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William Ware Theiss

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Bill Theiss
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William Ware Theiss

Birth name: William Ware Theiss
Gender: Male
Date of birth: 20 November 1931
Place of birth: Medford, Massachusetts, USA
Date of death: 15 December 1992
Place of death: Los Angeles, California, USA
Awards for Trek: 1 Emmy Award, 1 nomination
Roles: Costume designer
TNG fitting models.jpg

...presenting (r) his creations for the TNG uniforms in 1987...

...presenting (r) his creations for the TNG uniforms in 1987...
William Ware Theiss at his Emmy Award acceptance speech in 1988.jpg

...for which he received an Emmy Award the subsequent year

...for which he received an Emmy Award the subsequent year
A William Ware Theiss mini-gallery
Mudd's Women designs by William Ware Theiss Carolyn Palomas gown design by William Ware Theiss Shahna gown design by William Ware Theiss
Design for "Space Hookers"'s gowns, a.k.a. "Mudd's Women", Eve McHuron, Ruth Bonaventure, and Magda Kovacs
Design for Carolyn Palamas' gown in "Who Mourns for Adonais?"
Design for Shahna gown in "The Gamesters of Triskelion"
Mudd's Women designs by William Ware Theiss as executed Carolyn Palomas gown design by William Ware Theiss as executed Shahna gown design by William Ware Theiss as executed
...as eventually worn by Karen Steele, Maggie Thrett, and Susan Denberg
...as eventually worn by Leslie Parrish
...as eventually worn by Angelique Pettyjohn

William "Bill" Ware Theiss (20 November 193115 December 1992; age 61) worked as Costume Designer for the entire run of Star Trek: The Original Series, the abandoned Star Trek: Phase II television project, and for the first season of Star Trek: The Next Generation. Theiss received credit as Costume Creator and Executive Consultant on the first season, winning an Emmy Award for the episode "The Big Goodbye" in 1988. In the following seasons he was credited as "Original Starfleet Uniforms/ Starfleet Uniforms Created By", in the process earning a second Emmy Award nomination for "Elementary, Dear Data".

Theiss' costumes can be seen throughout TNG's first three seasons (only worn by background actors in season 3), and also in the episodes "Suddenly Human", "Identity Crisis", "Violations", "Second Chances", "All Good Things..." and in ENT: "These Are the Voyages...". His original series creations can be also seen in DS9: "Trials and Tribble-ations", ENT: "In a Mirror, Darkly" and ENT: "In a Mirror, Darkly, Part II".

Theiss' distinctive clothing style for the "The Veldt", a mid-1960s one-act play from "The World of Ray Bradbury", caught the attention of DC Fontana, and introduced Theiss to Gene Roddenberry. Getting along on a personal level, Roddenberry, who was already interviewing candidates for the position, signed Theiss on as costume designer for his first Star Trek pilot, "The Cage", and eventually the upcoming television show. [1] While Theiss has designed recognizable utilitarian clothing for the show, the most notable ones the iconic Starfleet uniforms, it were his more explicit female garment designs, especially those for "guest" characters, that drew the most attention, as well as some controversy, among others in feminist circles, or as Theiss himself had put it at the time, "a lot of noise and some indignation". (Inside Star Trek, issue 7, p. 5) Even his female Starfleet uniforms were not beyond reproach, in regard to the short skirt length. Decades later that would be playfully hinted at, when writers would have Jadzia Dax dry-wittingly remark, "...And women wore less..." in Star Trek: Deep Space Nine's fiftht season episode "Trials and Tribble-ations", as she dons a Theiss-style Starfleet uniform. (scene 20) In spite of feminist objections, it was actually a woman who was responsible for the introduction of the Starfleet mini skirts and not Roddenberry, as Star Trek lore would have it at the time. It was Grace Lee Whitney, brought in to play Yeoman Janice Rand, who made the suggestion to Theiss, after she had done pre-production publicity shots, wearing the second pilot style uniforms with pants. Whitney explained, "In fact I was the one that made them do that. My concept of ladies in space were not to look like men. I read a lot of comic books as a kid, and I just saw the ladies as looking as we did. Actually it was shorts with the skirt flap over the front. Bill Theiss did that. And the black stockings, the boots, and the legs. I thought it was just outstanding." (Cinefantastique, Vol 27 #11, p. 48-49)

His female garment style can be summed up in the "Theiss Theory of Titillation" (self coined and first mentioned in The Making of Star Trek, p. 360), which stated "the degree to which a costume is considered sexy is directly dependent upon how accident-prone it appears to be." Not all female guest stars were fully appreciative of Theiss's approach to designing, as he recalled on one occasion, "When I first met Jill Ireland, she was a little uneasy about me, and I didn't found out until later it was because she had seen Sherry Jackson's costume, and she was afraid I was going to do as revealing on her." (Inside Star Trek, issue 7, p. 5) Nevertheless, over the next decades, his garments would attain near-legendary status, and a number of them, including some of the more titillating ones, have been for the first and only time, before being auctioned off, on public display at the 1992 Star Trek Smithsonian Exhibit. [2]

One decade after the Original Series, Bill Theiss was invited back by Gene Roddenberry to participate as costume designer on the Star Trek: Phase II television project. Theiss heeded the invitation and started to work on the project in June 1977. Partly as a cost saving measure, Theiss did not design entirely new Starfleet uniforms, but updated these, thereby enabling the re-use of those Original Series uniforms still stored at the studio warehouses, yet stressed that civilian clothing had to be designed from scratch, as he outlined in a memo dated August 23. However, when the final decision was made in December to upgrade the television project to a full motion picture feature, newly appointed Director Robert Wise decided that the uniforms had to be completely redesigned, and to this end Wise brought in Robert Fletcher, causing Theiss' participation in the project to end. (Star Trek Phase II: The Lost Series, pp. 28-29, 39-40, 62)

Nevertheless, once the outlines for a new television show, Star Trek: The Next Generation, were in place another decade later, Theiss was again invited back by Roddenberry to join the new show in early 1987. He started working from what he had done on the original show and the Phase II project, entirely dismissing Fletcher's input for the Star Trek films up to then. While the majority of his designs were utilitarian, a few harkened back to his titillating ones of the Original Series, most notably, the crisscrossing harem girl outfit worn by Tasha Yar (Denise Crosby) in "The Naked Now", and the chest baring costume worn by Commander William T. Riker (Jonathan Frakes) in "Angel One". Theiss recalled at the time, "Denise has a terrific body and was comfortable exposing it to a degree. She had no problem with her costume." Frakes, however, was more self-conscious, "But that was fine, because as Riker, he was supposed to be uncomfortable with the outfit, and Jonathan is enough of a professional that he used his own uneasiness to his character's advantage. That episode was really tough to design for.", Theiss continued. [3] Theiss opted not to return after the first season, partly due to Roddenberry's uninitiated attorney and business partner Leonard Maizlish, who "destructively" meddled with the creative decision making for the new series. (Inside Star Trek: The Real Story, p. 433) Still, it did not prevent him from being nominated for the second Emmy Award, together with his successor Durinda Wood for the second season.

Asked which of his many creations, he counted among his favorites, Theiss has stated, "The gown for Leslie Parrish in "Who Mourns for Adonais?" seems to get a lot of attention. [note: at the time Stephen Whitfield reported, that while Parrish herself was completely comfortable and had no qualms about wearing and moving in it, it were "the crew and set visitors who had all the qualms" (The Making of Star Trek, p. 361)] Other than that, I don't know. Michelle Phillips' outfit in "We'll Always Have Paris" is quite sensational; and Denise Crosby's punk-of-the-future costume from the sewer scene in "Where No One Has Gone Before" is good. The problem is that a lot of my work is seen on screen for only two to three seconds, and even then it might be in a bad light or angle. Like Commander K'Nera's uniform in "Heart of Glory". I was very proud of that." [4] Incidentally, Theiss was not wrong in his assessment of Parrish's gown, as it brought in ten times the high estimate, when it was sold in the below mentioned auction of 1993.

Theiss was perceived as a demanding and hard driving man by his staff of dressers and costumers, impressed upon by his adages such as, "Stop when all work is done–and not before", and "Better rude than late". Colleague and customer Andrea Weaver noted in this regard, "Bill Theiss was a very creative designer. His designs for Star Trek were original rather than distilled from other sources, or redefinitions of previous work. This is what I appreciated about Bill Theiss. I thought he was a truly unique and rare costume creator. Others may have agreed but were more influenced by Bill's personal eccentricities and rudeness..." (Star Trek: The Original Series Sketchbook, p. 119)

Apart from his clothing, Theiss' other noticeable contribution to the Star Trek universe, was the Vulcan IDIC symbol, he designed for the episode "Is There in Truth No Beauty?". [5]

Career outside Star Trek

Nimoy and theiss

Theiss with Leonard Nimoy in 1968

An attendee for eight semesters at the "Art Center College of Design" in Pasadena, California (which also counts Andrew Probert and Mark Stetson among their alumni, and like Probert following after his service in the United States Navy), Theiss' first job was as Cary Grant's personal assistant, whose ex-wife, actress Dyan Cannon, Theiss has cited as having considerable influence on his career. (Star Trek: The Original Series Sketchbook, p. 116) His first contribution to films was the 1960 movie Spartacus, albeit uncredited. Theiss continued to work in theater, film and television for more than thirty years. His work included among others the 1971 films Harold and Maude (featuring Ellen Geer and photographed by John A. Alonzo), as well as Pretty Maids All in a Row (produced by Roddenberry). During his career Theiss has earned three "Academy Award for Costume Design" nominations for Bound for Glory (1976), Butch and Sundance: The Early Days (1979), and Heart Like a Wheel (1983), though his one Star Trek Emmy Award was to remain the only motion picture award he ever won in his career.

A private man, Theiss was never one for interviews, a two-part interview, conducted by D.C. Fontana and published in the fanzine Inside Star Trek, issues 6 (December 1968) and 7 (January 1969) [6], as well as the 1988 unpublished interview, on the occasion of his Emmy Award win (see link below), the only ones known to date.

Theiss died in 1992, a victim of AIDS, at the age of 61. Theiss apparently has retained ownership over most of his creations, as a large number of his Original Series creations were sold off as his estate in the 1993 The William Ware Theiss Estate Auction, the proceeds of which he willed, poignantly appropriate, to "Project Angel Food", a LA-based non-profit agency that served hundreds of meals on a daily basis to those challenged by HIV-AIDS, cancer and other diseases.

Emmy Awards

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