Sunday, 5 February 2023

Max Headroom (1987)

Costume Design by Jean-Pierre Dorléac

Note: Dorleac was only costume designer on the pilot episode 'Blipverts', and I have neglected to include the other episodes costume designers as I'm sure all of it was just rented or bought.

The American TV series followed the plainclothes costume sense established by the original British pilot movie, but there was some slightly futuristic designs to be seen in the pilot episode, the first being the snazzy jacket worn by Edison Carter (Matt Frewer) made up of black leather with fabric panels over it - the jacket bears a slight similarity to the one Dorleac designed for Dean Stockwell in the Quantum Leap episode 'Killing Time', which natch, was also set in a neon-drenched near-future...
Another slightly futuristic outfit is this rather prim looking suit worn by Carter's partner in (reporting) crime Theora (Amanda Pays), who sports a grey jacket with angular cuts around the bottom, and worn over a white shirt with a pointed asymmetrical collar. Out of all the outfits that Amanda Pays wears in this episode, I suspect this was the only one that was actually made to order for the episode, as the others look fairly contemporary.
There are also the futuristic uniforms worn by the various security guards in the pilot episode as well as the episode 'Security Systems', which have an angular grey panel with triangular buttons, and bear a slight similarity to the suits Dorleac designed for the Battlestar Galactica episode 'Experiment in Terra'.

Tuesday, 10 January 2023

Demolition Man (1993)

Costume Design by Bob Ringwood

The supposed Utopia 'San Angeles' is protected by a police force sporting fascistic and slightly camp uniforms. These uniforms have slight futuristic touches like mandarin collars and a little fax machine on the belt instead of a weapon.

Bob Ringwood wasn't too impressed with the final result as he felt they chose actors who looked too tough and made the uniforms less an ironic contrast. The police chief's uniform also looks militaristic, with his tunics mandarin collar fitted with patches resembling German officer collar tabs.

San Angeles is ruled by Dr. Cocteau (Nigel Hawthorne) who wears many kimono-like garments with raised collars similar to Edwardian men's suits. The intention according to Ringwood was how, according to the script, people would cover themselves from the sun.

Another reason according to Ringwood was to imply that Asian countries now had more cultural dominance, and historical Asian fashions now were more widespread. India is another one of the nations mentioned as having became more powerful, which is seen especially with how Cocteau's white outfit is worn with a Gandhi cap, possibly as a way of trying to show himself as a man of peace.

His associate, who is aptly named Associate Bob (Glenn Shadix) wears a patterned peach kimono, with a similr belt as to his superior.
The various other citizens of San Angeles also sport fashions that seem to be a mix of Japanese and Indian traditional garments, with some high fashion influences.
The staff of the cryoprison wear smocks that also seem to be in a slightly kimono-like design, made of a shiny blue-green material as well, with ribbed strips down the sleeves and collars.
Even Stallone is made to wear similar garments for when he has dinner at Taco Bell (or, Pizza Hut, if its the European cut), sporting this wide-shoulded shirt made of a patterned dark grey material.
The aforementioned Taco Bell/Pizza Hut dinner scene also has us see the most standout dress of the film; a jewelled short dress worn by Huxley (Sandra Bullock) which is also briefly worn with a grey jacket covered in greyish imitation fur.
Other dresses in this scene include the one worn by Bob's partner, which is black with cream and white lining over the chest, and Cocteau's associate wearing a shiny metallic vest over her grey dress.

The staff at Taco Bell wear dresses and suits, the dresses having a floral material over the back and shoulders, the suits having it over the sleeves with similarly coloured sashes over the waist.

Ringwood opted for a different approach entirely when designing the uniforms of the 'Scraps', the underground dwellers opposed to San Angeles' reign, and who Wesley Snipes' villain Simon Pheonix must inftrate

The Scraps had a look Ringwood described as 'Mad Max but not punky'. Phoenix's Scrap armor in fact seems to be constructed out of what seems to be cut up tyres, arranged to have a raised collar. Edgar Friendly, the leader of the Scraps, wears a makeshift armored jumpsuit, itself worn under a grubby overcoat.

A.I. Artificial Intelligence (2001)

Costume Design by Bob Ringwood

Spielberg's foray in the 'machine gets self-aware' subgenre is by and large a plainclothes affair, which was sadly quite against Ringwood's wishes - his own idea according to the 'Dressing A.I.' featurette was to make it more 'fashionable and catwalky' but Spielberg pushed back, not wishing for it to 'date' or whatever. According to the same interview, Ringwood said he tried out outfits on the character of Monica (Ashley Scott), which I assume include this rather nice patterned shirt. I assume the same applied to the rest of the cast and extras, meaning that Ringwood's design talents were mostly relegated to Jude Law in his turn as the 'Gigolo Joe' prostitute android, who wears a shiny black coat made of fishing line woven as satin that looked like 'liquid metal', to make the character look like a 'romantic hero'. He actually has two shirts (made of a synthetic material), one in white, the other in a shiny purple.
Also very briefly seen is the 'Gigolo Jane' counterpart, who wears a shiny purple catsuit with lining over the chest - this is only seen in the film for maybe less than ten seconds.
The only other notable costumes in the film are seen in the 'Flesh Fair' segment, with the first being the 'Biker Hounds' motorcyclist outfits that are fitted with demonic looking helmets and lights - though infuriatingly hard to make out thanks to being shot at night! It seems only the helmets and armor was made, with the rest of the costume presumably being off-the-rack motorbike jumpsuits.
The Flesh Fair segment also has a cameo from the band Ministry, whose lead singer wears this chrome skeleton outfit that again, is barely seen on-screen, as is the outfit worn by the announcer - judging by this music video (that is in absolutely horrendous picture quality), the announcers outfit was made of a reflective material that would allow parts of it to 'glow' in the studio lights!