Pelo que eu li, realmente não há um significado mais profundo do que as roupas ditadas pela necessidade de criar contrastes entre os personagens principais e a necessidade de criar roupas strongs seria adequado para as várias seqüências de luta .
Esta entrevista com Kym Barrett ("figurinista" de The Matrix 1, 2 e 3) indica que a quantidade de informação dos Diretores foi realmente mínima. Simplificando, você não pode fazer kung-fu em calças justas de couro.
KYM: "They always say, and they’ve never deviated from this, “We want it to be dark, we want it to be high contrast, we want Trinity to be like an oil slick.” They give me simple sentences and let me go away and come up with stuff, then we talk about it and it just grows. After that we make [the garment], tweak it, and it grows into things. Larry and Andy are great with allowing all of us (I think Owen [Paterson, Production Designer] would agree), they give you a little seed and then they let you expand it. Sometimes they think my ideas are ludicrous and they’ll roll around the floor laughing, then they’ll come back and say there was something there, even though it was a ridiculous idea. It’s a good way to work; it’s a very challenging and rewarding way to work
On one hand Larry and Andy are very broad, then on the other hand they’re very detail oriented, so they work well seeing a body and seeing how the light hits the body. The way the shape of the garment moves in the air is really important to them, and you can’t show those kind of things on a drawing. So, more often than not, they like to see a prototype of something, rather than just a drawing."
E esta entrevista com Gloria Bava ("Costume Cutter" para a Matrix 1, 2 e 3) mostra que eles queriam vestir Neo em um tecido não brilhante para garantir um contraste visual imediato com Trinity e Morpheus. Você deve ser capaz de distinguir seus personagens instantaneamente .
GLORIA: Neo’s fabric was sourced around Sydney, and they found it in Sydney at a tailoring supply place. It had to be the right weight, it had to be the right shade of black, it had to have a matte-ness about it, not shiny in any way, and it had to have the right sort of loose weave. It was more like a twill weave, which was very good to work with, and it wasn’t a real black black, it was bordering on a charcoal to black shade. When they found the fabric they bought lots of it, and I think ended up making about four of those coats.