In 1961, Soviet cosmonaut Yuri Gagarin orbited the Earth on the first manned space flight while in Paris, a group of designers—including Pierre Cardin (1922–2020), André Courrèges (1923–2016), and Paco Rabanne (1934–2023) utilized the latest high-tech synthetic sports fabrics to re-ignite ailing French Couture with their space age fashions. The Moon Girl Collection launched by Courrèges in 1964 was a modernist all-white and silver manifesto that featured trousers, matching tunics, and thigh-high minidresses cut with mathematical precision, emphasized by “astronaut” helmets, outsized white googles, and flat white boots cropped at midcalf. In an attempt to fuse fashion and science, Pierre Cardin promoted the notion of unisex clothes with his Cosmo Corps Collection, showcasing white knitted all-in-ones worn beneath tabards and tubular dresses, accessorized with over-the-elbow gloves and PVC thigh-high boots. An eager researcher of new materials and techniques, Spanish-born Paco Rabanne brought his experience of industrial design to his first “body jewelry” collection in 1966, titled Twelve Unwearable Dresses in Contemporary Materials, pioneering the use of hammered metal, knitted fur, aluminium jersey, plastic, fluorescent leather, and fiberglass. In 1968 he designed the sci-fi costumes for Jane Fonda in Roger Vadim’s film Barbarella and his iconic chainmail bag reinvented the mesh bags of the 1920s for the space age. Similarly, today we are assisting to a resurgence of a futuristic aesthetics, synonymous with progress and the promise of a utopian way of life. Contemporary designers like Iris van Herpen and Coperni have incorporated elements of space age fashion on their runways, blending modern technology with avant-garde creations. Starting an analysis from the 1960s, the so-called era of space age which prompted the appearance of a new futuristic style in product design, interiors, and fashion, this paper examines how space exploration has been a source of inspiration and fascination in the history of dress.