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.
*
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.
