That Dark Future

The Matrix Reloaded (2003)

My sincerest apologies for my latest absence from the blogging world. A combination of poor health and Internet woes conspired against my posting. However my issues with regards to Internet connectivity shall hopefully soon be resolved. A veritable army of ants, wearing shiny red boots on each of their tiny feet and traditional yellow hard hats upon their shiny heads, are working on the problem as we speak. Indeed they thankfully all seem to be working most tirelessly, by which I hesitantly include those few ants, who in their ostensibly blithe manner, stand around and oversee the others, managing away. I have the feeling that I shall be soon making a swift dash from the rather tumultuous cover of British Telecom to the depths of Virgin Media.

A lack of Internet really does allow one a curious sense of freedom. And I suppose here is the point where I would share those rather tired expressions of a world enslaved to modern technology (which is the foundation for contemporary technology, a rather important distinction in actuality). Indeed, my thoughts may be somewhat related to these recent events. As for the past few days I have pondered the costume design of films set in a Post-Apocalyptic and Dystopian world.

It appears that the on screen worlds inhabited by future man, are invariably born from a post-war, -destruction, or -otherwise horrific turn of events. These which, besides from providing a wonderful setting for that inevitable heartwarming final display of the inherent strengths of humanity (usually being first seen as a weakness by the enemy) and our ability to love, also provides a stunning visual feast of design. These bleak and yet fascinating post-war based environments, or otherwise Cyberpunk/Steampunk designed futures, give way to a whole plethora of intriguing, usually indirect, commentaries on the arts and fashions (or indeed lack thereof) of the advanced human race.

Of course, where one notes advanced human race, this tends to meant in terms of technological advancement and its resulting crippling of humanity. The conflict between man and machine, that oldest of inspirations, is still as relevant today as it was at the advent of the Industrial Era. Yet, humanity in these settings is usually regressed to technological utilitarianism, by which I mean that technological wonder does not exist, but rather technology exists merely to be used begrudgingly as a means of survival. Indeed the concept of these future worlds tends to be one of man's struggling survival, with that basic need for simplistic functionality. Which, is then usually dramatically contrasted by the rather barren and bleak prospects presented by the lack of such required resources.

Terminator Salvation (2009)

This utilitarian desire and need, coupled with the bleak and tired feeling of the surviving remnants of humanity, is embodied quite marvellously within the costume design of such movies. Whilst although most eyes take in the complex digital graphics and beautiful landscaping of such dark and frightening future scenarios, my thoughts are first taken by the choices of costume and character design. For whilst the scene of a story is important to understanding the overall, in a visual medium (thereby in contrast to a written novel), character design and dress is to some extent even more important.

Reign of Fire (2002)

The costume for humanity in such settings tends to follow a rather easy to follow formula. The most recent periods after the apocalyptic occurrence tend to be kitted out in pure functional clothing, of versatile knitwear, combat trousers, long wool coats and army boots. Here one notes that pattern and adornment is still very much prevalent, albeit faded and patched. The clothing resembles clothing of today, yet it is well worn and choiced for functional value.

The far future however, where humanity has adapted to its new lifestyle however, often displays a far more fascinating expedition into sartorial options. Here we see that functionality and utilitarian production is the preferred basic. The remnants of clothing from the world before are long worn and destroyed. The production of new clothing follows a simple function: it must serve as useful clothing. That is to say, that clothing is stripped down to the bare necessities of living in a harsh environment.

Fitted t-shirts and undergarments, of cottons and jerseys, beautifully draped and in colours of off whites and creams, reflect quite clearly the undershirts of times gone by. They show signs of dirt, sweat and hasty construction. These fitted garments lie in contrast to the knitwear which covers them. Thick knits of greys, deep reds and deep blues cover the individual in a seemingly one size fits all. Yet these admittedly oversized pieces, usually manage to suit each individual, perhaps the costume designer's way of making them more recognisable as characters. The unfinished and rolled hems display a construction based around hasty production and functionality, and yet they have a strange allure, indeed one that I shall later cover.

Baggy trousers, with various pocket compartments, are eclipsed in use by thermal leggings, worn by both sexes, as a result of a decidedly practical and economic decision. These leggings are then worn simply tucked into or stacked upon thick boots, either engineer or military in design. This therefore provides a beautiful contrast between hard and soft, between the warm and comfortable knitwear against the harsh and strong boots. Yet functionality is key to all pieces, from the knitwear keeping the wearer warm, to the boots keeping the wearer able to transverse a multitude of landscapes.

City of Ember (2008)

It would seem that humanity's need for survival takes dominance within the social sphere of perceived importance. Art, design and fashion, which one would think vital to the development of society in the midst of change in light of such devastation, take a step back. Function and practicality are the words of the moment, and one sees the fashions reflect this entirely. Of course what films have yet to really explore, is how art develops within such future societies. However a settled world is far from ideal for any dramatic storyline, when thinking of a post-apocalyptic scene.

The beautiful balance between function and design in such costume design really is one to be marvelled at. The knitwear, which is inherently cosy and comfortable, serves that primary function of keeping the wearer warm. The draping and wonderful raw scoop necks of such pieces stand in testament to hurried design and need for utility rather than fashion. The entrancing juxtaposition of warm knitwear with cold and functional boots, a play which would make any outfit appealing, is done out of contextual necessity. Congratulations for reading this far, I would give you a cupcake, but squeezing it down fibre optic cables could get rather messy.


However, what I have been wondering as of late, is whether this is a look and a fashion that can be appropriated and made relevant to contemporary design. The answer, as I am sure many of you will have already thought when considering the costume design of such movies, will undoubtedly be yes. Raw and loose knitwear, contrasting to fitted leggings, and the use of boots, happens to be rather a well document style. Yet, it is the exploration of this style, in an artistic sense, within contemporary collections, which makes it fascinating.

Away from the film setting, and in the contemporary world, these collections and styles are created by designers in the light of artistic endeavour. The styles can truly be explored and practiced, away from that bare need for survival. For although art may flourish in any environment, it would seem that in these movies, humanity has other priorities to first attend.


* Movie stills courtesy of respective production companies.

P.S. Please do take some time to read my recent interview over at the amazing Dream Sequins.

Currently playing: Conga Fury - Juno Reactor

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