I was a young girl when some of the most iconic sci-fi films (and sci-fi anime…) of our times, such as the Star Wars saga, came out, so, from a very young age, I was used to watch space battles, aliens, robots and such likes.
Yet I distinctively remember that, when I first saw Ridley Scott’s Blade Runner, I thought there was something truly different about it that charmed and fascinated me.
First, the dystopian atmospheres and retro futuristic architectures in the film were absolutely intriguing; second, I thought the impossibly perfect hairstyle, evoking the 40s, sported by experimental replicant Rachael (Sean Young) was extremely covetable (I was convinced her hairstyle was so perfect only because she was a replicant…).
Rather than putting me off, the oppressively dark atmospheres, the architectures displaying a sort of clash between a high-tech future and an Art Deco past full of ziggurats and streamlined shapes borrowed from Fritz Lang’s Metropolis, exercised a strange attraction upon me.
I wasn’t the only "Blade Runner victim", though: as the decades passed, the film achieved cult status, turning into an inspiration for directors, writers, set designers (the recent Metropia definitely displayed some kind of Blade Runner connections in its sets) and obviously fashion designers.
One of the latest examples of fashion designs infused with a touch of Blade Runner-ism is definitely the Autumn/Winter 2010 collection by Brazilian brand Animale.
Founded in the 90s by Claudia, Roberto and Gisela Jatahy, and led by creative directors Marta Ciribelli e Priscilla Darolt, the brand is more known for its collections usually based on a specific dichotomy, nature Vs technology, and for its use of technological textiles.
Animale’s A/W 2010 collection, entitled “Criptonita”, moved again from the brand's dichotomic inspiration, focusing this time on the geometrical forms of crystal and minerals and on mechanical parts and mechanisms.
Crystals and minerals were represented by the silicone spikes applied to coats, jackets and dresses that at times called to mind rock formations such as stalactites and stalagmites (the main reason why the A/W 10 campaign photo shoot by Henrique Gendre was shot in the Caverna do Diabo, near the city of Eldorado – you can check out a couple of short films shot in the caves here).
Three dimensional prints of gears, bolts, nuts and mechanisms were instead used to bring to life the second and more technological theme of the collection, mainly tackled through black and grey designs with just a splash of red (View this photo).
In some designs this theme was also given a sort of architectural edge as the prints seemed to form retro-futuristic landscapes.
Further contrasts were created in the collection by mixing soft and rigid/natural and high-tech fabrics and by focusing on sharp and precise shoulder shapes and asymmetrical constructions mainly employed to create new visions of cyborg or replicant women.
The high-tech theme of the collection was reflected also in the sculptural stingray or sharkskin leather ankle boots (View this photo) embellished with an architectural heel and metallic elements and in the oversized bangles forming spine-like structures that coiled around the models’ wrists.
Echoes of Animale's passion for experimental technological designs were also clear in the Spring/Summer 2010 collection that featured designs characterised once again by strong silhouettes, experimental robotic jackets and short structured dresses in a mix of different materials, see-through elements and perforated fabrics, with an emphasis on asymmetrical cuts.
I really hope to see the tech-noir theme developed in future collections by different fashion houses and brands. I'm sure indeed that such a theme can definitely help designers developing rather original clothes and accessories, helping them experimenting also with new and innovative materials.
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