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As this sampling suggests, the TMP redesign costumes were controversial at
the time. The problem began when TOS designer William Ware Theiss couldn’t return for the film, and the producers hired theater veteran Fletcher
instead. Fletcher’s ambitions matched those of Roddenberry, and the two egged one another on in designing futuristic clothing, with no regard for the
actors’ practical concerns. Most irritating were the shoes sown into the trousers, which made dressing and undressing a complicated ordeal. So hated were the TMP costumes that the cast refused to sign on to Star Trek II
without assurances that the jumpsuits would not be reused.

Difficult as they actually were, Roddenberry and Fletcher’s ideas still have value. Even though cast members such as Nichelle Nichols and Grace Lee
Whitney quite liked the miniskirts women wore in TOS, it’s hard to deny that they felt retrograde by the late 70s. Furthermore, by moving assignment
colors from the red, gold, and blue tunics worn in TOS to patches and insignias, the movie emphasized the fundamentally egalitarian nature of Starfleet. Sure, Kirk can and does pull rank on Decker (look up the actor’s wiki if you feel bad for ol’ Bill Decker and you’ll think he got off easy),
but the similar colors and tones of the uniforms suggest that anyone has the ability to rise in Starfleet.

But the most important aspect of the costumes is how they move away from the rigid military style implied in TOS and accentuated from Wrath of Khan
onward. Despite his extended time working with the LA police department, Rodenberry always wanted to downplay the military or law and order aspects of Starfleet. Yet, even when wearing costumes that resembled regular sailors’ sweaters, Kirk and crew looked like naval officers.

By changing into soft (looking) materials and colors, the costumes erase all sense or rigidity and action. Even the security detail, who drape ridiculous looking helmets and chest plates over their tan duds, don’t seem ready to
leap into the fray. Instead, the costumes look best suited for contemplation, for rumination, for taking things slowly. And if there’s one thing that The Motion Picture does best, it’s take things slowly.

Need proof? Check out McCoy’s arrival on the ship, complete with shaggy beard and a glistening medallion nestled amidst a rug of chest hair. Bones wasn’t happy to come aboard, but he fully embodied the free-wheeling attitude of
TMP‘s costumes, ready to hang loose instead of man battle stations.

It’s not hard to see why the franchise has stuck with the naval uniforms that director Nicholas Meyer insisted upon for Wrath of Khan, much to
Roddenberry’s chagrin. The crew looks regal in the outfit, befitting
characters who have spent years traveling across deep space.


-
Let's go Brandon!



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Ubiquitous <weberm@polaris.net> wrote:

As this sampling suggests, the TMP redesign costumes were controversial at the time. The problem began when TOS designer William Ware Theiss couldn’t return for the film, and the producers hired theater veteran Fletcher instead. Fletcher’s ambitions matched those of Roddenberry, and the two egged one another on in designing futuristic clothing, with no regard for the actors’ practical concerns. Most irritating were the shoes sown into the trousers, which made dressing and undressing a complicated ordeal. So hated were the TMP costumes that the cast refused to sign on to Star Trek II without assurances that the jumpsuits would not be reused.

Difficult as they actually were, Roddenberry and Fletcher’s ideas still have value. Even though cast members such as Nichelle Nichols and Grace Lee Whitney quite liked the miniskirts women wore in TOS, it’s hard to deny that they felt retrograde by the late 70s. Furthermore, by moving assignment colors from the red, gold, and blue tunics worn in TOS to patches and insignias, the movie emphasized the fundamentally egalitarian nature of Starfleet. Sure, Kirk can and does pull rank on Decker (look up the actor’s wiki if you feel bad for ol’ Bill Decker

Will Decker

and you’ll think he got off easy),

but the similar colors and tones of the uniforms suggest that anyone has the ability to rise in Starfleet.

But the most important aspect of the costumes is how they move away from the rigid military style implied in TOS and accentuated from Wrath of Khan onward. Despite his extended time working with the LA police department, Rodenberry always wanted to downplay the military or law and order aspects of Starfleet. Yet, even when wearing costumes that resembled regular sailors’ sweaters, Kirk and crew looked like naval officers.

By changing into soft (looking) materials and colors, the costumes erase all sense or rigidity and action. Even the security detail, who drape ridiculous looking helmets and chest plates over their tan duds, don’t seem ready to leap into the fray. Instead, the costumes look best suited for contemplation, for rumination, for taking things slowly. And if there’s one thing that The Motion Picture does best, it’s take things slowly.

Need proof? Check out McCoy’s arrival on the ship, complete with shaggy beard and a glistening medallion nestled amidst a rug of chest hair. Bones wasn’t happy to come aboard, but he fully embodied the free-wheeling attitude of TMP‘s costumes, ready to hang loose instead of man battle stations.

It’s not hard to see why the franchise has stuck with the naval uniforms that director Nicholas Meyer insisted upon for Wrath of Khan, much to Roddenberry’s chagrin. The crew looks regal in the outfit, befitting characters who have spent years traveling across deep space.

-
Let's go Brandon!

--
The last thing I want to do is hurt you, but it is still on my list.

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