Man in Outer Space (1962)

Costume Design by Ester Krumbachová

Ester Krumbachova's costume designs for Oldrich Lipský's scifi comedy reflect its light-hearted tone; the costumes are in a light-colour palette, with whimsical flourishes inspired by modern artwork.

A good example is the future suit worn by Milos Kopecky's Josef when he has settled into the future. While the comically oversized bowtie and mismatched lapels appear to just be a 'wacky' design element, the suit also feels inspired by Constructivist artwork. If only there was colour photos of the suit.

Similarly whimsical yet modernist feeling is the costume designed for Radovan Lukavský as the alien 'Adam'. At first glance a typical 'space age' alien costume, the collar has feathery material gives Adam a fairytale quality, and the pattern print evokes Kandinsky's artwork.

Several futuristic jumpsuits were also constructed for the film, including miniature ones for child actors as future schoolkids. Some of the jumpsuits have specially made collars that call to mind neckerchiefs, others have typical 'space age' circular shiny collars.

The outfits worn by Anita Kajlichova as Eva are very much informed by 1960s fashion trends. Her first costume is a shiny wide-collared top, and her second a patterned miniskirt dress with a large panel around the collar. Both are worn with (presumably bought) leggings.

Eva's third costume is a unitard-like dress with chiffon panelling around the chest, fitted with a small cape of chiffon as well. The dress' pattern again continues the modern art influence, with the paint-streak pattern remniscient of Jackson Pollock's work.

A v-collar top is worn by Otomar Krejča as the 'Academic', made up of a vertical streak patterned fabric.

A similarly streak-patterned garment is worn by Vit Olmer as Petr, fitted with a shiny collar piece as well. The trousers also appear to be made of a streaked fabric.

Petr's second costume is a wraparound tunic made of a coarse-textured fabric, with an asymmetrical panel that acts as both a collar and lapel.

Petr's last costume is a futuristic spin on a polo jumper, with a collar fixed to the v-neck in the place where a shirt would be. Similar tops were made for Kopecky and other actors. Also must mention the other futuristic suits briefly seen when Kopecky is choosing his future wear.

Ester Krumbachova also was one of the costume designers on Ikarie XB-1, another Czech science-fiction film released two years later. Some of the costumes in Ikarie XB-1 bear a resemblance to Man in Outer Space.

Costume Reuse note: The spacesuits seen in Man in Outer Space's opening sequence were originally made for 1960's The Silent Star. The Silent Star was released in the USA as First Spaceship on Venus, which was the version that decades later landed a spot on Mystery Science Theater 3000.

The Apple (1980)

Costume Design by:

- Ingrid Zoré ( notable efforts: Zwei blaue Vergissmeinnicht (1963), Angels of Terror (1971), Just a Gigolo (1978), Possession (1981) )

Costume Design Genre: Futuristic

Menahem Golan's decade-late tribute to hippies and disco, The Apple is still remembered (and by boring critics, reviled) mostly for being a cavalcade of glittering kitsch, especially evident with the gaudy and almost space-age influenced costumes worn by the films cast! A rock musical version of a future dystopia set in the far-flung year of 1994(!), the film's costumes were designed by Ingrid Zore, and whilst the film shows its year of origin very clearly, it is rather funny how some of the getups in the film actually predicted how gaudy the actual early 1990s would be in terms of fashion!

Being a musical, the film's costumes are mostly divided by which song they're being worn in, with the first song, 'BIM' involving its two singers, Dandi (Allan Love) and Pandi (Grace Kennedy) in two glittering white and gold outfits, Dandi's outfit especially having a futuristic design sense with the helmet, but both are firmly entrenched in disco!

This sort of futuristic influence (which to be fair, considering how many recent science-fiction series at the time had costumes inspired by disco, such as Buck Rogers in the 25th Century, this is just 'turnabout is fair play') can be seen further in the costumes worn by the backup singers and dancers, the latter all having the sort of domed caps that were seen plenty in the 1980s Flash Gordon movie.

This is followed by the introduction of the film's villains, the evil music producer Boogalow (Vladek Sheybal) and his assistant Shake (Ray Shell) - who are basically Satan and the Serpent of the Garden of Eden, respectively, This association is carried over to their costumes, as Boogalow is first seen in a dark red suit with large pointed lapels, and Shake is in a silvery suit with makeup and two coloured jewel-like pieces on his teeth (uncomfortable!). Boogalow's pointed suit motif is seen on the suits of other characters, with his marketing officer in a glittery blue and silver suit, and his other underlings in more simple suits but with large pointed lapels and collars.

When Bibi (Catherine Mary Stewart) and Alphie (George Gilmour) are about to get signed under Boogalow's contract, Boogalow is another suit of a grey and black pattern, and Shake in another glittery grey suit with striped tubingon the shoulders and collar. Their chief marketer is in a red felt jumpsuit with grey tubing - the most 'future' design of the movie. After this, there is of course another song with the dancers being in glittery silver dresses and headpieces, feeling a bit 1920s in a way!

The signing scene is immediately followed by a song set in Hell where Boogalow wears a rather cliched Dracula outfit, and Shake is naked other than with bodypaint, chains and a snake-shaped headpiece - the real highlight of this song is Pandi who is in a glittering silver dress designed to resemble, presumably, the 'Whore of Babylon' (that will be relevant later...). Meanwhile Dandi is in nothing but a glittery thong, whilst Bibi is in a glittery pink dress.

When Bibi is hired, she joins Dandi and Pandi as a singer for the 'BIM' franchise, and sports a silvery singer's dress for her 'Speed!' song - one of only many songs the film has. There are myriads of other silvery outfits worn in the film, but due to the film's direction are barely seen properly, though really they all tend to be the same sort of design - large shoulders, collars and made of a silvery synthetic material.

At the very end of the film, Boogalow and his minions all appear to try and arrest Bibi and Alphie - Boogalow is just in a black leather coat, whereas Shake is in a silver and black suit patterned almost like snakeskin. Most of Boogalow's other helpers are in a variety of silver suits and facepaint, with Pandi wearing a silver headscarf with her suit. Also of note are the triangular lens glasses worn by Boogalow's lawyers and the police chief, as well as the leather outfits worn by Boogalow's bodyguards Bulldog and Fatdog.

And on a final note for this first proper post, if these costume designers looked up your alley then do yourself a favor and listen to the film's soundtrack too - altogether now: DO THE BIM!