'Attack of the Cybermen'
Costume Design by Anushia Nieradzik
Anushia Nieradzik's costuming duties mostly went to the Cryons, a race of crystalline aliens. All the Cryon performers were women, and so Nieradzike made a set of bodysuits coated in panels of pearlescent material.
The bodysuits were adorned with plastic cuffs and collars to complement the prosthetic makeups.
A mesh cape coated in panels of iridescent fabrics was also made for Faith Brown to wear as the Cryon Flast.
The Cybermen costumes utilized the same jumpsuits
originally made for 'Earthshock' and altered for reuse in 'The Five Doctors'. A sleeveless silver jumpsuit was custom-made for Maurice Colbourne to wear as the incomplete Cybermen Lytton, with a chestplate and helmet supplied by Richard Gregory's Imagineering.
Another jumpsuit was tailored for Boris Kilgareff to play the Cybercontroller, with a new domed helmet fabricated by Imagineering.
The reason for a new jumpsuit was partly thanks to Kilgareff having put on weight since his last appearance as the Cybercontroller in 1967's 'Tomb of the Cybermen'.
Incidentally, that was a role where he was masked and had his voice dubbed over by Peter Hawkins, which begs the question of why they hired him to replay the role in 1985...
'Vengeance on Varos'
Costume Design by Annie Hardinge
As this serial was set on a militarized, dystopian prison colony, Annie Hardinge had to design several variants of futuristic uniforms. The uniform worn by Martin Jarvis as the Governer is a Prussian-influenced design made of grey leather with black lining. Jarvis' Governer costume was tailored by the Dennis & Shirley Fitzgerald costumiers,
judging by the tag seen in its auction listing at The Prop Gallery.
A similarly Prussian-influenced leather uniform was made for Nicolas Chagrin as Quillam, with red lining rather than the black lining on Jarvis' uniform. A mask was also made for Chagrin to wear, that he could take off to show the disfiguring makeup, in a similar manner to
The Phantom of the Opera.
Presumably, this costume was also tailored by the Dennis & Shirley Fitzgerald costumiers, while the mask was made by the BBC's Visual Effects Department.
A set of black uniforms were designed by Hardinge and made at the BBC's Wardrobe Department for Forbes Collins and assorted cast members to wear as the Chief Officer and his security troops. The uniforms consisted of double-breasted jackets made of wool with faux-leather panelling down the front and over the shoulders.
The uniforms were complemented with a set of futuristic helmets made by the BBC's Visual Effects Department, as well as a set of futuristic necklaces.
(In-Vision, a magazine I grow to loathe with every
Doctor Who article I update, erroneously claims the helmets were the Dalek Trooper helmets made by Richard Gregory's Imagineering for 'Resurrection of the Daleks' the previous year. How were In-Vision's writers fine with spreading so much misinformation?)
The visored helmet seen in the first image below, however, does seem to be a reuse of one of the helmets Imagineering had supplied for 'Earthshock'.
Another set of uniforms were made at the BBC's Wardrobe Department for the performers playing assorted other Varos personnel. The double-breasted jackets have a short cut, wide shoulders and are worn with a hat modeled on
older models of ski caps, keeping with the Prussian influence for the dystopian uniforms.
Hardinge also designed a female Varos uniform, consisting of a double-breasted jacket and trousers made out of brown leather, or at least a leather-like material.
A pair of single-breasted uniforms were made, one black with grey lining and one brown with black lining, for Stephen Yardley as Arak and Jason Connery as Jondar respectively. Connery's jacket has no sleeves.
I feel the overalls worn by the body disposal technicians were also custom-made, due to the vinyl lining down the front, shoulders and pockets, as well as the caps similar to the grey uniform's ski caps.
Costume Reuse Note: I don't know if the harnesses and Trojan helmets worn by Sil's bodyguards were custom-made for the serial or not, but they definitely were reused in the following year's serial 'Mindwarp'.
'The Mark of the Rani'
Costume Design by Dinah Collin
As this serial was set in the early Victorian era, the period costumes worn by the guest cast were no doubt all hires, and presumably so were Colin Baker's and Kate O'Mara's Victorian garb as each character's disguises.
However, I feel that the light pink dress and yellow jacket worn by Nicola Bryant as Peri, the Doctor's companion, were designed and custom-made by Dinah Collin for the serial. While she does not get into detail, Collin implies in an interview printed in issue #103 of Doctor Who Magazine, that Peri's look was designed. The dress and jacket both have the same style of shoulders, each having a reverse colour scheme.
Collin also was tasked with designing Kate O'Mara's look as the villainous Rani. While the leather trousers could have been bought, I feel the wide-shouldered colourful jacket was custom-made for O'Mara.
'The Two Doctors'
Costume Design by Jan Wright
A new addition to Colin Baker's Doctor wardrobe was made by the costume department due to the many scenes shot on location in Spain. This new garment was a custom-made waistcoat, made up from cut up Hawaiian shirts. Hawaiian shirts were favored by producer John Nathan-Turner.
A v-neck blouse was also custom-made for Nicola Bryant to wear, made of multi-coloured metallic taffeta with pink cotton lining on the inside. A bra and headband of the same fabric were also made for Bryant. The blue shorts were no doubt a bought item however.
Amusingly enough,
a shirt made of a similar material was also made by the BBC's Wardrobe Department during filming of the serial, as a gift for producer John Nathan-Turner. While it never actually appeared in the show itself, I opted to include it due to its connection.
For John Stratton's role as the 'Androgum' Shockeye, Wright designed and made a red wraparound shirt, with one sleeve short and another sleeve with frilly cuffs, and a pair of brown baggy pantaloons and wraparound hat. The pantaloons and shirt's collar have the same cut, indicating the outfit was custom-made for Stratton.
The pantaloons and hat also are made of a matching fabric, though I wonder if the belt's worn around Stratton's waist and arm were also custom-made as well.
For Laurence Payne's role as the alien scientist Dastari, Wright designed a futuristic suit, consisting of a jacket and trousers made out of a shiny, silvery printed fabric.
For Jacqueline Pearce's role as the advanced Androgum Chessene, Jan Wright designed a futuristic dress made out of a metallic silvery fabric, with a tabard coated in a vine-like pattern over it. The Chessene costume was made by the costumier Alexander Carey,
according to The Prop Gallery's listing.
Jan Wright also designed and made the futuristic jumpsuits worn by Clinton Greyn and Tim Raynham as the Sontarans Stike and Varl. It was not an option to reuse the Sontaran jumpsuit originally designed by
James Acheson for 'The Time Warrior', nor the imitations made by
Dee Robson for 'The Invasion of Time'.
The original 'Time Warrior' costume was in too poor a condition to be filmed thanks to years of use at various exhibitions, and both the 'Time Warrior' and 'Invasion of Time' costumes were far too heavy to be used for location filming in Spain, or it would have caused the actors to have a heat stroke.
Wright's new Sontaran costumes were made of a thinner fabric with a more glittery sheen and silver armbands sewn around the elbows. The helmets and collars were made by Richard Gregory's Imagineering.
Costume Reuse Note: The original 'Time Warrior' Sontaran costume was reused for 'The Two Doctors', briefly worn in the scene where the Sontarans are killed, to be coated in slime and other nasty detritus.
Costume Reuse Note #2: Patrick Troughton's costume as the second Doctor was a reuse of the costume Colin Lavers had provided for him in 'The Five Doctors', as was Frazer Hines' costume as Jamie.
Hines' 'Five Doctors' costume itself was hired wardrobe stock, and presumably his first Highland costume in 'The Two Doctors' also was reused period wardrobe stock.
'Timelash'
Costume Design by Alun Hughes
While most of Hughes' costuming duties went to the guest cast's futuristic costumes, I suspect that Hughes designed the burgundy top worn by Nicola Bryant for the serial. The asymmetrical cut and odd fabric choice just make me doubt it was a bought item.
When it came to the cast members playing the planet Karfel, Hughes opted for a wide-shouldered, baggy look to their costumes. For Jeananne Crowley's role as Vena, Hughes designed and made a mauve-coloured gown with baggy sleeves, and golden streks down the collar.
For the men of Karfel, Hughes designed and made several baggy white tunics and pants that was stitched into folds, which helped give each of the cast an individual look. Whoever was playing Karfel's chosen leader would wear a black cape that was presumably also made by the costume department.
A set of similarly baggy uniforms with wide collars were made for Karfel's resistance members, with the grey and brown colouration giving them a more militaristic feeling.
For the extras playing Karfel's soldiers, Hughes designed and made a set of two-piece beige uniforms consisting of a zip-up jacket and trousers, worn with a domed helmet and face mesh.
Hughes designed two futuristic jumpsuits for the Karfel androids to wear; one for Dean Hollingsworth to wear, and one to be placed on a special effects dummy. The jumpsuits were cut from a pastel coloured fabric, with tubed padding around the neck and shoulders.
Hughes' last costuming duty was for Robert Ashby's turn as the monstrous Borad. Hughes designed and made a baggy, shapeless coat out of a black canvas-like material, to imply the Borad's body shape was not human. The suit was coated in dirt and paint to give it a filthy, soaked appearance.
Costume Reuse Note: The period costume worn by David Chandler as Herbert was presumably BBC Wardrobe Department stock, as was the monk habit worn by Denis Carey as the Borad's 'Old Man' disguise.
'Revelation of the Daleks'
Costume Design by Pat Godfrey
The season's final serial had a very low costume budget. For the performers playing the workers staffing the future mortuary Tranquil Repose, Pat Godfrey made some rudimentary skull caps to go with the bought dentist smocks. The smocks were dyed in shades of pale blue.
The only exceptions were the smocks worn by Clive Swift as Jobel, and Hugh Walters as Vogel. Swift's dyed smock had golden threading stuck on the sides to show his character's role as the 'chief embalmer', and Walters' smock was dyed beige instead of blue.
Costume Reuse Note: The mutant seen earlier in the serial appears to be wearung a tunic originally made by Godfrey for 'The Twin Dillema' the previous year, hidden under the tabard-like garment. I feel the futuristic ceremonial belts and sashes worn by the Tranquil Repose staff were also stock items.
A set of futuristic helmets were made (by either the BBC's Visual Effects Department or by Richard Gregory's Imagineering) for the extras playing Tranquil Repose's security guards. Like the workers, the guards also are wearing dyed dentist smocks, as well as bought respirators.
At least one of these helmets resides in Neil Cole's Museum of Classic Sci-Fi.
The only costume that was definitely made for the serial's guest cast was the plum-coloured crushed velvet dress made for Eleanor Bron as Kara. The dress is worn with a custom-made turban, and the collar is fitted with a collar, evoking evil fairytale queens.
Costume Reuse Note: Judging by the collar, pockets and buttoning, the khaki uniform worn by John Ogwen as Bostock is one of the imitation 'Type 65' Chinese uniforms originally seen in 1974's The Man With the Golden Gun, with the red collar patches removed (and no hat!).
I feel the blue coat and beret worn by Nicola Bryant as Peri was custom-made, due to the matching hat and coat colour, as well as the slightly odd cut it has.
Godfrey's biggest contribution to the serial was to design and make a cape for Colin Baker's Doctor, whose costume she had originally designed in 'The Twin Dillemma'. At least two capes were made, a 'hero' cape, and a stunt cape to be coated in fake blood.
The cape is made of blue wool, with lighter blue panelling around the shoulders. The cape is adorned with golden lining, with the hook fasteners shaped into question marks.
