The history of fashion also passes through the Matrix

More than a simple film, the Matrix has represented a phenomenon of costume of those able to have a before and an after. With its bullet-time and runs on the walls, the film of the Wachoswki sisters has brought to the big screen a cyber-punk imaginary by clearing it in a pop key to the general public in a success possible thanks to the work of costume designer Kym Barrett, able to create a series of looks remained etched in the memory not only of viewers, but also of the fashion world. As the fourth chapter of the saga, directed this time only by Lana, prepares to arrive in Italian cinemas, it is impossible not to want to retrace that memory lane made of leather jackets, combat boots and sunglasses.

To understand the impact of The Matrix on the fashion world, it would suffice to mention Dior's Fall 1999 runway show, when only a few months after the film's release at the cinema, John Galliano decided to embrace the aesthetics of Neo and Trinity by bringing to the runway a series of looks in which leather was the absolute protagonist. Years pass and in 2019 Balenciaga decides to make the video of its Summer 19 campaign paying homage to the Matrix in a perfect encounter between the aesthetics of the film and that of the brand under the creative direction of Demna. Despite a decidedly posh result, the campaign is an excellent example of how even years later the charm of the trilogy has continued to influence the fashion world, passing, in this case, from one Gvasalia to another to arrive at the Spring/Summer 2022 collection of Vetements, renamed just "Matrix", in which Guram chose to launch into the wildest citationism, filling the items with long codes for an effect not so far from that of the official merch of the first films, resurfaced in record time on Grailed and eBay.

Between nostalgia and immortal classic, the style of The Matrix seems to be back in vogue thanks to Resurrection in which, in the great game of meta citationism that pervades the film, Neo and Trinity once again return to dress their most famous outfits in a return to the 90s that goes well with the revival now perennial that we have learned to know, a feeling of deja vu that goes well with the story of The Matrix. Despite the absence of Kym Barrett in the fourth chapter, replaced by Lindsay Pugh, the sartorial inspirations and PVC are still the cornerstones of the aesthetics of the saga in which the plot requirements (without spoiling anything) offer some twist in the outfits of Yahya Abdul-Mateen II and Jonathon Groff, while remaining faithful to that imagery that has changed the way we see the cinema our relationship with the black leather trench coat.