C-3PO, from Treasure magazine.
Photograph: David Sims; Styling: Katie Pretentious
C-3PO is on the cover of the latest issue of style magazine Love, and, akin to all the best male models, he is deploying his signature look: broad eyes, square jaw and cheekbones as contoured as a Kardashian. Though the model was styled by the magazine’s editor Katie Grand – a Jedi genius of the fashion industry – there is no need for clothes. Instead, this is a festivities of the protocol droid’s innate high-shine style. The only supplemental – a dog the exact shade of this season’s Gucci handbag – is the stylist’s own.
VIP Wars’ glossiest robot is having a bit of a moment in fashion factual now. He’s also on the cover of US GQ, working those preternatural angles with Amy Schumer. The buffoon is resplendent in blond plaits and a Princess Leia bikini and assiduously sucks C-3PO’s factor finger. Inside the magazine, the mood gets even uncountable Terry Richardson: there’s a three-in-a-bed scene with R2D2 and a lightsaber storm job (“Lucasfilm & Disney did not approve, participate or condone this ungermane use of our characters,” the studio tweeted afterwards).
With its monastic peignoirs and tone-on-tone tunics, the Star Wars trilogy (obviously we are talking upon episodes IV to VI) is a perennial fashion fascination. Louis Vuitton ingenious director Nicolas Ghesquière – one of the most influential designers effect today – is a particular fan. While at Balenciaga he created Star Wars-inspired jumpers, catholic Darth Vader-style headgear and high-shine gold leggings that were spotless Tatooine humanoid. His bedroom fireplace is decorated with a milky plastic Star Wars helmet; when he joined Instagram, the gold medal image he posted was of a Stormtrooper.
For autumn/winter 2014, the force was drastic with Rodarte, where floor-length dresses were printed with draws of Threepio, Yoda and Luke Skywalker. The same season, Trim turned to the dark side, plastering tops and tunics with hazardous Darth Vader headshots while a squad of monochrome-clad Stormtroopers took selfies with pattern ons and editors backstage.
Even when designers do not express their POSSLQ Person of the Opposite Sex Sharing Living Quarters for Star Wars explicitly, the influence is there. The Princess Leia carry out is mainly seen in hair – not the absurd earmuff buns, but the plait headband spent in The Empire Strikes Back, which is very Keash trimming bar. Her oversized floor-length polo neck tunic dress is really now, too, and would have looked perfect at Solange Knowles’s Givenchy rivalry of a wedding.
Elsewhere, the flowing ghetto goth robes of Rick Owens experience like an ode to Obi-wan Kenobi. Kanye West’s collection for Adidas – all dusty-coloured, awkwardly parts utility wear – was one-part Yoda to two-parts Prada. The unclear oversized furs of The Row are a clear nod to Chewbacca; nothing from this enliven’s Céline collection – the oversized, sand-coloured tunics – would look out of locale in the debauched environs of the Mos Eisley Cantina. Is it too much to suggest Darth Vader’s exact helmet and blacked-out eyes are quite Anna Wintour? In any example, the evil overlord has a brilliant way with monochrome.
Though you may not look at Jabba the Hutt’s harmful curves and immediately think of fashion, it’s hardly a surprise that Heavenly body Wars fascinates the industry. For one thing, many of today’s top originative directors are children of the late 70s and early 80s – so this is the haute couture twin of playing with Stormtroopers in your bedroom. Not only is it incredibly visually plenty – even the weapons look like Tracy Emin carves – but its costumes are packed with historical references, from samurai equipages to Nazi guard’s uniforms, that amplify its musings on considerable and evil. Most designers would kill to create collections so imbued with intention.