setting, didn't have much in the way of costumes made for it.

Almost all of the futuristic costumes of this series were reused from the original series, but a set of new helmets were made by the prop department for later episodes.

'Galactica Discovers Earth'

The child prodigy Dr. Zee (played both by James Patrick Stuart and Robbie Rist) sported a white tunic designed with a similar circular collar as the Colonial Warrior uniforms.

The first three episodes, titled 'Galactica Discovers Earth', had their costumes credited to Al Lehman, so no doubt Zee's costume was Lehman's work. The late Dorleac claimed Lehman did not work on Galactica 1980 at all, but considering what an unreliable narrator he was, I'm not counting anything he says as valid.

'The Night the Cylons Landed'

The humanoid Cylons wear a futuristic uniform consisting of grey lined tights, worn with a silvery tunic fixed with a meshy fabric underneath, and two metallic pieces on the shoulders.

This is completed by an almost medieval-like conical helmet which is worn when piloting their fighter ship.

'Space Croppers'

New helmets made by the prop department for the spacesuits for this episode, worn with the spacesuits originally made for 'Fire in Space'.

'The Return of Starbuck'

The mysterious Angela (Judith Chapman) sports a flowing white dress with glittery threads around the chest, worn with a beaded necklace and headpiece - this lovely costume almost got Dorleac nominated for an Emmy award for costume design!

Costume Reuse note; Several of Battlestar Galactica's costumes were reused in later, mostly low budget productions.

Several of Battlestar Galactica's costumes were reused by Al Lehman for Buck Rogers in the 25th Century, too many to list on here for now!.

Angela's dress from 'The Return of Starbuck' was reused in Charles Band's The Dungeonmaster (aka Ragewar).

One of the costumes of 'The Magnificent Warriors' was reused in another Band film, this time Metalstorm: The Destruction of Jared-Syn.

One of the pale teal Terran uniforms was briefly reused in the eigth episode of Airwolf's second season, worn by Jan-Michael Vincent.

One of the Boray costumes in 'The Magnificent Warriors', as well as one of the jumpsuits from 'The Living Legend', were reused in Neon Maniacs, worn by its titular mutant killers!