Gerry Sundquist, Patrick Troughton and Ann Firbank in flowing jersey for The Dorcons
and made gold leather shoulder pieces and the helmets, and the bits for the boots. It was just this plastic leather we had found, and we padded underneath and machine stitched through it so it made ridges and formed all these different shapes. It brought it out like quilting.    "Martin was captured by these women and we made his costume based on theirs, with the same sort of feel with the gold leather bits on it. He looked excellent in that.    "Having done the designs, all the women had to be chosen with superb fig- ures, and we even got a feature in the Daily Mirror saying that these women were go- ing to be the sexiest on television."    The designer denies any suggestion that she was under pressure to make the ladies glamorous to boost ratings and sales: "They left it very much to me. All that sort of thing was very Seventies--the high boots and the tight clothes. It was influ- enced by the fashion of the times." The Dorcons    The last episode of Space: 1999 was	The Dorcons, in which an alien race come to Alpha seeking Maya. The Judas of their group is Malic, played by Gerry Sundquist; "He was supposed to be like a neurotic Roman Emporer, so I made everything flowing and classical and much jersey was used so we could drape things. Actually the jewellery was made by a girl in the workroom, and it was wonderful--it was leather studded with things. We just used anything we could lay our hands on."    "We had fun with the Dorcon guards, because we wanted to find some fabric that didn't look like anything in particular. All the tunics were covered with the re- maining fabric from stamped-out sequins. When you stamp out sequins, you're left with the fabric with lots and lots of holes in it. We bought that by the yard and covered everything with it, and it looked like metal and was extremely effective. I found it in Borovicks and I wondered what it was because it looked so intriguing."    Having designed for a total of twenty- four episodes of the series, did Emma feel that there were any major influences in the style of her costumes? "You always have	influences--things one has seen in the theatre, or one's favourite designers, so it's always in the back on your mind but you don't confess to anything. There was a lot of imagination in that, and there weren't unlimited resources. You didn't have that much time--so it got the old adrenalin going. You had to come up with the next episode, there had to be some- thing there."    Despite such limitations, she resisted any temptation to re-use any costumes over different episdoes. "We designed new things each week. I don't think you could re-cycle because they were shown very close together, and people do watch those things quite avidly and I think they'd know if you'd tarted up an old costume."    After Space: 1999 Emma Perteous went on to work on some highly prestigious films, including A View to a Kill, The Living Daylights, Supergirl and Aliens.    "The joy of being in the film business is that every new script is something differ- ent. There are always other nice things beckoning, and one has to move on. But I did enjoy Space: 1999 very much.             David Richardson

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