Continued from part 1
25: Dorothy Stratten – Galaxina (1980) Designer: Malissa Daniel (Slam Dance; Communion; Cool World)
Malissa Daniel has integrated the spandex disco chic of Buck Rogers In The 25th Century with the ‘at-least-show-them-something’ philosophy of William Ware Theiss (as famously demonstrated in Sherry Jackson’s costume for the Star Trek: TOS episode “What are little girls made of”). Instead of revealing the underside of the breast area, a Star Trek favourite, or the side area, Daniel exposes the chest area directly above, too high for significant cleavage but too low and broad to not be intriguing. The flares that Buck Rogers (correctly) guessed the future would tire of are in evidence on Galaxina’s spandex suit, and the light-cream colour matches the pale make-up that often (with Blade Runner‘s Pris, for instance) denotes the bloodless cybernetic construct. Some consider that Natalie Portman’s tight and midriff-revealing get-up in Attack Of The Clones is inspired by Stratten’s spandex outfit.
24: Charlise Theron – Aeon Flux (2005) Designer: Beatrix Aruna Pasztor
Many fans of the original Peter Chung animated character were displeased with the rather more modest version of the costume that Charlise Theron sported in Karyn Kusama’s ill-received movie adaptation, though others seem to welcome the protection. The almost non-existent lower section of the main version of the original costume would likely have cost the film its PG-13 rating. Chameleon-like Theron seemed to be in some halfway state between her customary dimensions and some kind of (no doubt work-related) weight-gain, and the original design might have been a bit of a reach for her that year anyway. Though the top section of Chung’s costume design seems very tight, it lacks the upper-chest reveal of the Pasztor ‘compromise’ costume seen in the film. Either way, both designs have many adherents.
23: Scarlet Johansson – The Island (2005) Designer: Deborah L. Scott (Titanic; Transformers; Minority Report)
The purity and innocence of gee-whiz clones Johansson and MacGregor is emphasised in the design of their sporty and tight-fitting tracksuits. The hedonism and venal nature of the society in Logan’s Run – which, along with Clonus (1979), The Island owes a great deal to – is passed over here to represent a mini-society that knows nothing about sex, even at a theoretical level. With the aim of suppressing lust in mind, these are not the most obvious couple to bind up in tight and sexy one-pieces, but there you go.
22: Pamela Hensley – Buck Rogers In The Twenty-Fifth Century (USTV, 1979) Designer: Al Lehman
The second of three entries for a sci-fi TV series so devoted to glam as to make the efforts of TOS pale by comparison. Though she only appeared in four episodes out of the two-series run, Hensley managed to create a two-gal glam-off in the minds of male Buck Rogers fans between herself and Erin Gray. Often clad in typically erotic sci-fi spandex, Ardala’s most enduring appearance is actually from the first episode (also released as a motion picture in 1979). Here, at an absurd dance where Gil Gerard revives disco after a 500-year absence, we find Princess Ardala adorned in ornate robes, a semi-frilly bikini and a hat that clearly had a huge influence on an adolescent Jamiroquai. As Buck says later, “she had the nicest set of horns at the ball.”
21: Talisa Soto – Vampirella (1995) Designer: Roxanne Miller (film) / Tom Sutton (comic).
As the first artist associated with the Warren comics super-vamp, Tom Sutton’s credit as designer of the original ‘collared-thong’ outfit should be tempered by the association of Frank Frazetta and Archie Goodwin with early Vampirella. The costume itself has become an SF/horror icon non-pareil since the first Vampi comic came out in 1969. With it’s form-hugging midriff side-straps, the costume looks impossible, something a teenage boy would design and an engineer would laugh at. But it’s amazing what science can do when the will is there. There are so many accurate versions of the costume on display every year at conventions, that it is surprising to find Soto’s get-up in the Jim Wynorski film so plastic and unconvincing, and it gets a place in this list far more for the design than the execution. Talisa Soto is a perfectly fine actress, but lacks the trademark Vampi physiognomy, and the outfit hangs rather drably on her; it’s not the right costume for her to wear. A far more suitable candidate would have been the lovely Caroline Munro (see #35), who had turned the role down many years earlier.
20: Claudia Black – Stargate SG-1 (US TV, 2007) Designer: Christina McQuarrieMcQuarrie’s excellent work with Morena Baccarin (see part #1) continued apace in her designs for Black. We note that the designer is extremely fond of chokers, and seems to be holding back an S&M riff for the benefit of delicate network sensibilities. Vala Mal Doran is a combustible and strong character, and her many moods give opportunity for a varied wardrobe. The ceremonial garb aobe-left is a particularly sadistic challenge, showing both the upper arms and sides of the abdomen; you don’t get away with anything on McQuarrie’s watch.
19: Dana Gillespie – The People That Time Forgot (1977)
In the absence of a specific costume design credit, we can only thank production designer Maurice Carter for enlivening this rather confused sequel to The Land That Time Forgot with a cave-girl memorable enough to stand beside Raquel Welch (who we remind you can’t be here in that regard since One Million Years B.C., ludicrous as it is, is not sci-fi). The costume for Ajor (Gillespie’s character), little as there is of it, seems to be a rustic suede affair where dignity is unwisely maintained by sparse laces. Gillespie had trod the prehistoric route before with Hammer’s The Lost Continent (1968), and provided similarly fulsome roles in the otherwise irredeemable Cook & Moore spoof of The Hound of the Baskervilles (1978) and also Nick Roeg’s Bad Timing (1980).
18: Louise Jameson – Doctor Who (BBC TV, 1977 – 78) Designer: John Bloomfield
Oddly enough, the Sevateem warrior’s garb is extremely similar to Dana Gillespie’s (above), but emphasises the thighs and upper legs rather than the chest. As the actress told us in an interview last year “I think the BBC said ‘We’ll have this feisty, intelligent, interesting woman, but…we’ll take her clothes off for an outfit! I had absolutely no idea that she’d be in those clothes and she’d end up a sex-symbol. With the wisdom of hindsight, of course – put someone in a leather leotard after the football results, and inevitably you’re going to get a load of the male population tuning in. “.
17: Rebecca Romijn – X-Men (2000) Designer: Louise Mingenbach (costume); Gordon Smith (special makeup design).
Of the preparation that went into creating her naked-looking polymorph character in the X-Men trilogy, Romijn told IndieLondon: “It is tough. Mystique is solid blue and covered in scales. I remember when I was reading the script for the first time, for the first X-Men, they described what my character looked like and I thought: “Ok cool, that might involve a couple of extra hours in makeup, I can deal with that.” I never really understood how much time it would entail until I began work. It ended up being seven or eight hours in the make-up chair, so sometimes I would have to get to the set at one or two in the morning to get started. It is mostly prosthetics; the scales are giant pieces of silicone, (which cover 70 percent of my body), that are strategically placed all over my body. Then they spray me down, they airbrush the rest of me with blue makeup. It is not much fun. But the same group of women has been doing my make up since the first film and we all know each other very well now, obviously. We genuinely have a pretty good time together and make the best of it. And it is worth it because the results are so dramatic.” Mystique was created by David Cockrum and writer Chris Claremont for Ms.Marvel No.16 in 1978. The character’s long-term affair with another female mutant, Destiny, never made it into the X-Men trilogy.
16: Ashley Scott – Artificial Intelligence: AI (2001) Designer: Paco Rabanne
Paco Rabanne worked extensively on Barbarella (see below), and I’m guessing he had a hand in the design of Anita Pallenberg’s ‘Black Queen’ outfit, which shares some DNA with the restrictive garb of Jude Law’s casual cyber-prostitute pal, Gigolo Jane (Scott). In typical S&M style, this scarlet cat-suit harks back to the 1950s, with a modelled bust-line and evident cantilevering, and while it shows everything, it also shows absolutely nothing – not even the neck. One might imagine a garment this enclosing and hermetic to be an obstruction in Jane’s trade, but for all we know, it’s built right onto her chassis.
15: Erin Gray – Buck Rogers In The Twenty-Fifth Century (USTV, 1979) Designer: Al Lehman
Like many of the tighter costumes in this list, Erin Gray’s spangly spandex catsuit from the first series of Buck Rogers required the actress to be sewn into it every morning. “I didn’t mind being on-camera wearing the spandex, but I couldn’t walk around the studio with it on.” the very charming Gray told us in an interview last year. “I always had to wear a bathrobe over it! When I did the screen test they asked me to wear white Levis and a white top. They wanted [the costume] very form-fitting and tight. That’s all I knew. It’s interesting, because I came from the world of modelling and fashion, so I wasn’t really shocked or uncomfortable about wearing the costume. I’d been one of the original Sports Illustrated models, so my sexuality, showing my body, I was comfortable with that. The thing was, I didn’t mind being on-camera that way, but I couldn’t walk around the studio with my spandex. I’ll never forget, one time I was at home and looking at an episode of Buck Rogers, and there was a moment when I walked away from the camera, so I’m seeing myself from behind – and I blushed. I was thinking that was quite – ahem! I’ve learned to recognise that there’s a certain age group of gentlemen between about 36 and 43 – we’re walking down the street and all of a sudden you see the lights go on behind the eyes. What I’ve found from going to the events is that obviously I helped a lot of young teenage boys go through puberty! “
14: Joanna Cassidy – Blade Runner (1982) Designer: Marika Contempasis (‘Nymph’ costume, uncredited)Designers: Charles Knode(‘Chase scene’ costume)
Though costume changes are a frequent occurrence for sci-fi glamour icons, this is one of only two examples in the list where the source material shows the transition from one costume to another (see #4), as Harrison Ford follows fugitive replicant and showgirl Zhora into her dressing room in the guise of a performing arts union representative. The first of Zhora’s costumes is the ‘nymph’, which the actress discusses in some detail here (includes many pictures of the costume, then and now).
“This costume consisted of three relatively small pieces of nylon strategically placed and then thousands of sequins carefully glued on my skin.” said Cassidy. The sequins were secured to her skin with hair-gel, so that they’d wash off in an interesting way in the shower scene. “It took three hours to apply the makeup for that scene and a lot of patience”. Cassidy’s friend Marika Contempasis (uncredited) was the designer. Of the chase-scene’s ‘pac-a-mac’ design, a rigid leather bra and lower section crowned with a Barbarella-esque clear plastic cape, Cassidy reveals that “It fit like a dream, but was very fragile and Ridley [Scott] appreciated it , but felt it needed to be enhanced to make Zhora look much tougher (more like rough trade), but with an air of the super human quality which Replicants have. I was very happy that I could wear a bit more because I knew we would be shooting nights and because it would be very cold around four o’clock in the morning.” The effect Zhora’s kinky get-up would have was well anticipated: “I was shocked when I went to the studio to see the costume Charles had made. I had my measurements taken a week before and like two naughty school boys Ridley and Charles [Knode]waited for me to change into my costume and emerge from the changing room, and then they watched me go from pink to red in my black leathers. I tried to act nonchalant, but it was nearly impossible in the Warner Bros. dressing room with the overhead neon lights accentuating my white skin. I think I said something like “Where’s my whip?” , and we proceeded to break into gales of laughter. That broke the tension. I realized I would have a lot of fun being a dominatrix for the next three weeks. Of course Ridley would love shocking the producers and audience with his Zhora.”
13: Jeri Ryan – Star Trek: Voyager (US TV, 1997 – 2001) Designer: Robert Blackman
Borg-couture is clearly heavily influenced, as is so much else in this list, by Buck Rogers In The Twenty-Fifth Century, and Ryan’s ‘orphaned’ spandex-clad demi-alien Seven-Of-Nine was usually rated 10 by the male fans that the character was clearly put in to attract after a ratings dip. Ryan only took the role at the fifth attempt by producer Jeri Taylor. A certain contingent of Trekkers took umbrage at the inclusion of a crew-member so overtly sexy in the usually glam-free Trek-verse. The rest of us set our VCRs as we fell for the oldest trick in the book. Jeri Ryan discussed the costume with Trek Today: “The whole ‘sex symbol’ or ‘babe’ thing doesn’t bother me. It’s the costume that I wear on the show which is … a little snug, shall we say, and doesn’t leave a whole lot to the imagination. I don’t have a problem with it because of the way this character’s been written, how intelligent she is and how strong she is and what a wonderful female portrayal she is.”
12: Susan Oliver – Star Trek: The Cage Designer: William Ware Theiss
And here we arrive at some of the best work of the founding father of TV sci-fi glam. It must be admitted that Theiss seems to have developed his famous theory after suffering some criticism for the very considerable amount of flesh being waved at poor old Captain Pike. The fact that the flesh is green probably didn’t entirely get it past the network guardians, though body-painting has proved a good excuse for absolute nudity (or the appearance thereof) in the likes of Goldfinger and X-Men (see #17).
11: Sarah Douglas – Superman II (1980) Designer: Yvonne BlakeUrsa is clearly channelling the Eva Braun wannabes of UK punk culture in the late 1970s, and if the supervillains in Superman and Superman II didn’t start the New Romantic movement, they certainly weren’t late for the party. For the second instalment, the thigh area of man-eating Ursa’s costume was opened up as part of a mild re-styling that would glam up the part a little without breaking continuity with the imprisonment sequence at the beginning of the first film.
10: Monica Bellucci – The Matrix Revolutions (2003) Designer: Kym Barrett
9: Cindy Morgan – TRON (1982) Designer: Syd Mead / Dean Edward Mitzner (production design) Nedra Rosemond-Watt (women’s costume)
The clip accompanying this entry shows the deleted love-scene between Morgan and co-star Bruce Boxleitner, and there the actress gets a chance to add a string of ethereal glamour to her slinky and unforgiving outfit in Disney’s cult SF outing. When Morgan turned up on set and saw the costume design, she went AWOL for a day to lose 5ibs in a gym, and it all seems to have worked out very well.
8: Jenny Agutter – Logan’s Run (1976) Designer: Bill Thomas
The ‘Roman’ motif was once popular in sci-fi visions of utopian or despotic future societies, as evidenced in The Time Machine (1960), Brave New World (US TV 1981) and various others. Here Jenny is modelling a fetching, sideless green one-piece intended for easy access on ‘the circuit’, effectively a TV channel where you can materialise any of the girls (or boys) you’re zapping and have a nice evening in with them. The average citizen in Logan’s Run plumped for a slightly less revealing toga variation, available in three colours, of which red meant that you were shortly going to be tossed in the air in an arena and blown up. The very revealing design Agutter sports in her first encounter with Logan was intended as the template for all the women in the unnamed future society of Michael Anderson’s Oscar-winning dystopic sci-fi. Eventually it was decreed that the demands of making up hundreds of semi-clad female bodies were beyond the budget, and many of the supposedly bare legs on display in ‘Arcade’ are actually stockinged to save time. This is not the first time we’ve discussed this ‘green handkerchief’ costume.
7: Jane Fonda – Barbarella (1967) Designers: Jacques Fonteray / Paco Rabanne
Though Paco Rabanne is co-credited for costume design on Roger Vadim’s sexy space-fantasy, Jane Fonda’s wardrobe in the film seems universally attributed to Jacques Fonteray. Perhaps great minds think alike, and Rabanne’s styling for #16 (below) would either suggest that he was very influenced or influential regarding Barbarella. The threads (and sometimes they are little more) of the kooky space-bimbo are substituted for new ones no less than seven times in the movie, but the vacuum-formed outfit is probably the kinkiest, and certainly the most imaginative of many in Roger Vadim’s trippy sixties comic-strip adaptation. Scratchy polyester and skin-biting plastic, ever the curse of the sci-fi sex symbol, are firmly in evidence here, and the very fetching stomach-reveal of Anita Pallenberg’s Black Queen is foreshadowed with 50% transparency over the abdomen. The S&M hardness of the materials and sombre colours are offset by the back-combed blonde hair, bare arms and super-slinky kinky boots. The highly textured stockings, soon to be chewed off by a nasty species of zombie-style dolls, don’t look remotely comfortable, and maybe that’s part of the appeal. It’s an elaborate and expensive costume to reproduce, and in a home setting probably couldn’t be achieved without a vacuum-forming mill and five gallons of clear resin. Nonetheless advice can be found on setting oneself up as Queen Of The Galaxy, and don’t forget the spaced-out sixties make-up. Barbarella was no Ripley in terms of astronautical ability, but she had a killer wardrobe. Much as I’d like to include Sigourney Weaver’s iconic strip in the fourth act of Alien, a t-shirt and panties aren’t much of a costume, are they?
6: Milla Jovovich – The Fifth Element (1997) Designer: Jean-Paul Gaultier
Gaultier concocted an uncomfortable blend of associations for Milla Jovovich’s mysterious character in the Luc Besson sci-fi cult hit: the fetishistic strips which comprise the “ACE-bandage” costume are offset by being made of pure white cloth; the dominatrix vibe by the faint impression that the costume may protect against incontinence; the sense of expensive sophistication by the suspicion that the whole thing could be accurately recreated with a pair of white knickers and a roll of electrical tape. More sophisticated versions of Jovovich’s costumes in the film are available for purchase or hire, but not everyone has the courage to reveal as much as the actress in this first bandage-fest. For those who dare, $94 buys you a fetching and pretty authentic recreation. 5: Raquel Welch – Mork & Mindy (1979, ” Mork vs. the Necrotons” pts 1 & 2) Designer: Robert Fuca
The disco emphasis in the second series of Robin Williams’ break-through show did nothing good for the ratings but significantly upped the glam quotient, which went through the roof when Raquel Welch slinked into Mork’s life as Captain Nirvana, the queen of the Necrotons. The silver-strapped jumpsuit rises in all its cheesiness from a fetching pair of silver thigh-boots, and before we reach the antenna-like crown – apparently fashioned after the Sydney opera house, but no doubt used to communicate with distant planets – we stop and stare in amazement at the tubed hip-spoilers that are determined to turn La Welch into a species of souped-up space car. It’s all quite awful, and quite wonderful too.
4: Gabrielle Drake – UFO (TV, 1970) Designer: Sylvia Anderson
If the purple wigs in Gerry Anderson‘s first-ever live-action series were for the women to avoid static charges in the pressurised atmosphere of Moonbase, why didn’t the men have to wear them too? Their hair was usually longer than the girls anyway. Ponder not these matters, but enjoy the sight of a statuesque Drake wearing the skin-tight and sparkly moonbase operative outfit. There is a shiny silver mini-skirt for off-duty hours too, and Gerry Anderson was kind enough to let Gabrielle demonstrate the transition in a changing-room montage in one episode of UFO. “They were the most uncomfortable costumes I had ever had to work with,” Gabrielle Drake said at a convention reported by ufoseries.com. “They were very very scratchy; that was the trouble, and you did sort of have to pour yourself into them in the mornings. Quite tight. Sylvia [Anderson] was very very particular and she would come and examine the girls before we went on and make sure the wretched eyelashes with diamonds on them which were so heavy on your eyes.” Drake went on to mention that the purple hair of the moonbase ensemble was being imitated by the Japanese at the time. You can check out Sylvia Anderson discussing the moonbase outfits on a TV show of the time, which also features some fairly absurd of-series action from a moonbase model.
3: Michelle Pfeiffer – Batman Returns (1992) Designers: Bob Ringwood / Syren Couture
The black PVC cat-suit that Pfeiffer sports so ravishingly in Tim Burton’s last Batman entry stands in here for numerous others. There might be any number of spandex variations, but the sheer count of leather/rubber/latex cat-suits in female sci-fi and horror wardrobe is…legion. Check out the ‘Who’s not here’ section below for some examples that would essentially have been inferior dupes of the extraordinary S&M garb from Batman Returns. It was commendably pragmatic of Burton to turn to a self-proclaimed ‘latex fetish’ fashion-house to bring Batman’s neurotic nemesis to life. The costume was neglected after the production and allowed to reach “a sorry state”, but was restored to its former glory by Syren Couture for the “Superheroes: Fashion and Fantasy” exhibit at New York City’s Metropolitan Museum of Art in September of 2008. According to a junket interview for Returns, Pfeiffer’s very first thought upon seeing herself as Catwoman was “The mask is smashing my face. Getting over the difficulties of the costume mostly consumed me in the beginning.” It’s an elaborate and uncomfortable costume compared to the laughable one which Halle Berry sported in Pitof’s disastrous Catwoman (2004), yet the latter item is currently easier to rent or buy for a party. If you’re strapped for cash you can even do it yourself.
2: Carrie Fisher – Return Of The Jedi (1983) Designer: Aggie Guerard Rodgers
Returning to Jabba’s slave palace (see #47) we find a denuded Carrie Fisher shivering in the early shadows of an all-time SF glam-legend. Jedi was the first film conceived and shot after the release of Mike Hodges’ gloriously camp romp Flash Gordon (see below), and Lucas really seems to have been heated-up by Danilo Donati’s sexy production design for that film. Leia’s slave costume is comprised of high-heeled leather boots, brass thong g-string underwear, red silk loincloth and metal brassiere secured to the body with filament. Optional (or maybe not) accessories included snake armwrap and bracelets, all topped off with a stout securing chain to ensure the wearer can’t escape the slimy clutches of her slug-like master. Guerard Rodgers based her design on the erotic fantasy output of Frank Frazetta (a participant in the creation of Vampirella, #21), and the outfit was produced in a more cumbersome detailed version and a lighter latex edition for action shots.
Rodgers originally envisioned something more Arabian in nature: “I wanted 25 yards of fabric to be flowing through the scene.” It may interest S&M adherents to know that Fisher injured Jabba operator Mike Edmonds when clambering over the latex creature in her ‘escape’ scene. Fisher herself was ambivalent about Leia’s sudden lack of clothes for Jedi. “When they took my clothes off, put me in a bikini and shut me up, I thought it was a strong indication of what the third film was.” Nonetheless, like Cindy Morgan (#9), the actress responded with drastic diet and exercise, and reports on chat shows that she points her Jedi self out to her daughter as the time “when mummy had the great body”. The first Slave Leias were home-spinning their costumes within days of Jedi‘s release in Summer of 1983, and the role has passed on to a new generation of Slave Leia imitators who brighten up conventions, often in the company of a full-sized Jabba maquette. For the less committed, it’s one of the most popular women’s fancy dress costumes, and a toned-down version of it famously ended up on Jennifer Aniston in the episode of Friends called The One with the Princess Leia Fantasy (check out the Star Wars wiki for a detailed list of the costume in pop-culture). Presumably the rewards are worth the hardship; Fisher herself recalls the costume as very uncomfortable: “It was like steel, not steel, but hard plastic, and if you stood behind me you could see straight to Florida. You’ll have to ask Boba Fett about that.”
1: Ornella Muti – Flash Gordon (1980) Designer: Danilo Donati
Danilo Donati’s work included the most opulent costume design ever seen on screen, in the works of Fellini; he was an unlikely and (for us) fortunate contributor to the sci-fi genre. Sporting a metal bikini that preceded Slave Leia’s (#2) by three years, Muti is an indomitable sci-fi goddess in Mike Hodges’ gloriously retro re-boot of the 1930s swashbuckling sci-fi saga. The sexiness of Princess Aura’s ceremonial costume lies, as with many such costumes, in the fact that it conceals much but in key areas exposes flesh up to the limits of an NC-17 rating, particularly around the thigh and hip area. Parts of Donati’s costume go where even Leia would draw the line, though less flesh in general is shown, and this is the intrigue that transforms nudity from vulgar to erotic.
The pointed shoulderpads prefigure the 1980s obsession for boxed shoulders, but take their cue from Asian mythology, while the crown is a mixture of the art deco that pervades Flash Gordon and the styling of The Arabian Knights. The semi-skirt frontispiece is glisteningly gold, and if the reputation for opulence of Donati and Dino De Laurentis is true, it might not even be fake. A series of barbed-looking armbands extend – and draw the eye down – to their counterparts on the legs, and despite all these robust materials, the entire thing looks, quite intentionally, as if it might fall apart any minute. This is an ensemble that has to be worn with royal indifference or not at all, and coheres with an Italian elegance lacking in Leia’s slave garb in Jedi. Later on in the film, Muti sports a memorable ‘sci-fi spandex’ outfit that could never be pedestrian with such an occupant, but which pales in comparison to her initial sashay into Ming’s court earlier in the film. What an utter goddess; princess of Mongo but queen of the sci-fi screen. Also available in resin.
Who’s not here? Gina Torres – too casual (Firefly, Serenity); and Cleopatra 2525 had no more money for good costumes than anything else.Jennifer Sky – See ‘Gina Torres’ above.Sigourney Weaver – Bloody shame, but a t-shirt and panties (Alien) aren’t much of a costume, and even though it got rather revealing at one point, her Galaxy Quest get up falls into the ‘starfleet uniform’ category.Xenia Seeburg – A beautiful woman in a series of very bad costumes in Lexx Summer Glau / Lena Headey – Ready for a camping trip, in sartorial terms. Might have to hit Rodeo Drive if Chronicles wins any Emmies.Gillian Anderson – Only ever wore anything interesting for the lads mag spreads that issued from interest in The X-Files.Natalie Portman – Almost wore a sexy costume in Attack Of The Clones. The other get-ups were just wild.Naomi Watts – I love both Watts and Tank Girl, but you have to be kidding.Billie Piper – I. Just. Can’t. Sorry.Jessica Alba – See ‘Billie Piper’Kate Beckinsale / Rhona Mitra / Lexa Doig / Natalie Morales / Carrie-Ann Moss / Diana Rigg – Totally covered (and beaten) by Michelle Pfeiffer in main list.Sean Young – great costumes in Blade Runner, a little copied by Francesca Annis’s style in Dune. But rather prim in both cases.Amanda Pays – Beauty that survives shoulder-pads. But no exceptional costumes.Leela from Futurama – No prejudice against monocular or animated women. But she dresses like she’s cooking breakfast.Mathilda May – What costume (Lifeforce)?
Honourable mentions: Bernadette Peters – Heartbeeps (1981)Pervirella (1997)
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15 January 2009