In the 21st century, It seems that fashion travels to the moon. Thus, in the 60s it was rage that the clothing designers borrowed the space aesthetics to emulate it on the catwalk – both in the appearance of the materials as in the morphologies they used – now, on the back, on the back, The fashion creators (and also those of cinematographic costumes), are requested to penetrate the costumes that will dress the astronauts of this era.
Something that, in times of metaverso, invests the aforementioned idea that reality surpasses fiction. On the contrary: the fictional – it is already created for the fashion scene or for the screen – it gets fully into the needs and The technological challenges involved in the design of attire for explorations to space.
In addition, it is novel, not only for the imprint of these costumes, but because brands and makers rather accustomed to the extraordinary and glamorous, View, or dwind, As the case, decisions involving researchers, scientists and governments.
And if among the former, more than six decades were Pierre Cardin, André Courrèges and Paco Rabanne, the main drivers of the space age In fashion, with the commercial eye placed in the event of the moon landing in 1969. Cosmocorps, the legendary collection of Pierre Cardin was revised in 2022 by the firm as a tribute to the pioneer creator in the subject. In turn, Rodrigo Basilicati-Cardin, nephew of the famous designer and CEO of the company, also ventured into the development of galactic costumes. It is a collaboration with the European Space Agency (ESA), whose destination will be another lunar mission.
Then it was the turn of Thierry Mugler in the 80s and, already in this century, Karl Lagerfeld not only mixtured Chanel’s clothing hits with galactic references, but dared to include a rocket as part of the performance of the parade in the Grand Palais in Paris in 2017.
Now, on the other hand, the fashion collections and the attire used in the cinema and other fictions are the focus of interest for the next expeditions; Both that of Spacex, the company led by the omnipresent Elon Musk, the same as NASA’s artemis III mission planned to explore the southern pole of the moon.
The first promoters of the Space Age in fashion were Pierre Cardin, André Coureges and Paco Rabanne.
Prada was involved in the latter. The legendary Italian brand, with more than 110 years in the Fashion market, will be part of the journey by merging its extensive knowledge in materials and the Savoir Faire in the clothing, with those of the Axiom Space space company. The result? Axiom Extravehicular Mobility Unit (Axemu), the design that was presented at the International Astronautical Congress in Italy, and then had its version by flying installation in the Galleria Vittorio Emanuele II of Milan.
Made of a white textile that reflects heat and gives protection to extreme temperatures and lunar dust, It also has lateral and frontal details of red stripes, which are inevitably associated with Prada Rossa Prada; The collection that united fashion and sport, about the participation in the Copa América de Vela in 1997.
This creation, that this year enters the critical phase of review, It also promises improvements in hull and visor coatings, the same custom gloves. And anticipates that it will allow them to make a space walk of at least eight hours.
In addition, it adapts to different crew members, something that It can be parangonized with the imperatives of current fashion with focus on diverse bodies and without gender distinction. Indispensable if one takes into account that Christina Koch will be the first Astronaut woman to reach the moon.
The new astronaut suits are thought of as “a second skin.”
Fictions
Hollywood Paraphernal is not far behind and also dares space. That is the case of José Fernández, the renowned Mexican costume designer who rose for his work in Alice in Wonderland de Tim Burton, Black Panther, The fantastic four y Batman foreveramong other films.
It transpired that Fernández was summoned by Elon Musk to participate in a contest to create space costumes for Spacex’s missions, PSouth African ropiety, obsessed with the idea that in the future any human being can undertake a tourist trip to space.
According to the BBC, Starman is the design name They carried the experienced astronauts Robert Behnken and Douglas Hurley for launch Crew Dragon to the International Space Station, during the 2020 pandemic.
And that would have been the same model of outfit, which previously dressed the mannequin that traveled to space in a Red Sports Roadster Auto, as a load of the Falcon Heavy rocket. Another ultra viralized Berretin of Musk, which can be followed online and see what phase of the trip is traveling.
How is it done? Formed by a single piece, it is also white, of minimalist appearance. It has a 3D print helmet with an integrated microphone and gloves according to the touch screens. And while it cannot be used to give space walks, it does have a possible sparkling technology, such as the orange costumes of yesteryear, but sophisticated.
Beyond the characteristics of each of these products, if read under the magnifying glass of the design of this era that, in broad strokes, is marked by the sustainability and the appearance of new materials, what will be the indispensable thing for the developments of the future?
“Technologies that help make them more agile, comfortable and light”, Says Guillermo Trotti, an Argentine architect expert in space designs, who knew how to be a consultant for NASA and professor at the University of Houston. “It will have to miniaturize everything related to the systems that maintain the atmosphere within the costumes,” he expands and clarifies that, in addition, advances in structures will be necessary to be able to achieve an extravehicular model Activity (EVA) that Help, accelerate, and do not limit astronauts in the exploration of the surfaces, either on the moon or Mars.
Trotti is based on his own experience. He, together with his wife, astronomical researcher and director of the MIT Media Lab, Dava Newman, They are the brilliant minds that during the last decade revolutionized the scenario of space design with the BIOSUIT ™ proposal.
This prototype, which precedes the states of fashion or cinematographic origin, was thought of as a “second skin.” And, among other findings, It was characterized by leaving behind the idea of hyperbolized and heavy costumes, to prioritize protection and above all mobility. One of the premises is, precisely, to be able to achieve more freedom of movement, although minimizing the energy used by the astronaut.
¿El plus? LTo technology of this suit could be used on Earth, if, for example, it is used in medical applications for people suffering from diseases With consequences on locomotion. The reference is worth: BIOSUIT ™ was exhibited in the Superheroes exhibition held at the Metropolitan Art Museum in New York in 2008, also at Venice Biennial and in Victoria and Albert Museum in London, among others.
Regarding the latter, there are no doubt that one of the central issues of clothing, and of these costumes, is the social role and purpose that accompany, beyond the Marketi gadgets and the fantasy that the catwalk or the screen can cause . Both when they are designed for the characters that make up a fashion collection, as well as those originally thought for a series or film, the same and, above all; those destined for spatial explorations.
A helmet was the artifact that definitely moved Elon Musk. That design is the one that José Fernández could do in just two weeks, when he was invited to compete for the attire around the Spacex mission. Of course, the Mexican creator already had extensive experience in this type of accessories, it is enough to remember that he is the author not only of the helmets but of the complete outfits – more well of tailoring – that the French Daft Punk musicians showed on the carpet Red of the Grammy 2014. In the musical field it also contributed to the performative locker rooms of Will.i.am and Niño Kudi, among other artists.
José Fernández, the Mexican designer, fascinated Elon Musk with helmets.
Future design
“This project current was born at the beginning of the 21st century, as a slope of design fiction”, Results Laura Novik, director of the Atlántida Futures Laboratory and Prospective Professor and Design Trends at the University of San Andrés, to reflect on collaborations such as José Fernández with Spacex.
“The science fiction genre in addition to introducing innovative concepts, can model the future by guiding the development of technologies ”he warns. And he acknowledges that there is a futures design that has a critical look of the present, and seeks sustainable solutions, such as the case of the Eco-Hábitat Marsha, created by the AI Space Factory architecture study for the Centennial Challenge Contest of the Centennial of the POT. “And other times, it highlights the potential to stimulate the imagination of a society anesthetized by consumerism and overproduction that destroys the earth,” says Novik, ” offering a hopeful vision of a life on Mars”, He concludes.