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If the stunning visuals, striking soundtrack, and promise of spending three hours staring at Ryan Gosling’s stubbly mug isn’t enough to motivate you to pay for a ticket to see Blade Runner 2049, consider the coats.
Awesomely futuristic fashion is nothing new for Ridley Scott’s franchise, of course. In the decades since 1982’s original Blade Runner, designers ranging from Alexander McQueen to Vivienne Westwood have created collections inspired by the sci-fi flick; just this past summer, Raf Simons hosted a replicant-themed runway show.
Still, 2049’s outerwear is next-level good — and you don’t have to pay Raf Simons prices to get in on the action, either. Below, a few of the movie’s best coat moments, along with shoppable alternatives for each. After all, there’s never been a better time to dress for dystopia.
Turns out, the shearling coat audiences can’t stop obsessing over isn’t actually shearling at all: Since animals are basically extinct in Blade Runner 2049’s dystopian future, costume designer Renee April tells CNN, Officer K’s outerwear is actually made from a heavy cotton that’s been laminated and painted to add the illusion of wear and tear. Exact knockoffs abound, although this similar style from H&M is a steal at $99.
Mysterious escort Mariette (Mackenzie Davis) also wears fake fur in the film; her ankle-length fuchsia overcoat is striped with PVC paneling for a punk-rock look that might remind you of Pris, Daryl Hannah’s character from the original Blade Runner. This shorter version by Glamorous is more versatile, but every bit as bold.
Joi (Ana de Armas) might be a literal hologram, but she’s got the best outfits in the whole damn movie. I’m particularly into this transparent plastic raincoat, which recalls the one worn by the replicant Zhora in one of Blade Runner’s most iconic scenes.
As ironically named villainess Luv, Sylvia Hoeks steals every scene she’s in. Early in the movie, Luv appears in a series of crisp, high-collared white suits, which she later trades for space-age sportswear to battle the good guys. “She needs to be able to move with the fabric, so there’s stretch to it, but always clean lines,” April tells the New York Times. “No details, no frills.” And all attitude, of course.