Ready for a cybergoth revival? The Matrix is celebrating its 20th anniversary this year, and Variety has just announced that there will be a Matrix 4, to be directed by Lana Wachowski and again starring Keanu Reeves and Carrie-Anne Moss.
The costumes in the first Matrix were hugely influential. Working within a tight budget, costume designer Kym Barrett (Romeo + Juliet, Us) placed the emphasis on texture and movement, using low-cost materials like PVC and a wool blend for Neo’s coat. The rebels were also outfitted in custom accessories, with boots by Barrett and bespoke eyewear by Richard Walker.
The first Matrix film even inspired John Galliano’s Fall 1999 couture collection for Dior. Presented at Versailles, the collection mixed futuristic raver-couture with more fanciful references like “Gainsborough in Persia.” (“The dresses are evil, evil,” Galliano was quoted saying. “But you have to have the Romantic. They die for that, my ladies.”) As Vogue’s Hamish Bowles wrote, the couture clients warmed more to the 18th-century looks than to “Matrix cybervixen.”
It wasn’t until 2003’s big-budget sequel, The Matrix Reloaded, that Neo got his famous cassock coat.
The first Matrix-inspired costume patterns came out in 2003.
Simplicity’s Neo and Morpheus / “Men’s and Teen’s Duster” must have sold well: the pattern was rereleased with an updated envelope in 2017. (See top of post.) Now backlisted, it’s still available from the company website.
Thanks to the sequel’s higher budget, Barrett designed Trinity’s pieces for better-quality PVCs (then newly available), with patent leather used for closeups. For the women’s pattern, Trinity’s PVC bustier-coat ensemble effectively devolves into its separate elements: a princess-seamed duster, corset top, and pants. The pattern calls for stretch vinyl, leather-like fabrics, and synthetic patent leather.
The following year, Butterick and McCall’s released men’s and children’s Neo patterns, but none for Trinity. Both cassock coats share an authentic, if painstaking touch: lots of covered buttons.
It would be another decade before Andrea Schewe designed a more accurate Trinity duster. Released in Simplicity’s 90th anniversary year, the PVC duster was paired with a Kingdom Hearts cosplay coat.
Here’s S8482 with more sci-fi (Firefly and Rogue One) in the seasonal catalogue:
There’s no word on the costume designer yet, but production on the new Matrix begins in 2020.
With the advent of goth—or the New Romantics—in the late 1970s, fashion in a gothic mode began to show the influence of both romanticism and contemporary subculture. Nina Ricci’s romanticism turned dark in the early 1980s. I like to picture Vogue 2582 with granny boots and Siouxsie Sioux hair:
Vogue 2604, a floor-length strapless gown with attached sleeves, has a more Countess Bathory feel. The ruffle-trimmed version of Vogue 2604 was featured on the cover of Vogue Patterns’ holiday issue:
These early ’80s editorial photos convey the dark romantic mood:
Later in the decade, the fashionable oversized silhouette and low hemlines could express a moody romanticism. From Esprit, Simplicity 6978 is a loose jacket and long, full skirt. Shown in black, the ensemble is very Lydia from Beetlejuice:
Judging from Vogue’s September issues for 1993, Fall ’93 marked a return to the lusher side of romanticism.
Donna Karan’s Fall collection (presented just days after Eiko Ishioka won the costume design Oscar for Bram Stoker’s Dracula) featured lace accents, choker and cross accessories, and lots of black. Vogue 1293 is a long dress consisting of a body with attached, high-waisted skirt:
Similar Donna Karan dresses opened a British Vogue editorial shot by Mario Testino at Bolton Abbey, Derbyshire (headpieces by Slim Barrett):
This cold-shoulder gown must be from the same collection:
In the later 1990s, Anna Sui showed a fall collection inspired by goth subculture. From Fall 1997, Vogue 2072 combines a historicizing, Vivienne Westwood-style mini-crini with club-kid accessories. The dress was worn by the young Sofia Coppola (previously seen in my Anna Sui series and ’90s goth post):
Another element in the romantic/gothic repertoire is tzigane or ‘gypsy’ looks. From Yves Saint Laurent Rive Gauche for Spring 1999, Vogue 2330 is a long, flowing, off-the-shoulder dress. The envelope shows a mourning-appropriate mauve, but it was also shown in sheer black:
Spring 1999 was Yves Saint Laurent’s last collection for Rive Gauche, and Mario Sorrenti’s valedictory advertising campaign for that season references great European paintings. Here the archetypically enigmatic Mona Lisa, dressed in black Rive Gauche, poses with a male model with Asian tattoos:
Finally, in the late 1990s, Simplicity licensed designs from Begotten, a historically-inspired clothing line designed by Dilek Atasu. The patterns included a cape (S8987) and men’s poet shirt (S8615). Simplicity 8619, an empire gown with optional lower sleeve flounce, channels Mary Shelley:
In the 2000s, gothic sewing patterns shift away from mainstream fashion toward subcultural costume for “our own Romantic Revivals: Goth, that pas de deux with death, and Steampunk, a mating of Queen Victoria and Thomas Edison.”* Hammer Horror fans have “gothic costumes” McCall’s 3372 and McCall’s 3380; cybergoths can make dusters based on the costumes in The Matrix (1999) (Simplicity 5386, etc.); and Arkivestry and its offshoots cover everything from old-school gothic heroine to Loli to Steampunk.
Meanwhile, a gothic trend is predicted for Fall 2016. Are you ready?