For their nocturnal roaming and aggressions, the Droogs deck themselves out in a heteroclite disguise consisting of futuristic and traditional elements. The hip-hugging white trousers tucked into military boots and the codpiece-like rubber box make for a futuristic combination, with a grotesque insistence on the affirmation of virility. This contrasts with the braces and black bowler, clothing attributes of the English Establishment, just like the white shirt worn by cricketers, all twisted in a parody of the elegant English sportsman. By turning into a murder weapon in the scene where the bum gets beat up, the cane reveals Alex's true perverse nature. His make up – and in particular the fake eyelashes worn only on the right eye (close-up with which the film begins) – contributes to his disturbing look. For the rape scenes, Alex adds to this outfit a fake red nose, long as a phallus, and a black eye mask suggesting a grotesque Carnival disguise.
Alex's costume and mask, strongly associated with violence and the unleashing of impulses, manifest the victory of animal pleasure over a civilisation that must, in return, repress those "archaic" instincts.
Milena Canonero, costume designer who, with this film, inaugurated a fruitful collaboration with Kubrick, worked from the angle of stylisation that the director wanted. She took inspiration from the visual aspect of the diverse "youth cultures" of the time and the great variety of styles that existed in London in the late Sixties.
She also referred to the great couturiers such as Pierre Cardin (creator of the "cosmonaut" style) and André Courrèges (excelling in the use of white, an influence already at work in 2001: A Space Odyssey). The garish, bright-coloured clothing and accessories worn by the other characters (like Alex's mother, in her flashy miniskirt, plastic boots and violet wig) contrast with the black and white worn by the Droogs.