Retrofuturism

A Study on the Aesthetics Characteristics of Retro-Futuristic Fashion

Alfonso N. Nunez Barranco • Antonio J. Domenech del Rio • Youngsun Yoot

Abstract This research establishes a framework that defines the main features and conception of Retro-Futurism in fashion. The purpose of this study is to analyze and compare retro-futuristic fashion trends in the second half of the 20th century and determine the different concepts and aesthetics that compose the idea of Retro-futurism in its entirety. The research method is based on the analysis of the concept of retro-futurism within fashion, and its historical development through literature review and photo examples as a way to understand how the idea of retro-futurism has constantly impacted the development of this area. As a result, the historical journey of retro-futurism through fashion, from primitive times to the present, has served as an inspiration to create new technologies and styles through clothing, where alternative futures are used as a way to understand the past and also, served as inspiration for designers to create a utopic and nostalgic atmosphere

Keywords Retro-futurism fashion, Retro, futurism, Nostalgia, Utopia, Retrofuturism, Ретрофутуризъм

Introduction

At the beginning of the 20th century the enormous economic, technological, and scientific progress caused great changes in the way in which human being produced their vision of the world. The Avant-Garde movement became one of those changes, as a reaction to the continuing instability and negativity produced during the first middle of the 20th century. The driving vision of this movement has changed the way society understands the realities of the past and present as well as the future.

According to Luque (2015), the origin of Futurism within the Avant-Garde movement was derived from the Italian artist and writer Filippo Tommaso Marinetti, who published the ‘Manifiesto of Futurism” in the newspaper ‘Le Figaro' in 1909. This Manifesto proclaimed the celebration of advances in technology and science, exalting the construction of a new era. In addition, the Futurist Movement found itself in a deep discontent with the past and its tradition, eventually leading them to the attempt of starting the creation of an ideal future. The idea of Retro-Futurism could be defined as the movements that originated during the decade of the 1970s that focused their attention on the past, due to pessimistic views and expectations about the future. As a result, these movements tried to recover those futuristic concepts imagined previously. However, it is important to comprehend that the creation of Retro-Futurism does not praise or idealize these past futuristic ideas. The conception of Retro-Futurism assimilates these new interpretations of the future through the understanding of both the positive and negative features of the past concepts, which brings us to the present (Rosello, 2013). In contrast, with the popularization of science fiction during the early 20th century and its growing expansion over the subsequent decades, these types of concepts began to be used in very diverse areas, including fashion. The constant growth of this type of genre within literature, cinematography, or art had an enormous impact on how fashion exemplified the vision of the future recreated in the literary works and films of the past time. The space fashion of the 1950s and 1960s or the futuristic costumes from the cinematography after the decade of the 1970s are some of the examples of how during the last century, Retro-Futurism has become an indispensable tool for the understanding of the past vision of the future and its influence in the present. The purpose of this study is to identify and analyze the different forms or characteristics of retro-futurism in fashion, as a way to get a deeper comprehension of this concept and understand its influence on fashion during history. This study is based on the analysis of the different ways in which Retro-Futurism has been comprehended, to demonstrate how futuristic styles from the past continue serving as a tool to create futuristic designs in current fashion.

The Meaning of Retro-Futurism

The concept of Retro-Futurism was formed through the union between two words, "retro" and "futuristic", both directly related to the conception of time. As Rosello (2013) explains, in the first case, the word "retro" comes from Latin and, it refers to the act of imitate or reproduce objects from past times. On the other hand, even "futuristic" refers to a future context, due to the disappointment with present time, the idea of future is understood and created from a past perspective (Rosello, 2013). Due to the influence of avant-garde magazines from the 1980s and 1990s, the American publisher Lloyd Dunn first introduced the term "Retro-Futurism" in 1983. Later, during the exhibition titled "Yesterday's

Tomorrows: Past Visions of an American Future” performed by the Smithsonian Institute in 1984, the concept of Retro-Futurism was further explained through a collection of popular images of the future (Donnelly & Hayward, 2012). Although several decades have passed since the creation of this concept, there are still some difficulties in finding articles, books, or any other type of academic content that provide in-depth insights into the meaning and concept of Retro-Futurism. After analyzing the historical background of this concept and examining all its components, it will be easy to understand that the idea of futurism began as a way of breaking with the past and starting a new beginning. Futurism caused great changes in the way art is conceived and any other expression of it. This idea of futurism could remind of the concepts in the historical background, as a way to imagine or draw that perfect future.

Historical Background Theory of Retro-Futurism

Shamanism : During the start of humankind, the hostile environment generated a necessity for human beings, which were in a constant fight for survival. Due to this, shamanism became a part or tool that provide a vision of the future and new methods to survive. As Ochoa (2002) explains, this provided humans with the security to survive and gave them dreams and fantasies from which the first myths and legends were created. Through them, nature, their environment, their community, their past, or their future could be interpreted, idealized, and understood. Movements such as the Hippie Movement from the '60s could be re-interpreted as a retro-futuristic view from shamanism, as Mora (2018) explains, through this movement young people sought pacifist and idealized vision of the world, where they reconnected with nature and, connect with the whole.

Primitivism : The idea of Primitivism in the Retro-Futuristic framework is highly related to movements from the Avant-Gardes as the Primitivism Movement from Russian Futurism. As Jared (2002) explains, Primitivism arises from the interest of modern artists for expressions related to the tribal or the primitive, expressions related to the wildness, commonly related to the outside frame of Western civilization. Primitivism in Russia encompassed the realization of local objects of primitive forms and a futuristic

dynamism but based on tradition, in which simple and colorful forms stood out. Nevertheless, this futuristic movement could be also considered as Retro- Futurism, since primitive artists used the elements from archaic times to construct a new vision of the future.

Paradism : In contrast, the subsequent development of great civilizations and cultures during ancient history (Egyptians, Romans, Greeks, etc.) would bring great advances to humanity and above all, great development of the concept of time and space, developing more deeply all those ideas generated in the tradition of prehistoric cultures. Most of these cultures developed stories of life and death along with the paradise idealized by human beings since ancient times, which is closely related to our conception of time and space (Ochoa, 2002). In turn, through it, a futuristic image and aesthetic related to the passage to the next life is developed. In a way, we could consider that the eternal mystical idea of paradise and the idealized life of the beyond becomes a retro-futuristic conception since much of these idealizations of life after death contain that utopia based on nostalgia that is projected cyclically through the ages.

Utopism : Related to this, it is interesting to point out how the later futuristic visions that were created and promoted by the development of science during history, are constantly based on that paradism and ideal perception of the future, which are strongly related to the most spiritual part of the human being. As an example, the connection between science and spirituality from the Renaissance served as a base for the development of future interpretations and retro-futuristic forms, like those from space travel, moon landing, technological and military race during the ’50s. Besides, as Quesada (2001) states, throughout the last century the utopian visions within politics attempted to bring their visions of the future to reality, as in the case of Nazism and the Soviet Union, which incoherently created utopic visions of society from different times and spaces (nostalgia and nostalgia of the future) instead of from building it from present reality. Davidson (2019) explains that retro-futuristic ideas are also known as hopeful retro-futurism, and they could be considered as dangerous due to their relation with the creation of those utopias connected with issues as sexism, racism, lack of democracy, etc.

Besides, as Rosello (2013) states, the generation of new retro-futuristic ideas did extend the concept to new futuristic worlds and imaginary that persist until today. For example, during the ‘80s, new worlds were generated through negativist and apocalyptic images that led to cyberpunk, steampunk, and other similar concepts. Therefore, through the study of retro-futuristic aspects as images of the future related to the essence of human beings, nostalgia, their fantasies or dreams, utopic vision, believes, etc. it is possible to comprehend its essence and development during history. Moreover, the progressive development and connection of similar retro-futuristic ideas during the different historical visions of the future, show a great comprehension of the idealization of times and spaces that result in the generation of retro-futurism. Through the following scheme, this research tries to summarize and connect the different aspects or features of retro-futurism found during this historical review. Through this, it has been possible to generate different keywords that will form the basis of this research (keywords as: futuristic fantasy, religion, shamanism, hippie, paradise, avant-garde, tradition, primitive, folklore, science, utopia, military, politic, future space, science fiction, space age, cyberpunk, steampunk and futuristic technology). These keywords from the literature review and historical analysis have been gathered in four different categories, which have been selected and divided as follows, in order to gather the main features of retro-futurism in four different groups.

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Analysis of the Characteristics of Retro – Futuristic Design -

Alfonso Noel Nunez Barranco • Youngsun Yoot

Abstract This study conducts a comprehensive analysis of retro-futuristic design elements present in Alexander McQueen’s collections, categorizing them into specific expressions of Retro-Futurism. By identifying and examining these design characteristics, the study aims to provide valuable insights and establish a structured fashion design method for understanding the characteristics and expressions of Retro-Futurism in contemporary fashion design. The collected cases were divided into four main categories: Utopic Retro-Futurism, Fantastic Retro-Futurism, Primitive Retro-Futurism, and Scientific Retro-Futurism. In each category, different expression forms of Retro-Futurism were analyzed. The results are as follows. Utopic Retro-Futurism based on politics, military, and propaganda, contains a significant predominance of black along chromatic colors and a predominance of leather as the main fabric and texture. Fantastic Retro-Futurism based on religion and science fiction, showed figures related to past religious garments and science fiction horror movies, legends or short novels closely related to fantasy. Primitive Retro-Futurism category was divided into three basic sections from a futuristic vision: tribal, ethnic, and archaic. Scientific Retro-Futurism was divided into elements related to technology, space, science, or robotics.

Keywords Retro futuristic design, Alexandre McQueen, Nostalgia, Futurism, Utopia, Retrofuturism, Ретрофутуризъм

 

Introduction

The future itself acts as a reflection of the present and the past by embracing existing aesthetics to develop new and innovative fashion trends. Between the past, present, and future, Retro-Futurism becomes a way of finding common ground for the development of trends, fashion culture, and new design pathways.

The concept of Retro-Futurism refers to movements from the 1970s that focused on pessimistic views and expectations about the future, which were shaped by their past backgrounds. By examining both the positive and negative aspects of the past, the understanding of Retro-Futurism encompasses various visions of the future, ultimately guiding us to the present (Rosello, 2013). The continuous popularization of science fiction since the early 20th century has led to the use of these concepts in diverse areas, including fashion. The constant growth of this genre in literature, cinematography, and art has had a significant impact on how fashion has portrayed the future as envisioned in past literature and films.

Retro-Futurism, exemplified by the space fashion of the 1950s and 1960s and futuristic costumes in post-1970s cinema, has become an essential tool for exploring the future through the lens of the past in the last century. According to Kimball (2016, pp. 1-3), the transformation of fashion during this period was heavily influenced by the emergence of the Space Age and the increasing popularity of science fiction, including TV series like Star Trek. This influence led to a shift towards a more space-futuristic style in fashion, with notable designers such as Paco Rabanne, Pierre Cardin, and Andre Courreges leading the way.

Furthermore, the impact of science fiction extended beyond fashion and encompassed cinema as well. Movies like Metropolis, Matrix, and Tron served as notable examples that later inspired a diverse range of fashion brands, including Dior, Louis Vuitton, and Balenciaga (Borrelli-Persson, 2016). In the field of literature, various subgenres of Retro-Futurism, such as Steampunk and Neo-Victorian, gave rise to imaginative fantasies and alternative worlds where reality is reimagined from a retro-futurist perspective (Grabias, 2018).

This study analyzes the different ways in which Retro¬Futurism expresses itself. It demonstrates how futuristic styles from the past continue to serve as a tool to inform the conception and futuristic trends in current fashion. This study aims to determine the retro-futuristic fashion design method through the analysis of Alexander McQueen’s collections (2010-2020), chosen as a representative of Retro-Futurism. The result of the study can be used as an academic reference in the field of retro-futuristic fashion.

Retro-Futurism

In 1983, the term ‘Retro-Futurism’ was coined by Lloyd Dunn, an American publisher. The term emerged from the fusion of two words directly associated with the notion of time: ‘retro’ and ‘futuristic.’ The word ‘retro’ encompasses all aspects linked to the past, particularly elements closely related to fashion. As Hernandez Romero (2012, p. 116) explains, retro includes ideas related to culture, aesthetics, or styles from the past. The Oxford English Dictionary from Oxford University Press (n.d.-a) explains that the Latin term ‘retro’ can be translated as ‘backwards,’ referring not only to materialistic objects but also to all those intangible styles from a certain period in the past. Furthermore, this dictionary, defines the concept of Retro-Futurism as ‘the use of a style or aesthetic considered futuristic in an earlier era’ (Oxford University Press, n.d.-b).

The idea of ‘futurism’ originated with Marinetti’s

Futurist Manifesto, published in 1909. In dictionaries such as Larousse’s (n.d.), Futurism is defined as a literary movement created in opposition to the past, seeking ideas that allow adaptation to modernity.

Futurism brought significant changes to the understanding of art and its expression. The idealized vision of a future world dominated by the splendor of machines, widely depicted in art, literature, and cinema, was overshadowed by the social realities of the late 19th and 20th centuries. As Davidson (2019, p. 7) explains, this dismissal may also stem from the problems caused by technology in modernity (such as the use of non-renewable energy, pollution, and wars), resulting in the dismission of this inspiration model. Moreover, “this paradoxical union of the future and the past is the core of the retro-futurist impulse or the conscious reprisal of the disappointing visions of yesterday’s mornings.”

Due to this, Retro-Futurism is understood as the idea that recovers the loss of the conceptions about the future images generated in the past, containing an immense imagination about all the possible futures that were, could be, or will be. Retro-Futurism finds its foundation in past perspectives of the future to reinvent alternative visions that deviate from those associated with the present.

Similarly, as Kang (2021, p. 28) explains, the influence of Retro-Futurism and its capacity for temporal navigation facilitates the creation of unprecedented visual and expressive elements. This phenomenon arises not solely from replicating past objects, but rather from the process of repositioning and reinterpreting these visual cues through individual cognitive and emotional perspectives. This is supported by Kang and Kwon (2021, p. 9), emphasizing that Retro-Futurism enables the creation of a real-world not based on past models, but rather on the imaginative overlay of a fictional past and future. This results in the recreation of emotional experiences connected to both, the past and the future.

According to Sian and Lucas (2018, p. 1), Retro-Futurism is defined as a design trend closely tied to advancements in science and technology. The authors also emphasize that this concept closely connects with how artists, authors, or film directors portray future images derived from the past.

However, despite the extensive study of Retro-Futurism in fields such as film, art, and literature, there is a noticeable research gap regarding its relationship with fashion. Existing studies often concentrate on specific subgenres of Retro¬Futurism without establishing a clear framework to grasp its core concept. This study aims to fill this gap by providing a clearer understanding of the features of this concept, thereby enhancing our understanding of how Retro-Futurism impacts fashion design.

Nostalgia, Retro-Futurism

The meaning of nostalgia has been changing over time, and its understanding has evolved due to constant research and studies on human consciousness, memory, and experience. Xue and Carvalho Almeidar (2011, p. 3) explain that until the 20th century, the idea of nostalgia was considered a disease related to Swiss mercenaries who fought abroad. The term ‘nostalgia’ originates from the combination of two Greek words: ‘nos,’ meaning ‘return,’ and the suffix ‘-algia’ (from ‘algos’), signifying ‘pain’ or ‘suffering’ (Martin, 2016). However, nostalgia cannot be restricted to terms related to our place of origin; it is also connected to a diverse range of variables such as childhood, family, friends, or any space or time where we hold special memories or emotions (Xue & Carvalho Almeida, 2011).

This term also presents a pessimistic point of view similar to some perceptions of Retro-Futurism, which is sometimes understood as dissatisfaction with the present and an escape to imagined futures created in the past. There is a certain feeling of disappointment about the dreams imagined through Retro-Futurism, as they traced independent lines or breaks in history to create new hopeful environments that ultimately failed (Davidson, 2019).

The Cambridge Dictionary from Cambridge University Press (n.d.) defines nostalgia as “a feeling of pleasure and slight sadness when you think about things that happened in the past.” Victoria-Uribe et al. (2018, p. 3) explain that nostalgia is understood as the idealized emotion of attachment or yearning for personal past experiences that generate a certain feeling of pleasure. Hernandez Romero (2012, p. 112) claims that nostalgia is an intricate feeling that reflects the melancholy of the past but with shades of joy. Therefore, the perception of nostalgia can be summarized as a bittersweet feeling or emotion of a melancholic tone derived from the longing for moments or past experiences that we wish to recover in the present. This feeling can be experienced individually or collectively.

In previous studies, two visions of nostalgia closely related to Retro-Futurism were introduced: Future Nostalgia and Utopian Nostalgia.

Future Nostalgia could be understood as a type of nostalgia that focuses on both future perspectives (prospective) and past visions (retrospective). Reflecting on the future encourages us to recognize that nostalgic yearnings are either no longer a part of our existence or may have never truly existed (Miller, 2010). Additionally, as Victoria-Uribe et al. (2018, p. 4) explain, nostalgia cannot only be defined as dwelling on the past but also as a mental instrument to predict hope in the present and, through this, face the future. Hence, we can understand the role of Future Nostalgia as a way to build a present based on past experiences and knowledge, serving as a foundation for future changes (Monge, 2001). As Sedikides and Wildschut (2016, p. 321) explain, nostalgia can be used as a driving force to face the future, motivating us to preserve past experiences that can later be recovered and utilized in future situations.

On the other hand, the vision of Utopian Nostalgia is related to the creation of a space and time that never existed, evoking an unexplainable feeling of nostalgia. The word ‘utopia’ is derived from a combination of Greek words: ‘ou’, meaning ‘no’, and ‘topos’, referring to ‘place’. Originally, it signifies ‘the ideal place that is non-existent’, implying a deeper meaning than our common understanding of it. According to Monge (2001, p. 5), utopia is a necessary element to recover the past, although it can be a heartbreaking factor for the individual who experiences it. Due to transformations in reality, utopia is reinvented. Miller (2010, p. 21) complements this perception of nostalgia as a manifestation stimulated by utopia and, in turn, accompanied by a melancholic reaction due to disappointment.

Many academics have widely discussed utopian nostalgia in fields related to the study of nostalgia. Svetlana Boym’s studies show that the disorienting effect of utopia is understood as an element that fosters extreme perspectives of thought and revives perceptions from the past. In this way, nostalgia is connected to appealing feelings of the past, leading to a reinvention of the future in a more positive manner. Boym centered her study on the idealization of the past and proposed two distinct perspectives on the concept of nostalgia. Firstly, she mentions restorative nostalgia, which promotes the recovery of certain marginalized visions from the past, closely linked to culture or society. Secondly, she also introduces the idea of reflective nostalgia, which is more likely associated with our understanding of nostalgia, focusing on a singular moment in the past (Kenny, 2017).

The complexity of nostalgia, combined with the abstract nature of the utopian concept, presents a significant challenge in comprehending the concept of Utopian Nostalgia as a whole. Nevertheless, it is possible to establish a connection between this term and the concept of Retro-Futurism. As Frangos (2017, p. 3) defined, Retro-Futurism could be re-interpreted as a representative mark of the utopian failures of modernity.

The association of Retro-Futurism and Utopian Nostalgia is correlated with the unsuccessful attempts of political movements like Communism or Nazism during the last century, not only by a few but by many authors. This is supported by Monge (2001, pp. 7-8), who suggests that Nazism and Stalinism exerted mass control over society, but with contrasting bases: Nazism rooted in nostalgia for the past, and Stalinism in nostalgia for the future. This discrepancy raises a fundamental inconsistency, as constructing the future requires present action rather than drawing it from different times and spaces. In conclusion, by studying the idea of nostalgia within the concept of Retro-Futurism, it has been possible to observe how the variability of emotions and perceptions within this concept distorts our assimilation of the future.

Research Method

Analysis cases were conducted on Alexander McQueen looks featured on Vogue Runway between 2010 and 2020, focusing on Retro-Futurism characteristics identified through a comprehensive literature review. Case selection, categorization, and determination of relevant keywords were carried out collaboratively by a panel of three experts. In total, 510 cases were gathered and subsequently classified into four distinct categories. The creation of each category is based on the previous research of Nunez Barranco et al. (2022), and it serves as a way to group the different characteristics found during this research. The cases analyzed in this study were selected by the panel of experts under a ‘retro-futuristic perspective,’ specifically by identifying images that contained retro-futuristic content related to the keywords and information derived from the literature review. This methodological approach ensures a focused examination of designs that align with the thematic of Retro-Futurism, maintaining coherence and relevance in exploring their influence on the fashion industry.

The idea of Utopic Retro-Futuristic Fashion encompasses all those ideas related to the vision of alternative realities created under utopic perceptions. Keywords such as Political Movements (Nazism/Communism/Imperialism), Propaganda, or Military were added to this category. The Fantastic Retro-Futuristic Fashion category comprises ideas related to Religion, Futuristic Fiction, and the mystical fantasies of Retro-Futurism. The Primitive Retro-Futuristic Fashion category directly connects with ideas related to cultural elements from ancient civilizations or ethnic groups. Keywords such as Tribal, Ethnic, or Archaic were added to this section. The Scientific Retro-Futuristic Fashion category encompasses ideas related to technological and scientific advances and their utilization within retro-futuristic aesthetics in fashion. Keywords such as Technological, Space, Scientific, or Robotic were included in this category.

Table 1. Retro-Futuristic Categories and Keywords

Categories          Related Keywords

 

Political Movements

Utopic Retro-Futuristic Fashion Propaganda

                Military

                Mysticism

Fantastic Retro-Futuristic Fashion            Religious

                Futuristic Fiction

                Tribal

Primitive Retro-Futuristic Fashion            Ethnic

                Archaic

                Technological

                Space

Scientific Retro-Futuristic Fashion            Scientific

                Robotic

 

Furthermore, this study builds upon the previous research of Luque (2015) and her work on semiotics and visual analysis of fashion and art. It incorporates valuable elements that contribute to the understanding of retro-futuristic aesthetics in fashion. By examining color, shape, and fabric choices, this research aims to assess the differences within each category and identify shared attributes. This process helps in creating a coherent categorization of the key features of Retro-Futurism.

Case Analysis

Utopic Retro-Futuristic Fashion

Utopic Retro-Futurism, as defined in this research, represents a category that encompasses the creation of alternative spaces and times rooted in human ideologies and utopian beliefs, which have evolved from historical political processes. As previously explained, utopia emerges as a vision of an idealized future, drawing inspiration from past events and experiences. Throughout history, the formation of idealized societies and futures has been a recurring theme, particularly in recent centuries when the proliferation of various ideologies and beliefs has led to the fragmentation of the world in numerous ways. Consequently, this category is focused and organized based on the evolving political values and aesthetics that have emerged during these historical changes, while also incorporating military values stemming from various historical movements.

Retro-Futurism, primarily rooted in political ideologies, has been shaped by influential powers and movements that have governed society throughout history, including those originated from monarchy or nobility. Moreover, more recent political movements such as Nazism or Communism, as previously discussed, have also significantly contributed to the development of alternative universes within Retro¬Futurism. Consequently, the concepts of propaganda and militarism have become integral to this category. This results from the fact that many of these political movements encompass extensive propagandistic and militaristic components, originating from historical wartime conflicts, which have been extensively utilized in crafting alternative spaces and times, particularly within the realm of science fiction.

In the case of Utopic Retro-Futuristic Fashion, it is possible to observe how past ideologies and political movements are reinterpreted through fashion. This reinterpretation results in a wardrobe that reflects the evolution of these ideologies and the revival of aesthetics associated with historical political movements that are no longer present, such as Nazism, Imperialism, or declining movements like Communism.

 

The study aimed to identify design methods used to comprehend the characteristics and expressions of Retro-Futurism in contemporary fashion design. The research questions were constructed to examine the design elements and features of Retro-Futurism in Alexander McQueen’s designs and collection. Additionally, these questions sought to comprehend how these characteristics contribute to the retro-futuristic aesthetics in Alexander McQueen’s designs. The key findings of the analysis were categorized in four types.

Firstly, Utopic Retro-Futurism was further divided into ‘political movement’, ‘propaganda’, and ‘military’. In the cases of ‘political movements’ and ‘propaganda’, there is a pronounced influence from Nazism, Communism, and Imperialist aesthetics. Within the ‘military’ subcategory, uniforms are prominently featured. Leather is also the most used material in this category.

Secondly, Fantastic Retro-Futurism was further categorized into ‘mysticism’, ‘religious’, and ‘futuristic fiction’. In the ‘mysticism’ subcategory, there is a significant influence of alchemy and its various esoteric and mystic aspects. In the ‘religious’ subcategory, there is a certain predominance of Christian and angelic aesthetics but approached from a futuristic perspective. In the case of ‘futuristic fiction’, the utilization of biomorphic and technological shapes demonstrates a strong influence from science fiction found in films, literature, or animation. This category presents the most diverse and varied styles among all the selected categories, encompassing a wide range of elements from different genres and aesthetics. The use of white and black with metallic tones, exaggerated volumes and 3D structures is highly prominent in this category.

Thirdly, Primitive Retro-Futurism was further divided into ‘tribal’, ‘ethnic’, and ‘archaic’. In the ‘tribal’ subcategory, a futuristic vision of garments detached from their original function of dressing is observed, presenting a more ornamental aesthetic and highlighting a strong relationship with nature, tribal ceremonies, or dances. In the ‘ethnic’ subcategory, elements belonging to groups that share common attributes and distinguish them from other groups are expressed. In the ‘archaic’ subcategory, there is a strong connection to ancient cultures such as Egyptian, Greek- Roman, Nordic, or Middle Eastern. This category features a significant use of colors, with black and grey as the main achromatic colors, alongside other chromatic, and metallic tones.

Fourthly, Scientific Retro-Futurism has been categorized into ‘technology’, ‘space’, ‘science’, and ‘robotics’. In the ‘technology’ subcategory, styles or aesthetics closely related to elements or structures linked to speed, electricity, architecture, or engineering are found, but reinterpreted from a more futuristic and organic perspective. In the case of ‘space’, there is a predominance of organic and extraterrestrial shapes typical of aliens and creatures from science fiction. In the ‘science’ subcategory, themes related to biology and organic or biomorphic shapes are prevalent. Finally, in the ‘robotics’ subcategory, styles or aesthetics that connect technology and the human being are mainly observed, creating hybrid creatures rather than fully robotic figures.

The key results of the literature study imply a couple of essential ideas in the context of Retro-futurism and its influence on fashion. Firstly, it highlights how this concept can connect the past and the future, leading to new and unique ideas that transcend time and space. Secondly, studying McQueen’s collections can inspire future designers. This relates not only to the understanding of retro-futuristic aesthetics and elements but also to the apprehension of Retro-Futurism as a tool for exploring and crafting styles and images that lie beyond conventional notions of aesthetics and identity.

In conclusion, this study contributes to the theoretical understanding of the characteristics of Retro-Futurism in fashion through McQueen’s designs. It enhances our comprehension of the aesthetic and conceptual aspects and the multiple alternative realities derived from the analyzed categories, relevant to the concept of our study.

The analysis of McQueen’s collections as a case study allows for an exploration of the relationship between Retro¬Futurism and fashion. Through this analysis, the research provides insights into the unique contributions of McQueen in bridging the past and the future through its designs, thus enriching the understanding of Retro-Futurism in fashion.

The study is limited to a singular designer and selected examples from the Vogue collections from 2010 to 2020. Therefore, the future study can be considered to study other designers like Paco Rabanne or Iris Van Herpen to develop the research idea. Through this, the theoretical framework of Retro-Futurism can be developed, encompassing a broader range of characteristics and the evolution of Retro-Futurism in fashion. These approaches can offer new perspectives and further advance our knowledge of the interplay between Retro-Futurism and fashion.