Buck Rogers in the 25th Century (1979)

Costume Design by Jean-Pierre Dorléac

A very 1970s update of the 1930s space opera, Buck Rogers in the 25th Century was produced by Glen A. Larson almost straight after he had realized Battlestar Galactica, and like that previous series, opened with a pilot movie. For context, this entry is only about the original pilot movie, and the series' costumes will be covered in a pair of follow-up posts.

The good guys are the 'Earth Defense Directorate' protecting the planet from intergalactic threats, with the titular William 'Buck' Rogers (Gil Gerard) and female lead Wilma Deering (Erin Gray) among their ranks - their spandex uniforms are worn with white boots, a popped collar and lining around the chest. It is worn with an armband of the Directorate's rainbow insignia, designed by production artist William Stout. The uniform is sometimes worn with a sleek futuristic helmet. The uniforms were phased out in the follow-up series due to Gerard putting on weight.

The Defense Directorate is led by Dr Elias Huer (Tim O'Connor), who is distinguished by wearing a ridged white jacket, with a similar collar design, worn over the same spandex pants and boots worn by the other members of the Directorate - like the standard uniform, this would also be worn in a few episodes of the subsequent television series, before being replaced with new costumes.

The cast take part in a very, very 1970s 'futuristic' dance party sequence; the Directorate officers attending wear a dress uniform consisting of a buttoned jacket worn over their spandex pants; the pants are worn with leather boots, and a red sash is worn around the waist. Huer's jacket is cut to be more like a coat.

The women dancers in the party are dressed in differently coloured versions of the same general design, which like the Directorate dress uniforms combines the past with futuristic flourishes, as the dresses all have large collars and sleeves fixed with streaming ribbon strips, whilst being worn with a rounded hat also fixed with ribbons.

Opposing Earth is the Draconian Empire, whose royal princess Ardala (Pamela Hensley) happens to be clad in some of the film's most lavish outfits - Ardala is first seen in a reddish nightgown whose cuffs and collar have been fixed with a shiny black material, worn with a beautiful black crown-like headpiece consisting of dangling black jewellery.

Ardala's second outfit is sadly not seen fully in the film; a gold-lined black kimono-like robe, with additional golden markings all over. The robe is worn with the same crown-like headpiece as the red nightgown, as well as a black choker fixed with a jewel.

Another outfit of Ardala's that sadly does not get much screentime is this rather revealing purple and silver dress, which is worn with a massive collar that itself has been adorned with jewel-like pieces, and is worn with a very ornate (and rather abstract) headdress that has purple gems hanging down from the front.

The last of Ardala's outfits consists of a white and gold bikini and pants. The pants are fixed with necklace-like jewellery going down to the feet, and the biking is worn with a fur-lined cape and horned headdress. The headdress's horns (themselves adorned with hanging jewellery) are coated in golden lining, and attached to a golden wig with fur around the sides of the horns. Also note the collar of Ardala's dress, designed to resemble a flower.

Ardala also has handmaidens attending to her, all of them wearing golden headdresses and midriff-baring short tops with white skirts.

Ardala's father, King Draco (Joseph Wiseman), is only barely seen in the theatrical cut, wearing a golden tunic worn with a large fur coat, and a crown consisting of glass-like plates, that is similar in design to the headdress worn by Ardala with her third dress. Unfortunately, this does feel racist, and I worry that 'yellowface' makeup may have been applied to Wiseman for the role.

Helping Ardala is her surly aide, Kane (Henry Silva), first seen in a relatively simple mottled black tunic, worn with a large belt and with golden pieces fitted on the collars. The tunic is worn with black trousers and boots.

Kane's second outfit is of the same cut but made out of a gold patterned material, worn with the same belt and trousers - this outfit in particular was altered by costume designer Al Lehman in the follow-up series, adding black piping to the shoulders and collar. This tunic is worn with the same trousers and boots as the earlier design.

Ardala's bodyguard is the Tigerman (Duke Butler) who wears a vest and pants both coated in imitation tiger fur (according to auction listings for the costume), worn with a necklace consisting of metal pieces and bones, and a red sash. His trousers have golden kneepads, and he is wearing pointed shoes slightly reminiscent of 'crakow' shoes.

These same shoes are worn by other Draconian minions, such as the briefly seen technicians who wear burgundy tunics emblazoned with an emblem on the chest.

The Draconian Empire's soldiers wear futuristic spins on samurai armor, with the helmets fitted with goggles and golden chest armor; the large waistband was not worn in the TV series, and is only seen better thanks to costume auction photos.

Stargate (1994)

Costume Design by Joseph Porro

Joseph Porro's duties on Stargate was entirely to design the futuristic costumes. The present-day characters all wore bought clothing, and the 1928 sequences most likely used wardrobe stock.

The inhabitants of Abydos, the film's setting, wear clothing inspired by historical North African cultures. Hundreds of ragged costumes were made for the extras and bit-parts playing the lowly peasants. The peasant costumes are a spin on the 'caveman' look, consisting of leathery rags and drab cloaks.

Alexis Cruz sports a more elaborate costume as Skaara, consisting of a midriff-baring top, hat and robe. The top is constructed out of a slightly leathery material, as if it was the hide of some alien animal.

The women of Abydos wear purple and cream robes with circular headwear, more inspired by historical North African clothing.

More elaborate is the purple dress made for Mili Avital as Sha'uri, fixed with a stone-like belt and fabric criss-crossing the sleeves. The headscarf that forms part of the dress again feels indebted to North African and Middle Eastern fashions, though the cut of the actual dress evokes a medieval European princess to me.

Most elaborate of the Abydos peasant's costumes is the robe worn by Erick Avari as the chieftain Kasuf. The Kasuf costume consists of a deep purple robe with a tabard-like panel over the chest embroidered with thick material, and worn with a spherical hat also adorned with threading.

Similar costumes were made for the extras playing the elders flanking Kasuf in his scenes, utilizing similar materials as Avari's costume.

Abydos is ruled by the tyrant Ra, served by soldiers who wear futuristic costumes inspired by Ancient Egyptian clothing. When it came to Ra and his minions, Porro colloborated with Patrick Tatopoulos, who also handled the film's creature effects.

The costume department made a series of midriff-baring tops and kilts for Djimon Hounsou as Ra's personal guard Horus, as well as the extras playing Ra's other guards. Meanwhile, specialty costume makers fabricated the eagle-head helmets, headpieces, collars and other 'hard' parts of the costumes.

A similar costume was made for Carlos Lauchu to wear as Anubis, the commander of Ra's forces. Lauchu's costume consists of a teal top and and purple kilt, adorned with 'hard' costume components. Of course, the most distinctive part of the costume is the jackal-head helmet based on Tatopoulos' designs.

Ra himself would prove to be the film's costume focus, as Porro designed several ornate and vibrant costumes for Jaye Davidson to wear as the tyrannical demigod. Similarly to Anubis and Horus, Ra's helmet was based on designs by Tatopoulos, and fabricated by specialty costume-makers.

In most of his scenes as Ra, Davidson sports a tight golden bodice, giving him a slightly feminine appearance. Davidson, himself gay, had previously earned fame for his role in Neil Jordan's The Crying Game as a trans woman two years previously.

As for Ra's costumes proper, the first outfit Porro designed was an extravagant velvet robe and skirt in shades of purple and turquoise, adorned with gold lame on the edges.

Davidson's second costume as Ra is a gold-lined white cloak and copper-coloured skirt, again worn with the golden bodice.

Davidson's next costume as Ra sadly gets the least good shots. It consists of a gold-patterned lilac robe with holes cut at the sleeves. The robe is complimented by a red skirt, and yet again worn with the golden bodice.

Ra's last costume, again one which sadly gets little screentime, is a black robe and dress skirt adorned with amber-coloured faux jewels and golden ornamentation. Attached to the back of the robe are horns encircling an amber disk, as per fitting the mythological Ra's connection to the sun.

Several costumes were made for Ra's attendants, with several dresses being made for the girls. Unfortunately, only one of these dresses has been auctioned as of now.

For the extras playing the boy attendants, several colourful loinclothes, collars and headpieces were made, with some of the performers wearing skimpy tops as well.

A stripe-patterned attendant costume 

 

A rainbow-patterned attendant costume 

 

A similarly rainbow-patterned attendant costume 

 

Several of the attendant costumes still exist thanks to Larry McQueen's Collection of Motion Picture Costume Design, which also has Jaye Davidson's first costume as Ra. This site is where several of the Ra images, as well as the below attendant costume images, originate from.

A mostly turquoise-coloured attendant costume 

 

A mostly purple-coloured attendant costume