The influence of vampire mythology on fashion, especially in terms of gender fluidity, has grown steadily, with vampiric aesthetics becoming a powerful symbol in pushing the boundaries of gender norms. From popular culture to high fashion, the vampire has been portrayed as an androgynous figure, blending masculine and feminine traits, which has resonated with fashion designers aiming to challenge traditional definitions of gender. Vampires have long been depicted in literature, film, and television as fluid, mysterious beings that transcend human boundaries. In shows like Buffy the Vampire Slayer , Penny Dreadful , and What We Do in the Shadows , vampires frequently possess an androgynous look, pairing leather with lace or mixing sharp suits with long, flowing garments. This presentation mirrors the vampire’s duality, a creature that is neither fully male nor female, immortal yet still grappling with human desires.
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The 1990s had a love affair with vampires, with the supernatural creatures dominating both television and film. Buffy the Vampire Slayer became a cult classic, showcasing mysterious vampires with gothic, edgy fashion. However, one of the most iconic depictions of vampires in popular culture is Interview with the Vampire , the 1994 film starring Tom Cruise and Brad Pitt . The film explores the complexity of vampire relationships and their connection to gender fluidity, portraying vampires as androgynous, seductive figures. The pale, decadent look of the vampires, dressed in garments made from rich fabrics, has left a lasting influence on the gothic aesthetic in fashion.
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Alexander McQueen drew from vampire mythology for his Spring/Summer 1996 “The Hunger” collection, which was based on the 1983 erotic vampire film The Hunger starring David Bowie , Catherine Deneuve , and Susan Sarandon . The collection featured elements that evoke a vampiric charm—dark, dramatic clothing with sharp tailoring, and a blend of seductive and haunting visuals. Bowie, a gender-fluid icon known for challenging traditional gender norms, adds another layer of relevance to McQueen’s exploration of fluid identity. Models walked the runway in pieces that referenced the film’s themes of eternal youth, often dressed in deep, shadowy tones like black and blood red. McQueen used fabrics like velvet, leather, and lace to create a vampiric aesthetic, pairing traditional gothic elements with a modern, avant-garde twist. This collection helped cement McQueen’s reputation for pushing the boundaries of fashion by drawing on themes of death, seduction, and power.
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Building on the seductive themes of his Spring/Summer 1996 “The Hunger” collection, Alexander McQueen continued to explore gothic and macabre elements in his Fall/Winter 1996 “Dante” collection. This time, McQueen explored themes of religion, and resurrection more deeply, drawing inspiration from Dante Alighieri , whose focus on immortality and the afterlife resonates with vampire mythology’s fascination with eternal existence and its consequences. The show was staged in a deconsecrated church, enhancing the ritualistic tone of the presentation. Models with pale makeup and dark lips walked the runway in corsets and military-inspired coats, blurring the lines between masculine and feminine, a signature of McQueen’s fascination with androgyny. The “Dante” collection solidified McQueen’s reputation for pushing fashion’s boundaries, using provocative storytelling alongside cutting-edge designs that challenged societal norms and traditional beauty standards.
The resurgence of vampire-inspired fashion in the mid-2010s closely aligned with the release of Only Lovers Left Alive (2013), directed by Jim Jarmusch . The costumes in Only Lovers Left Alive (2013), designed by Bina Daigeler , played a significant role in portraying the timeless, androgynous aesthetic of the film’s vampire characters, Adam and Eve, played by Tom Hiddleston and Tilda Swinton . The characters’ sartorial choices, marked by flowing, layered clothing, a dark color palette, and luxurious yet minimalist fabrics—capture the essence of vampires as eternal, gender-fluid beings. Eve’s wardrobe features soft fabrics such as embroidered pajamas, buttery leather gloves, and luxurious robes that seem to act as a second skin. These garments, minimalist yet rich in texture, reflect her centuries-long existence and the cultural influences she’s absorbed over time. Her style in the film combines both masculine and feminine elements, combining them into a look that is timeless and undeniably vampiric. In contrast, Adam’s outfits, primarily made up of unbuttoned shirts, painted-on jeans, and leather jackets, give him a more lived-in, rock-star look, symbolizing his detachment from the modern world. Both characters’ clothing emphasizes the concept of immortality through their use of well-worn pieces, further reinforcing the film’s theme of eternal existence and its connection to gender fluidity.
Unlike Only Lovers Left Alive , which took a minimalist and more modern approach to its vampire characters’ wardrobes, Penny Dreadful embraced a richly detailed, Victorian-inspired aesthetic that played a central role in shaping the show’s visual narrative. Costume designer Gabriella Pescucci crafted elaborate costumes that reflected the darker, more mysterious side of the Victorian era. Characters like Vanessa Ives, portrayed by Eva Green , wore garments featuring high collars, lace, velvet, and intricate embellishments, which helped to create an atmosphere of gothic sophistication. These costumes not only amplified the eerie tone of the series but also reignited an interest in fashion that bridges historical elegance with the fantastical.
High-fashion designers have taken these vampiric representations and infused them into their collections, often presenting pieces that reflect the sensuality associated with vampires. For instance, Alessandro Michele ’s Fall/Winter 2018 Gucci collection was a theatrical and surreal spectacle, set in a space resembling an abandoned hospital operating room. The use of ultra-realistic props, including severed heads and dragons, gave the runway nightmarish quality. Slicked-back hair, bleached eyebrows, and pale complexions contributed to an ethereal look enhancing the dramatic feel. Clothing in the collection merged Victorian and contemporary elements. Models wore intricate lace, velvet, and oversized coats, mixed with bold, modern pieces like sharp suits and colorful, streetwear-inspired layers. Androgyny was a key theme, with men in lace dresses and women in oversized suits, blurring traditional gender lines. Opulent accessories, including ornate headpieces and gothic crosses, added a historical yet avant-garde dimension to the looks. Michele’s choice of combining dark, almost grotesque elements with playful, opulent details created a visual narrative that questioned identity and transformation.
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Rick Owens ‘ fascination with fluid, genderless beings, such as the Fecal Matter duo , aligns perfectly with his ongoing exploration of androgyny and non-conformity in fashion. Both Owens and Fecal Matter are known for pushing the boundaries of conventional beauty, rejecting societal norms in favor of a more radical and otherworldly approach. Fecal Matter’s body modifications, alien-like appearances, and eerie aesthetics resonate with the vampiric influences that Owens has consistently drawn upon throughout his career. His collections frequently feature elongated, draped silhouettes, dark color palettes, and minimalist yet dramatic cuts, which evoke the image of an ethereal, timeless figure—much like the mythical vampire.
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Rick Owens’ Fall/Winter 2016 collection, titled “Mastodon,” was a display of the designer’s signature exploration of androgyny, dystopia, and gothic influences. The runway was filled with oversized silhouettes, dramatic draping, and dark, muted tones, creating an atmosphere that felt both ancient and futuristic. Drawing from gothic and vampiric sensibilities, the models moved down the runway with slow, deliberate movements, dressed in cloaked, layered garments – Owens incorporated materials such as wool, leather, and canvas, crafting garments that appeared almost sculptural in nature. The muted color palette of blacks, grays, and earth tones, with occasional blood-red accents, enhanced the otherworldly vibe. The collection’s inspiration was drawn from themes of extinction and survival, as seen in the puffer-style outerwear resembling protective armor. The setting and the models’ slow, deliberate pace evoked a sense of unease, adding to the collection’s apocalyptic tone, further cementing Owens’ ability to merge high fashion with subversive, dark narratives. The oversized outerwear and dark, flowing silhouettes seen in Mastodon reflect a dystopian vision of the future, one in which identity and aesthetics transcend conventional norms, allowing for a more fluid expression of self. This fusion of high fashion with the darker, more avant-garde elements of streetwear has made Owens a key figure in pushing the boundaries of what is considered fashionable, blending elements of goth and punk to create his own unique space within the industry.
Thom Browne ’s collections are known for taking inspiration from American gothic iconography, transforming these dark, symbolic narratives into fashion in ways that challenge the binary nature of menswear and womenswear. His Fall 2024 collection, for example, was heavily inspired by Edgar Allan Poe ‘s “The Raven”. Models walked through a snowy set, with the ominous recitation of Poe’s poem. Browne’s use of dark themes, like the brooding presence of ravens and mourning lovers, combined with his signature sharp tailoring and oversized silhouettes, creates a unique intersection of gothic romance and contemporary design. By combining structured tailoring with lace and embroidery, he challenges conventional gender distinctions in fashion.
Dilara Findikoglu and Elena Velez are emerging designers who have brought fresh energy to the vampiric aesthetic by combining gothic and punk influences with contemporary fashion sensibilities. Dilara Findikoglu, in particular, has earned a reputation for her rebellious, dark, and gender-fluid designs that challenge traditional norms. Drawing from punk subcultures, Findikoglu’s collections frequently incorporate corsetry, lace, and dramatic silhouettes. Her pieces evoke the mystery and seduction often associated with vampire lore, while offering a modern, inclusive take on identity and gender expression.
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Elena Velez , on the other hand, brings a more industrial twist to the vampiric aesthetic, blending raw materials with softer, feminine details to create a powerful contrast. Her work often features utilitarian fabrics like metal and industrial-grade materials, combined with delicate elements. This fusion of harsh and gentle materials reflects the duality often present in vampire mythology—strength and vulnerability intertwined. Velez’s designs play with gender expectations, offering a new interpretation of androgyny that plays with both toughness and elegance, making her one of the most distinctive voices in the emerging fashion scene.
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In contrast to Findikoglu and Velez’s darker, more industrial takes, Palomo Spain offers a flamboyant and romantic interpretation of the vampiric aesthetic. Known for its celebration of androgyny, Palomo Spain’s collections often draw from historical references, particularly Victorian fashion, to create gender-fluid pieces that are as theatrical as they are luxurious. Voluminous sleeves, high collars, and opulent fabrics like velvet and silk give the brand’s designs an aristocratic touch, reminiscent of the elegance attributed to vampires in pop culture. This blend of old-world opulence with contemporary gender expression makes Palomo Spain stand out in the fashion industry. The work of these designers also reflects a broader trend in fashion, where gender boundaries are being increasingly questioned and redefined. By incorporating elements of gothic and vampiric aesthetics, they draw on the themes of transformation and fluidity that are central to vampire mythology. In doing so, they create a modern interpretation of fashion that embraces the ambiguity of gender.
Vampiric mythology has left an indelible mark on fashion, serving as a metaphor for rebellion against societal norms. The gothic and androgynous essence of the vampire continues to push fashion’s boundaries, exploring not just clothing but the complex dynamics of identity, gender, and cultural expression. Vampiric influences invite us to imagine a world where traditional roles no longer apply, allowing for greater creative freedom and authenticity in self-presentation. The future of fashion will likely see an even greater embrace of these narratives, where the lines between fiction and reality, as well as masculine and feminine, cease to exist.
