Abstract Reading Italian Futurism through the lens of postwar politics has sometimes obscured its postmodern and posthumanist legacy. While the movement’s violent rhetoric of machine optimism has been seen to herald Right-wing despotism and patriarchy, it aspired to nothing less than a total aesthetic revolution that would remake mankind in the image of a mechanized world. Bodies, they theorized in numerous manifestos, were not fixed, but were evolving and expanding possibilities of self-design. This article explores how Futurist ideas about fashion and technology constitute a connective tissue between the historical and contemporary avant-gardes. Alexander McQueen’s designs are used to illustrate the ways that Futurist technolatry, or machine optimism, have evolved and endured.

中文翻译：

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野蛮之美：时尚和自我设计的未来主义遗产

摘要 从战后政治的角度解读意大利未来主义有时会掩盖其后现代和后人文主义遗产。虽然该运动对机器乐观主义的暴力言论被视为预示着右翼专制和父权制，但它渴望的无非是一场彻底的美学革命，以机械化世界的形象重塑人类。他们在众多宣言中理论化的身体不是固定的，而是不断发展和扩展自我设计的可能性。本文探讨了关于时尚和技术的未来主义思想如何构成历史和当代先锋派之间的连接组织。Alexander McQueen 的设计被用来说明未来主义技术或机器乐观主义的进化和忍受方式。