You think Blade Runner and you think aesthetics. The film is beloved for many reasons, but one of the biggest is its creative direction. Neon-lit, bustling streets under holographic billboards, cyberpunk sensibilities, a society that has fallen, a rise of advancements. The cult following of 2049 has been nothing short of extraordinary, and with the way the film mirrors society, it’s no surprise in terms of human relationships, Globalisation Modernisation, Morality, Freedom, Technology, and Identity. Ironically, the characters of Joi and K have a far more human relationship than many on screen.
Joi is the artificial intelligence belonging to Officer K created by the Wallace Corporation to satisfy consumer demands,. K’s Joi is truly everything you want to see or hear; she welcomes him home with open arms, sports any outfit he likes, and continuously gives him words of affirmation. Whether she’s on a billboard, cascading down in an apartment, or an emulated hologram an artificial companion that is more genuine than any actual person for a just as an artificial individual.
Speaking Personally, Joi is one of my favorite characters because she has so many sides to herself that we see through her costuming, she meets K’s gaze and reflects the desire to make tangible the identity that gives her purpose as she helps him find his purpose. We watch as K goes on this journey of self-discovery and sheds a false identity as she forms her own. It’s so interesting how this relationship is far more human than many on screen. She and K challenge us to reevaluate our identities by begging the question, “Why do I act and look the way I do? Who or what makes me who I am? ”
Normally I like to begin these analyses by defining the character’s look and exploring from this determined baseline, but with Joi is so fluid, ever evolving. The only constant is that she is this canvas and in reality, we all are. We don’t come into this world as someone who is defined by any one thing, but if I had to put a label on Joi I would say she is ideal because she can be anything.
Joi is very unique though because she is the concept of the ideal woman who is ever-evolving with K on his journey. In a nutshell, she symbolizes the commodification of intimacy or companionship but their bond though is far more nuanced than this. We are people who form personas of who we are, what is our purpose, and derive meaning from the world around us which in turn shapes our look. we project the archetypes not just on ourselves, but onto others. Personas and archetypes play a crucial role in understanding and connecting with the target audience. Both serve as tools to delve into the behaviors, attitudes, aspirations, and challenges of consumers. The primary distinction lies in their presentation and abstraction.
Joi partakes in every style personality possible throughout the film, but K takes on the style personality of the creative. The relationship K has with joi is one many have similar to art, where he treats her as if she is a canvas. Everything he feels, wants, and needs he gives to her such as belonging and freedom.
On the other hand, archetypes in fashion and style take a more abstract form. They represent broader patterns and universal symbols that resonate with certain segments of the audience. These archetypes could be based on cultural motifs, historical references, or even iconic figures in the fashion world. For instance, the “Bohemian Wanderer” archetype embodies a free-spirited, eclectic style influenced by nature and world travels. While personas provide a detailed and personalized understanding of individual consumers, archetypes offer a broader framework for conceptualizing fashion identities and trends.
But, as Postrel argues in The Substance of Style: How the Rise of Aesthetic Value Is Remaking Commerce, Culture, and Consciousness, “Aesthetics conjures meaning in a subliminal, associational way, as our direct sensory experience reminds us of something absent, a memory or an idea.”
Joi was designed to imbue K’s existence with significance by providing him with a companion who cares for him. She is everything he could want or dream of. In school I had a professor who would always speak about how graphic design isn’t easy, it isn’t the computer that the program is only as smart as you are, only as capable as you are. K is doing something very similar, while it may not be a graphic designer he is enhancing his capabilities and tools. He puts everything into Joi.
Costume designer Irene April decided to go for a straightforward and affordable coat made of laminated cotton, one that is a nod to the noirish trench of the original without replicating it. This coat had a faux fur high collar, which served the purpose of protecting him from pollution and harsh weather. She states on K’s design, “It’s pretty ugly on purpose,” April said. “As you can see, he’s not making a ton of money, and what he makes, he puts into Joi [his holographic companion played by Ana de Armas]. “I wanted a very clean cut look, almost military. And we could destroy it all along the movie.”
Joi is a post-World War II housewife providing dinner after a long day at work one moment to a dangerous and sexy bond girl the next. She wears a wide variety of trendy clothing that veers across decades, drawing inspiration from both Eastern and Western styles. She embodies the characteristics of these identities visually and creates the image he wants in the same way a lot of women will shape their look into the archetype they feel will make them desirable. Throughout the film, Joi has 25 costume changes and the actress Ana de Armas states, ““Costumes in this movie– […] it says a lot about my character because she doesn’t need to do it, but it says how hard she’s trying to keep it real for him [K]. How much she’s trying to please him and make him happy.” But it’s not one-sided.
Despite fashion’s more understated role, the film’s intricate symbolism—the craftsmanship, creativity, profound meanings, and ideas behind each character’s look provide context with each shot—delivers profound significance to viewers of the real human experience ironically in a man who is neither human or a hero and a cast of characters who embody different a parts of the human psyche. As individuals, we create our own identity, which is one of our first responsibilities in life. As we get older, our persona is formed, which is the outward expression of ourselves that we present to the world. Suppressing and disregarding the aspects that do not align with one’s public image until we fully embrace it. The persona is deemed special, the ego is cultivated to conform to the persona. However, the reality is that the persona is only one of many without a predetermined fate, and the suppressed aspects persist and reappear through projection despite attempts to suppress them.
The original film, often credited as pioneering the cyberpunk genre, effectively establishes a visual and thematic foundation that resonates with the essence of cyberpunk literature, notably William Gibson’s seminal work, “Neuromancer.” Within this genre, there’s a compelling juxtaposition between cutting-edge technology and a bleak, dystopian society, mirroring the intricate interplay of high-tech advancements and societal decay depicted in the book.
Central to the cyberpunk aesthetic is its amalgamation of various cultural and stylistic elements spanning different periods. Drawing inspiration from 1940s film noir, the genre incorporates the dark, moody atmosphere and morally ambiguous characters characteristic of the noir tradition. Additionally, influences from the 1990s gothic subculture infuse the aesthetic with a sense of macabre beauty and unconventional fashion choices, contributing to its distinct visual appeal.
Moreover, cyberpunk imagery often incorporates elements reminiscent of military uniforms and equipment, reflecting a society where corporate dominance and militarization have blurred the lines between civilian and military life. This blending of militaristic elements with futuristic technology underscores the theme of authoritarian control and surveillance prevalent in many cyberpunk narratives.
Furthermore, the cyberpunk aesthetic doesn’t shy away from embracing experimental and futuristic cybernetic aspects, emphasizing the fusion of human and machine. This convergence highlights society’s increasing reliance on technology and blurs the boundaries between the organic and the artificial.
The interaction between Joi and K may be seen as a symbolic representation of the merging of the anima and animus aspects of a person’s psyche. Through their contact, K develops an acceptance of his emotions and human nature, while Joi acquires a feeling of autonomy and self-sufficiency beyond her predetermined life. Their interaction emphasizes the significance of incorporating conflicting elements of the mind to attain completeness and personal development, which are fundamental principles in Jungian psychology.
The inclusion of Joi as a holographic companion and K as a replicant enhances the visual allure of the picture. The visual contrast between Joi’s transient, otherworldly existence and K’s materiality serves to emphasize their symbolic positions as embodiments of the feminine and masculine principles, so enriching the film’s visual narrative and thematic consistency.
Conversely, K, being another manufactured being, served as a source of affection for Joi to project onto. Psychologically, speaking Anima and Animus, which are in direct contrast to one’s physical sexual identity, primarily pertain to sexual interactions and partners. For example, a man may project his Anima onto a romantic partner, idealizing her as embodying qualities such as nurturing, sensitivity, or creativity. Similarly, a woman may project her Animus onto a partner, admiring traits such as assertiveness, intellect, or ambition.
Moreover, the Anima and Animus serve as sources of inspiration for creative and imaginative thinking. Jung believed that these archetypes fuel the creative process by imbuing individuals with a sense of depth, complexity, and emotional richness. When accessed and integrated into conscious awareness, the Anima and Animus can stimulate artistic expression, innovative thinking, and visionary insights. Artists, writers, and other creative individuals often draw upon these archetypes in their work, infusing their creations with layers of symbolic meaning and emotional resonance.
Overall, the Anima and Animus represent profound aspects of the human psyche that transcend mere sexual identity. They influence not only our intimate relationships but also our creative endeavors, serving as powerful forces for psychological growth, self-discovery, and imaginative exploration.
hence Joi’s ever-evolving state that grows with K as he evolves they both inspire one another. Clothing can show what’s important to us and reveal parts of who we are because of the meanings that artistic connections carry. Quote: “I like this becomes I’m like this.”
Many psychologists hold the idea of Anima/Animus in high regard. Its original purpose was to help C.G. Jung describe the unconscious as the polar opposite of the social mask of personality aka the Persona, which is defined as the picture of a person’s personality that they provide to other people.
The traditional gender roles assigned to men and women stem from the notion that the Anima/Animus archetype is an expansion of gender identity. The terms “anima” and “animus” in Latin refer to “soul” in its feminine and masculine manifestations, respectively. What is necessary or what it means to be a true man, and to be a real woman, in our own eyes versus the eyes of another? As Carl Jung once said, “Who looks outside dreams, who looks inside awakens” We as viewers follow K’s journey of self-discovery, but the most meaning they both gain is from their interactions with one another.
The Animus side of a person’s psyche is associated with their energy, intelligence, and curiosity, while the Anima side is more often associated with their feelings, empathy, and sensitivity. Despite the fact K and Joi are not human, they project onto one another and provide meaning the same way we as people do.
Former fashion editor Caryn Franklin writes, “Fashion offers a dialogue rich with social and political meaning for those who want to unlock the language of clothes. . . . Way beyond functions of protection or warmth, we recognize the power of clothes to proclaim or augment individual and collective identity.” K holds a collective identity, but Joi projects onto him just as much as he does onto her.
As a projection in a figurative sense, the anima archetype is the most disheartening, yet it also represents innocence, closeness, love, and the fulfillment of all of a man’s needs. When reality doesn’t measure up to their idealized fantasies.
The costume designer stated, “The silver-flecked Eastern dress she wears during the now-famous bedroom scene was because I wanted something that had a reflection in it. It was important for her to look different from Mackenzie’s character, who showed a lot of skin, but for her to be able to remove the dress easily. It became all about functionality for both characters.” It illustrates how individuals may serve as a blank canvas that can be adorned, yet a dream is not grounded in reality. Which begs the question, how real is Joi? And does it really even matter if she is an AI?
Clothing has the psychological ability to enhance our perception of ourselves. However, they also possess the ability to diminish its strength. This occurs because our clothing can either convey our own identity or conflict with it. When they articulate their feelings, they evoke positive emotions inside us. If they oppose it, then they cause us to experience discomfort. According to Postrel, every individual has a mental representation of their own identity. quote “not as a disembodied set of thoughts but as a visual, tactile creature, whose authentic identity is reflected in the sensory aspects of . . . person, places, and things. People can look at me and see something true about who I am. I can see myself reflected in my surroundings. Surface and substance will match. This is the aim of aesthetic meaning—to capture and convey identity, to turn our ineffable sense of self into something tangible and authentic.” It allows us to see and physically perceive our identity.
Afterward, Mariette even snarks to Joi, “I’ve been inside you, and there’s not as much there as you think.” Within the hierarchical structure of artificial intelligence, specifically designed to resemble Wallace, his creations adhere to a system of categorization akin to social signaling. These designs own their own hierarchy and social ranking, but the question of every character’s humanity is up for discussion even though they are more alike than they’d like to think. Joi is rather sentient and is K’s anima.
The ego is alone, the id wants to survive and offers the ego protection as the id needs the persona through the ego to survive. Joi helps him survive through words of affirmation, compassion, and understanding. He gives her purpose, will, and memories. In costume and character design, lines often serve as indicators of the inherent qualities of specific characters. K and Joi’s looks often mirror one another, they are unified- cut from the same cloth. When evaluating social structure on screen, it is important to take into account several factors.
Even though K isn’t a hero, he is our hero and his shadow is Luv. The Shadow archetype embodies the darker, unconscious aspects of the self that individuals tend to reject, deny, or suppress. It encompasses traits, desires, and impulses that society deems unacceptable or incompatible with one’s conscious identity. These include qualities such as anger, jealousy, greed, and aggression. The Shadow operates outside of conscious awareness but exerts a profound influence on behavior, often manifesting in projection onto others or in destructive patterns of behavior. It represents the parts of ourselves that we are reluctant to acknowledge or confront, yet understanding and integrating the Shadow is crucial for achieving psychological wholeness and individuation. These archetypes are not fixed personas but dynamic forces within the psyche that interact and evolve over time. Jung emphasized the importance of recognizing and integrating both the Shadow and the Hero aspects of the self to achieve psychological balance and wholeness.
In contrast, the Hero archetype embodies noble qualities such as courage, strength, and determination. It represents the aspirational aspect of the self, reflecting the individual’s highest potential and capacity for greatness. The Hero archetype is associated with facing and overcoming challenges, both internal and external, in pursuit of personal growth, fulfillment, and meaningful achievement. It symbolizes the innate human drive for self-actualization and the quest for individuation, wherein the individual strives to become their most authentic and empowered self. However, as a general principle, soft lines are seen as non-threatening, positive, and mild, whereas sharper lines are associated with strength, brutality, and negativity aka a feminine and masculine line. This arises from the inherent human tendency to perceive and respond to potential threats using the fight or flight response. Joi is soft, we see her in furs, even her yellow raincoat, the one that mirrors the original film, is see-through with fluid construction rather than robust and stark.
But maybe she’s simply a programmed robot; her loyalty, love, selflessness, uncertainties, and delight are all mere circumstances. She did not choose to be loving, even though she is self-aware. For instance, her apparent delight at K’s purchase of the portable projector might perhaps be seen as a strategic maneuver to further promote sales to those who are socially isolated.
Let’s take a look at her billboard, she could have been showing her range and how customizable she is, but no she is nude with black eyes, an empty blank slate. As a woman, you just do not escape the male gaze and I don’t mean the literal gaze of men, but your own Animus the same way K can’t escape his anima. It’s one of the many reasons why it was heartbreaking when the ad called him a good Joe, saying she could fix his loneliness, K’s Joi is however very thoughtful. There are many instances when she exhibits awareness, reasoning, curiosity, and even free will. Throughout the film, we see how her hologram becomes more tangible and starts acting independently.
Descartés Translated from Latin, “I think, therefore I am”. Fashion functions as a means of self-expression, enabling people to convey their personalities, preferences, and uniqueness to others. Joi partakes in this to become more real in the same way individuals often use clothes as a medium to showcase the desired image they want to convey, so indicating their unique characteristics, principles, and interests to the external environment. The costume designer stated on designing Joi, “ It was a difficult thing because we were never sure when she would change and why she would change and what she would change. She’s there at home, just like his little secret.” Some visual aspects have emotional qualities built in, yet it’s easy to question visual clichés as preconceived notions are dismantled.
Although only fashion designers often conceptualize these connotations, the majority of people have an innate understanding of what an individual’s clothing may convey, whether it be “I’m creative, I’m elegant” “I value masculinity” or “femininity.” or any mix of these qualities. People may misinterpret our feelings and identities based on what they see in our expression of identity, Because clothing has such a wide range of cultural implications, it’s easy for others to misunderstand our emotions and identities just by looking at us.
As long as we aren’t attempting to project any certain traits in a given environment, our judgment of our attire should take precedence. When we dress, we should do it for our advantage, not sympathy or perception, not to meet projection, but to project ourselves forward in a way we deem fit and emmbracive of identity. Not an act of self-commodification or neglect, but connection and immersion to create meaning in our own lives.
SOURCES:
‘Blade Runner 2049’: How the Film’s Eclectic Costumes Were Made for Survival, Not Fashion- https://www.indiewire.com/awards/industry/blade-runner-2049-costumes-1201911938/
Fashion: The Definitive Visual Guide, 2nd ed by Caryn Franklin et al
The Substance of Style: How the Rise of Aesthetic Value Is Remaking Commerce, Culture, and Consciousness by Virginia Postrel
The Visual Style: Creating the Visual Structure of Film, TV and Digital Media, 2nd ed. By Bruce Block
The Robber Bride by Margaret Atwood
Franklin on Fashion by Caryn Franklin
