#Retro Revival

[meda-cat]

she wins first place (in my heart) 🏆

[frankenpire]

Bryan Ferry: The Man Who Invented the '80s Before They Began

Before the bold neon lights, synthesized beats, and sharp-shouldered suits of the 1980s became cultural staples, one man had already envisioned it all: Bryan Ferry.

The Roxy Music frontman didn’t just shape a band or a genre—he defined an era long before the calendar flipped to 1980. His fingerprints are all over what we now think of as "the '80s," from its sonic innovations to its sartorial elegance and unapologetic decadence.

From Glam Rock to Synthesizers

Roxy Music hit the scene in the early '70s, standing out from their contemporaries with a sound that was both glamorous and experimental. Ferry’s voice—a mix of velvet smoothness and raw emotion—floated over tracks that blended rock, art pop, and avant-garde experimentation. But by the time the late '70s rolled around, Roxy Music evolved into something sleeker, something sharper. Manifesto (1979) and Flesh + Blood (1980) marked a shift towards a sound that would define the new decade: lush, melodic, and drenched in synthesizers.

With hits like "Dance Away" and "Over You," Ferry wasn’t just following trends—he was setting them. His solo work, like the sultry Boys and Girls (1985), solidified his status as the godfather of that polished, synth-driven aesthetic that would dominate the charts throughout the '80s.

Bryan Ferry was blending glam rock and art pop with synth-laden sophistication before the '80s began.

Decadent Elegance Meets New Romanticism

If music shaped the ears of the '80s, Ferry’s style shaped its eyes. Long before New Romantics like Duran Duran and Spandau Ballet turned up in frilly shirts and tailored suits, Ferry was crafting an image that mixed high fashion with an avant-garde edge. In Roxy Music’s early days, he was all about the glam: sequins, lamé, and sharp cuts that screamed opulence.

But by the mid-'70s, Ferry pivoted to an aesthetic that can only be described as decadent elegance. Think tailored suits with rakish ties, crisp white shirts, and a cigarette dangling insouciantly from his fingers. He took inspiration from Old Hollywood, European aristocracy, and even the jazz age, wrapping it all in a modern sheen. This look became the blueprint for what we now associate with the '80s: a sense of luxury and sophistication with just a hint of excess.

David Bowie, a contemporary and kindred spirit, was also redefining what it meant to merge music and style. However, while Bowie often embraced flamboyance and theatricality, Ferry leaned into restraint and refinement, creating a more understated vision of glamour.

His sharp suits & aristocratic glamour became synonymous with '80s decadence.

The Original “Cool Britannia”

Ferry didn’t just make music or wear suits—he curated a lifestyle. He was the walking embodiment of cool Britannia long before the phrase existed. His collaborations with designers and photographers elevated album art into high art, with covers like Avalon (1982) becoming iconic visual statements. Roxy Music’s visual presentation was as important as the sound, with everything from music videos to stage design dripping with sophistication.

The ‘80s obsession with aspirational living—the penthouses, the yachts, the champagne—can be traced directly back to Ferry. But it wasn’t hollow materialism; his version of decadence had depth. It was about art, culture, and creating an entire world where beauty mattered.

What Ferry Started, Others Perfected

The '80s may have crowned stars like David Bowie, Madonna, and Prince as cultural icons, but the foundation was laid by Bryan Ferry. His blend of music, fashion, and art was years ahead of its time, and while others took his cues and ran with them, Ferry’s influence remains unmistakable.

He didn’t just predict the '80s—he willed it into existence. And while the decade would eventually embrace excess and lose some of the elegance Ferry infused into it, his legacy as the architect of the era is undeniable. Without him, the '80s as we know them might never have happened.

[radio-editorial]

Retro-Futurism in Music: The Comeback of Synthwave and Its Cultural Significance

A deep dive into how retro-futuristic genres like synthwave are making a resurgence, fueled by nostalgia for the ‘80s and a yearning for imagined futures. Listen to the article: Retro-Futurism in Music: The Comeback of Synthwave and Its Cultural Significance In a world where technology drives us forward at an unprecedented pace, it might seem surprising that a genre rooted in nostalgia for a…

[meowtifullycute]

Mountain Splash: Retro Flat Design Delights!

[theomenmedia]

"We Live In Time" Stars Andrew Garfield And Florence Pugh Pose For Bustle

Step back in time with Florence Pugh and Andrew Garfield in an unforgettable shoot that melds past and present!

Link to the full story: https://www.theomenmedia.com/post/exclusive-peek-florence-pugh-and-andrew-garfield-s-mesmerizing-bustle-photoshoot

[luckywildgirl]

Late 60s early 70s medieval revival Part 2

[phierecycled]

happy pride month enjoy these alternate falsettos revival posters i made

[strawberross]

[iminye]

→ elros & elrond — the first king of númenor and the lord of the last homely house

[goatgutzupon]

[sadiec0re]

mentally i’m still in 2014

[the-sp0tless-mind]

[howdy-folks-its-showtime]

Boris wait! The cake's supposed to be for... Well... I guess we were a bit late... Alright, but at least use your napkin next time okay little guy? Happy birthday to the Bendy fanbase! We can't wait to see more from such creative wonderful people!

[nat1em0xd]

2000s OMG🩷🩷🩷🩷🩷

I LOVE THIS PINK ERA OMGG

[carsthatnevermadeitetc]

Stutz Blackhawk I, 1971, by Carrozzeria Padane. After Virgil Exner left Chrysler he worked on a series of “Revival Cars,” which were his interpretations of defunct classic-era automobiles including Stutz. With backing from Mr. James O’Donnell, a wealthy investor with a particular fondness for Stutz automobiles, Exner's vision was made real. The first prototype was built by Ghia, with whom Exner had had a long association during his time at Chrysler. However a change of ownership at Ghia led Exner to Modena and coachbuilders Padane who took complete Pontiac Grand Prix and created entirely new bodywork. The cars cost $35,000, equivalent of nearly $225,000 today and were bought by, among others Dean Martin, Sammy Davis Jr., Lucille Ball, and Elvis Presley. Only 25 of the split-windshield “Series I” Blackhawks were built, later cars used more of the Pontiac's bodywork to reduce costs.

[dadiddlylemma]

The White Stripes "No Skating Today"