Article Title

Author Name





Illustrations by {name}

{excerpt} A sprint is when a company or team dedicates a certain amount of time (around 2-4 weeks) to work on a specific project at full speed.

{0} Min read

Profile picture of Angelica Frey

5 min read

Loewe's 8-bit hoodie was peak videogame core. But digital fashion is turning away from gamer tropes

Futuristic fashion used to be synonymous with sci-fi video games. Now online spaces are breaking free of the aesthetic they helped create.

A model in a blue turtleneck stands at an angle with her head turned in front of an olive green background. Parts of the photograph are intentionally pixelated, and have coding text layered over it.

Stay informed on all things design.

Thanks for submitting!

Shaping Design is created on Editor X, the advanced web design platform for professionals. Create your next project on Editor X. 

Every fashion week has its viral moment. Last year, all people with a waist-to-hip ratio below 0.7 shuddered in horror as Miu Miu proposed an ultra-low-rise miniskirt combination, which heralded the return of early ‘00s fashion. This past September, however, it was not an unfortunate silhouette to make headlines. Rather, it was an ensemble by Loewe, which, from afar, looked like an 8-bit sprite animating the runway. The khaki pants had some darker squares mimicking a shadow, while the outline of the white top was, by all means, made to resemble the pixelated black edges of Nintendo-era Mario clouds.

Loewe’s look was perhaps the most pointed reference to video game UI design over the past few years, but it wasn’t the first. Defining elements of what we deem video game-like fashion, which include iridescent textures, armor-like ornaments coupled with flowing fabrics, cutouts, and facial jewelry and headpieces, have fully seeped into the zeitgeist.

Consider Beyoncé’s space-age disco ensembles for Vogue UK; Grimes’s series of cyberpunk and surrealist outfits for Vanity Fair and Vogue China, and her space-operatic metaverse debut; Mamoru Hosoda’s title character in the metaverse-set movie Belle, and a “digitally reimagined” Marilyn Monroe in an iridescent bodysuit for CR Fashionbook, designed by self-described “metaverse native” fashion house Auroboros. All of those looks, designed by couturiers, make the subjects look less like music, movie, and animation-era icons than characters in an epic video game franchise. And now that the video game aesthetic has reached broad adoption, it seems a new in-game aesthetic is booting up online.

In-game to in real life

In the past five years, the futuristic video game aesthetic evolved from being a niche widely appreciated by cosplayers to a mainstay, thanks to a few key factors. On the one hand, online multiplayers that have been increasing in popularity, like Fortnite and Minecraft, place a lot of emphasis on customization, which incentivizes players to create the most extravagant outfits possible. On the other, Twitch streamers, along with their in-game inspired aesthetic, reached mainstream success, thanks to the popularity of the “E-girl” aesthetic among gen-Zers.

There’s also the 20-year nostalgia cycle to thank. We’re now fully in a Y2K nostalgia era among the Gen-Z cohort—and that includes the combinations of sleek, utopian, metallics, cyberpunk-ish, shiny leather and flowing fabrics that were a hallmark of Sci-Fi movies of that era (think the Anakin saga of Star Wars; The Matrix; and Final Fantasy VII to X). The previously mentioned digital design house Auroboros, which often collaborates with Grimes, heavily relies on a combination of cyber and biophilic elements (say, an armor displaying a fern or coral-like growth).

Over the past couple of years, these online aesthetics have started to cross over to IRL physical looks beyond cosplay and alt-fashion. The Japanese, New York-based designer behind Beyoncé’s disco-android look for Vogue has been busy lately: he’s also dressed Spice, Chloe x Halle, Paris Hilton, Lizzo, and Rify Royalty. (His androids originated from the need to adapt armor-like looks, which were made famous by Thierry Mugler’s 1995 “Maschinenmensch” collection, to dynamic stage performances.)

Tokyo and Paris-based brand Anrealage also collaborated with Mamoru Hosoda’s Belle for IRL Spring 2022 fashion week in Paris. The label treads the line between Matrix-like cyberpunk and millennium style à la the 1999 Dreamcast game Space-Channel 5, seamlessly shifting between prism-like garments and moonscape-inspired retrofuturism. In terms of accessories, designer Gregory Kara, who designed cyber-elven-like facepieces for Grimes, created the pieces worn by Willow Smith for Glamour UK’s September 2022 digital cover.

It’s easy to see why videogame fashion resonates so much with audiences: Its origins are deeply embedded within a larger pop-cultural fabric. In the past three decades, the video game industry has created a host of looks that are now on a par, in terms of cultural significance, with Star Trek uniforms and Princess Leia’s all-white gowns. Think of Lara Croft’s crop top and khaki shorts; the art-nouveau/steampunk-inspired costumes designed by artist Yoshitaka Amano and the Y2K, zip-centric getups designed by character designer Tetsuya Nomura for characters in the videogame Final Fantasy; or the coquette and goth outfits of the android 2B in video game Nier Automata. The aesthetics of the Final Fantasy characters have been so genre-defining that they were heavily featured in collaborations with big name designers like Prada (2012), Louis Vuitton (2016), and Vivienne Westwood, who designed an original in-game wedding gown for Final Fantasy XV.

That’s not the only reason in-game aesthetics have broad appeal. According to CJ Yeh, a designer and artist who teaches at FIT, the digital designers behind video game costume design often work across cultural disciplines like film, animation, and video games, “to create visual design for objects, characters, or environments that do not yet exist.”

Futuristic without the fantasy