All the  costumes in The 10th Victim (La decima vittima, 1965), designed by Guido Coltellacci and made by the Sorelle Fontana to look dangerous and daring in so many ways. 

The Tenth Victim’s near-future world is constructed in relation to various Roman antique settings which link the fiction to the environment of contemporary Italian viewers, and modern art, in particular the pop-art movement: Roy Lichtenstein, Joe Tilson and George Segal are among the numerous artists quoted or imitated by the director, while the costumes of the ballet dancers are clearly inspired by Andre Courreges‘ space-age look. Petri also often resorts to monochromatic photography and reflections that divide the screen like images taken from a comic book. That generic bias leads to a comical and completely absurd series of different endings that play with conventions and, in an interesting way, seem to provide the spectators with every possible alternative.