Material afterlives: Fashioning AI in the Bladerunner universe

Much has been written about the fashion of Bladerunner (1982) and its legacy, through the influence of concepts such as Neo-Noir and Cyberpunk. The subsequent impact of the film on the fashion industry has allowed it to become a regular source of inspiration for many influential fashion designers such as Alexander McQueen and Raf Simons. McQueen's Givenchy Fall 1998 Couture Collection and Gareth Pugh's Fall 2016 Ready-to-Wear Collection revive Rachel’s noir aesthetic for the catwalk which include her iconic 40s silhouettes and infamous fur coat. Jean Paul Gaultier’s 2008 couture show put the character of Pris centre-stage, basing the collection on the Punk femme fatale. What is most notable here is that these influences and examinations tend to focus on the impact of womenswear and the female body through exploration of characters from the original film such as Rachel and Pris. Arguably, there is less academic discussion and documentation of the influences in fashion which specifically concern the characters of Deckard and Roy, their choices in clothing and the impact of these menswear pieces within popular culture. Interestingly, there seems to be evidence to show that there is a growing online community interested in purchasing their menswear pieces, with consumers easily navigating the internet to find replica items of their clothing to buy. This community has steadily grown with the extension of the Bladerunner universe through director Denis Villeneuve’s 2017 film Bladerunner 2049. You can now purchase your own version of Officer K’s coat for around $450. This paper will therefore consider the impact that the menswear of the Bladerunner universe has, including analysis of the fashion of the film, and consideration and insights from the costume designers of both the original film and its more recent adaptation. How are these questions of embodiment of self explored in film’s afterlives