The Art Of Fashion By Gabrielle Morton

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EDITORS LETTER To

me, the connection between art and fashion is a continuous cycle of inspiration.

The ability to use art and fashion as one medium is something I aspire to do in my own work.

Anything can be art. This issue explores the limitless boundary between art and fashion; how far the boundaries can be pushed before they reach their limitations.

When putting together my zine, my research has become an exploration of whether the boundary between existing as an artist and a fashion designer exists. Whether “something that cannot be worn”, should be considered “fashion- or art?”(Suzy Menkes). I have investigated this idea through the relationships between designers and artists over the last 100 years. My research has lead me to discover a new breed of fashion designer who expresses their art through their clothes, combining their interests into one.

In the 1960s Artist Andy Warhol revolutionised the idea of art existing as fashion. His works inspired many fashion designers of the 1960s including Yves Saint Laurent and his AW1967 Pop Art collection.

Through Warhol’s popular magazine ‘Interview’, he created a space where artists, musicians, fashion designers and actors could exist as one for their own creative purpose. In 2014 Jeremy Scott for Moschino designs were very similar to the 1960s Campbell’s Souper Dress, showing that artists of the past are just as relevant now as they were then.

In more recent years fashion designers works have resembled more fine art than wearable fashion.

Designers such as Alexander Mcqueen, Rei Kawakubo, Gareth Pugh and Iris Van Herpen have pushed the boundaries of fashion as art even further creating garments with smart fabrics. Their garments resemble more sculptural outcomes than clothing. Art and Fashion support one and other.

This issue will offer a thoughtful consolidation of the many relationships and inspirations art has Its a well known fact that fashion is inspired by the offered the Fashion industry over the last century. society and issues surrounding it. Art follows the This issue endeavours to provoke you to decide same dynamic, responding to the feelings felt, a does fashion and art exist as separate fields? Or do response to love, pain or anger. Starting at the they work as one creative never ending network of beginning with Paul Poiret’s love for exoticism ideas? the future of fashion depends on this relation(displaying a heavy influence from Henri ship and the new technologies that are emerging Rousseau) which led to inspire a whole field of artists and illlustrators. An early work of Paul Poiret, constantly to aid it. If nothing take away the fact that creativity has no categories, our ideas are allowed to ‘Les Robes De Paul Poiret’ (illistrated by Paul Iribe flow and fall into any medium we see fit. and published in 1908) showcases a primary understanding of how fashion can exist as art. The 1930s saw the magnificent partnership of Elsa Schiaparelli and Salvador Dali, a collection that I admire strongly due to its free exploration of the surrealist movement. It allows art to live on the clothes, paying homage to artists such as Marcel Duchamp and photographer Man Ray.

“FASHION IS MORE ART THAN ART IS” -ANDY WARHOL

1910 DISCOVERING FASHION AS AN ART FORM

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xoticism breathed life into fashion in the 1910s.

The evolution of Paul Poiret’s fashion brand was heavily significant in breaking the boundaries between fashion and art. Poiret founded his own Maison de Couture in early 1900. He took influence from the “mythical land of bohemia.” His clothing was decorated beautifully with ostrich feathers and he used turbans heavily throughout his work. Poiret proudly stated, “ I am an artist, not a dressmaker.” This brings about the notion that the evolution of fashion over the last 100 years has depended on the designers creative abilities as an artist.

Cubism also shaped the period, It significantly changed art and was an important cause of fashion’s modern forms, Henri Matisse’s work was evidently influenced by fashions of the time in particular his piece ‘la Conversation’ featuring two models clad in couture. This again shows a partnership forming between art and fashion. Fast forward to 1981 and Yves Saint Laurent’s autumn/winter collection includes clothing heavily inspired by matisse’s prints.

This tells us that in fashion history is repetitive and that what inspires designers in 1910 is still relevant today making the connection between art and fashion more intimate than ever.

The 1910s also saw the emergence of artists like Marcel Duchamp, who again was heavily attached to the cubist movement. Duchamp’s work was inventive and futuristic, at the time he was met heavily with criticism that his work was not art.

However, decades later we appreciate Duchamp as one of the most prominent surrealist artists of the modern world, he helped break the boundaries and prove that anything can be art if you want it to be.

This notion is heavily apparent in fashion designer Madeline Vionnet’s collections in the early 1910s.

It can be thought that Poiret took inspiration from Her evening gowns have a futuristic feel with puffed sleeves and sheer details. She questions the female artists such as illustrator Charles Martin. His form, a lot like how Duchamp questions what is art. illustrations show women in exotic dresses with Both creatives push the boundaries of tradition, an abundance of materials and silks. Materials are almost casually draped around the women, a lot like setting the path for designers and artists for the next 100 years.

Poiret’s dresses and capes. A heavy Egyptian influence categorises the period with the loose fitting clothing and ostrich feathers.

Poiret’s iconic “lampshade” tunic and “harem” trousers, characterised his love for the exotic and oriental. His collections were an exploration of his own interests; exhibiting his own influences as an artist and creator. Poiret also famously said, “Whenever I sign a garment with my name, I consider myself the creator of a masterpiece”. The statement shows that the turn of the century saw the realisation that fashion had power as an art form, the power to inspire others.

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E E E E E X X X X X O O O O O T T T T T I I I I I C C C C “I CAM AN ARTIST, NOT I I I I I DRESSMAKER” S S S S S M M M M M . . . POIRET . .

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he 1920s were known widely as the ‘roaring twenties’. Easy money and get rich quick schemes created a climate of great wealth and excess.

Lavish parties and an abundance of disposable income meant a more consumerist climate and a more morally relaxed society. Fashion was deeply influenced by the artwork seen on the decor of buildings, hence the Art Deco movement began.

Fashion moved away from tradition and corsetry, skirts became shorter and trousers were beginning to become a wardrobe staple in many young women’s lives. When I think of the 1920s I think of this idyllic movie lifestyle within the pages of F. Scott Fitzgeralds ‘The Great Gatsby.’ I imagine a Daisy Buchanan figure with her voice “full of money’ and “flickering” lights.

The 1920s saw the emergence of the art deco movement. Buildings and architecture were very important to the decade with skyscrapers getting taller and taller. From the influence of the beautiful interiors of these buildings came the beautiful patterns seen on the dresses of flapper girls.

Beautiful illustrative artwork emerged by artists such as etré, celebrating the beauty of the women and the fashions of the time.

Art Deco is intimately connected to Fashion of the 1920s, in recent years, Ralph Lauren’s 2012 F/W collection payed homage to the movement with its streamlined use of geometric shapes. Moving from cubism in the 1910s, Art Deco is often considered a tamed more stripped back version of art, focusing on shape and line.

In 2011 Stephanie Rolland’s F/W collection beautifully tributes the era, this piece to the left specifically captures the regimented shapes of buildings and designs typically associated with art deco. The movement symbolises modernism being turned into fashion; the evolution of consumerism and wealth displayed within clothes. Art Nouveau must not be confused with this as these designs are considered more decretive than sleek moving on from the early 1900s.

1930

THE AGE OF ESCAPISM

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ith a backdrop of the great depression following the Wall Street crash in 1929, the surrealist art movement allowed for people to imagine an alternative universe; its obscurity offering an element of escapism. 1930 is definitely my favourite decade in relation to the links between art and fashion. Through research I have come to adore Elsa Schiaparelli and Salvador Dali’s collaboration that took shape during the decade.

Schiaparelli operated within a circle of avantgarde artists such as Marcel Du Champ, Man Ray and Edward Steichen. Du Champ was one of the most important artists in proving that anything can be art he made sculptures from anything from toilets to bicycle wheels. When analysing Schiaparelli’s work, I have noticed a definitive link between the collection and the work of photographer Man Ray, a prominent surrealist artist in the 1930s. The use of hands in his work is reflected in the designs of Schiaparelli and Dali. Dali was a Spanish painter, his ideas revolved around people breaking out of death, hence the famous ‘Skeleton Dress’ that the pair created together. This dress has become iconic, with many paying homage to it throughout the years, in 2006 Jean Paul Gaultier reinterpreted the dress with cut outs and bare skin in a fabulous purple design. Schiaparelli helped shape the pathway for fashion designers who saw their work as more than just clothes but as art. other iconic pieces created in the decade were the lobster dress, and the gloved hands with finger nails.

Their jewellery collaboration also highly incorporated the surrealist ideas of the art movement and group of creatives that Schiaparelli amerced herself within.

The desire for an alternative world can also be seen within Schiaparelli’s late designs of the 1930s. In 1938 she created the zodiac jacket, giving the illusion of space and limitless sky. This reflects the feeling of

escapism the 1930s broughtdue to great economic depression. Overall the decade brought about a new way of thinking; a more creative and hopeful outlook that the impossible is possible and that anything goes.

“Make do and Mend” is the phrase that defines this decade. With the backdrop of WW2, women were encouraged to make do with what they had, and their was a very limited market for clothes.

Many fashion houses closed their doors including Chanel to turn their heads to the war effort. Clothes were rationed from June 1941 right up until 1949, four years after the war had ended. The governments solution was to produce limited designs that were mass manufactured for the high street, know as the ‘Utility Clothing Scheme.’ Women were encouraged to get involved with the war effort and take the men’s spot in the workplace. Fashion was heavily influenced by uniforms, inspired by the outfits worn by soldiers. Even magazine covers inspired women to become more emmersed with the war effort. For example, Harpers Bazar in 1943, showed a stylish play on a nurse uniform. WW2 propaganda further inspired the uniformed fashion of the forties, a look that is still seen today in military style jackewts.

Two artists from the 1940s have shown a heavy influence on fashion. Freida Kahlo’s self portraits have heavily inspired the fashion world, Maya Hansen famously dedicated one of her collections to the artist. Another is Franz Kline, inspired by the regimented lines of the forties he created great expressive paintings using only line. Many brands such as Balmain and Celine have incorporated his designs within their collections with the use of black and white line.

“I PAINT SELF-PORTRAITS BECAUSE I AM SO OFTEN ALONE, BECAUSE I AM THE PERSON I KNOW BEST.” - FRIDA KAHLO

THE NEW LOOK. 1950

JACKSON POLLOCK.

1960

Obsessed with, consumer culture and the ‘celebrity’, Andy Warhol pioneered the pop art movement of the 1960s. Drawing from popular culture, came some of Warhol’s most famous designs. Beloved works include his 32 Campbell’s Soup Cans (1962) which inspired the ‘Souper Dress’ in 1967. His work brought together artists, fashion designers and celebrities to create an environment of singular creative existence. He broke down barriers between different creative mediums, inspiring many designers such as Yves Saint Laurent and more recently Jeremy Scott for Moschino. Scott’s AW14 collection took direct inspiration from fast food chain Mcdonald’s, drawing from Warhol’s ability to make popular culture into art. In 1969 alongside John Wilcock, Warhol founded Interview magazine which pinned together his obsession with celebrity and the decaying American consumerist culture.

“IN THE SIXTIES, FASHION WAS ABOUT LIBERATION. IT WAS ABOUT SETTING WOMEN FREE; IT WASN”T ABOUT BEING UNABLE TO WALK” -VERUSCVERUSCHKA VON LEHNDORFF

PIET MONDRAIN

BY YSL

Mondrain began his involvement within the fashion industry by allowing popular fashion publications to use his work as backdrops for their photo shoots. The industry became familiar with his famous painting, ‘Composition with Red,Yellow and Blue’, leading to Yves Saint Laurent’s inspiration for the A-Line Shift ‘Mondrain Dress’. The dress was debuted as part of YSL’s Autumn/ Winter Collections in 1965. The dress was an instant success, featuring on the September 1965 issue of french Vogue. Today, the dress is arguably one of YSL’s most iconic pieces of the 1960s. The dress was the perfect example of art becoming fashion, allowing the two mediums to exist as one.

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“ART IS WHAT YOU CAN GET AWAY WITH.” ANDY WARHOL

1970

Basquiat: Boom For Real Exhibition @ the Barbican Review.

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ean-Michel Basquiat’s career began close to the fashion industry. The beautifully celebrated icon of the 1970s and 80s died age 27 of a heroin overdose; a perfect example of the cursed young artist.

He began his career working in stylist Patricia Field’s shop, working on fabrics and jumpers and selling them for any profit he could make.

It was a far cry from his status as one of the late-20th Century’s most celebrated artists; the work of which is celebrated in the Boom For Real exhibit.

A retrospective of an artist full of life, it’s much more than some interesting facts e.g. where the artist was born, where he didn’t study. The exhibition appears like a time capsule. We are transported within Basquiat’s world for a precious moment; his works full of energy and restlessness which adds to the feeling of street realism that this exhibition creates.

He is presented almost as the king of cool. A collection of polaroids and images display him hanging out with artist Andy Warhol (a man of great inspiration to Basquiat) as well as dancing and clubbing in the hotspot of the time, the Mudd Club.

Basquiat’s inspiration began in 1978 when New York was suffering a financial crisis. President Gerald Ford refused to give aid to the city in order to save it, leading to a climate of high crime rates and depression. It was within this backdrop, that Basquiat created his famous tag ‘SAMO©’. The tag stood for ‘same old shit’. It became a sensation, many searched to find the identity of this artist, and many admired what he had created with this project. This idea that Basquiat created a sensation is reflected in the exhibition, the walls displaying his work show something that is individual and very much a reflection of Basquiat’s own self, thoughts and feelings.

The exhibition portrays an innovator, a ticket back to a time where self discovery was encouraged, and those brave enough to do it were emerging into an exciting scene of music, entertainment and fashion.

One thing I noticed at the exhibition was his ability to

navigate between the lines of graffiti and fine art. His works almost have a Rauschenberg feel. However, at the same time, they appear as something completely different that has ever been seen before. As a whole, a man of great creative purpose and ability is presented, a great energy can be felt. We are let in to Basquiat’s imagination, his thought processes are documented through certain objects displayed. It is apparent that a whole host of things influenced Basquait’s creative journey from current newspaper headlines, jazz and hip hop. He displays a range of talents from basic taglines to colourful paintings and poetry. Peter Schjeldahl from the Village Voice wrote at the time that, “I would not have suspected from Samo’sgenerally grotty defacements of my neighbourhood, the graphic and painterly talents revealed here.” This is completely true, it is evident that Basquiat was not a man who was obsessed with showing off his talent but of displaying only himself which shows a raw vulnerability to be admired.

Basquiat redefined the relationship between high fashion and street style. Here, he is shown wearing a sophisticated Armani suit with an everyday adidas T-shirt. Kim Jones, Style Director of Louis Vuitton menswear, states: “ I love the way he wore very expensive clothes and just treated them like trash.” As I saw more of Basquiat this is to what I began to love – he just doesn’t care. His admiration in the fashion industry is prominent today. Louis Vuitton’s Spring/Summer 2017 collection celebrated the New York art scene of the 1970s and 1980s. It showed the meeting of street style with high tailoring.

A year before his death, Basquiat modelled for Commes des Garcons’ 1987 Spring/Summer catwalk show. It showed his ability to exist outside of the fine art world aswell as within it. Overall, the retrospective celebrates a treasure of creative individuality whose existence taught us a lot about self

acceptance and self discovery.

1980 KEITH HARING

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eith Haring was one of the most prominent artists of the 1980s. He began his career experimenting in the subway on unused advertising boards. In 1986 he opened his own pop up shop, selling his artwork on clothing, stationary and bags.

He made his work attainable for all through selling his designs on t-shirts. This entered his work into many different spheres of influence helping him to become the global phenomena he is today. His work still inspires within the fashion industry, the coach S/S18 collection features clothing with his work incorporated into the designs. Similarly in recent years 80s icon reebok collaborated with the artist to express his work on trainers. Haring is an example of an artist pushing the boundaries between art and fashion, presenting his work on whatever medium he sees fit, even clothing. His quirky drawings and paintings remain an important inspiration to the fashion industry and demonstrates another wonderful example as art existing as fashion. Haring was diagnosed with AIDS in 1989 and established the Keith Haring Foundation to help others who were struggling with the disease. In his short life he established himself as an important figure of the 1980s art and fashion scene, imprinting his creativity on fashion designers and artists alike even till this day.

“ART SHOULD BE SOMETHING THAT LIBERATES YOUR SOUL, PROVOKES THE IMAGINATION AND ENCOURAGES PEOPLE TO GO FURTHER...�

- KIETH HARING

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1990

DAVID HOCKNEY “THE MOMENT YOU CHEAT FOR THE SAKE OF BEAUTY, YOU KNOW YOU’RE NOW AN ARTIST” -DAVID HOCKNEY

RADICAL DESIGNER: REI KAWAKUBO F or nearly half a century, Rei Kawakubo has pushed the boundaries of fashion design to places it’s never been before. Kawakubo did not follow a conventional route and was not trained as a fashion designer. Instead she studied Art and Literature at Keio University. She is first and foremost an artist, this something that is extremely apparent in Kawakubo’s collections for her brand Comme des Garçons. What I love and find inspiring about Kawakubo is that she does not care for trends or pleasing an audience, everything she produces is an extension of herself and her creativity as an individual. What makes her so interesting as a designer is that she appears to be oblivious to the shift in fashion which she has created, informing the New Yorker in 2005: “I never intended to start a revolution”. She has in effect changed the consumer experience forever.

Her shops, including the famous cult destination Dover Street Market (founded 2004) are amazingly visual, appearing more like a carefully curated exhibition than a clothing store. This coincides with the fact that Kawakubo’s designs are much more than just clothes, they are amazing stand alone works of art.

In 1995, Kawakubo told the Independent that when considering her work, “the meaning is that there is no meaning.” This bold statement sums up the radical designers ethos of intense, deep and serious; her works are so much more than just clothes. A very common word that comes up within her work is ‘freedom’. What I admire mostly about Rei is the impact of creative freedom she has had on the fashion industry. She ignores clothing, creating fashion that has never been seen before. There is a sculptural element to her work that disguises the human form into something it is not. She has single handedly redefined the female form with her radical designs. Although many of her works have feminist connotations, Kawakubo famously does not define herself as a feminist.

She has played an extremely important role in the fashion industries realisation that what they present as the ‘perfect body’ needs to change. She has famously said that “I do not like totalitarianism.

I like freedom.” Her confidence in not identifying or belonging to anything wbut her own creativity and artistic journey is what sets her apart from other fashion designers, following down her own

pathway of radical creative vision. She simply promotes freedom, and this is what makes her radically different to fashion designers that have come before her.

A major punk influence is present in her work, her 1982 Paris Collection was called ‘Destroy’. This collection showed bedraggled and shredded layers, a strong stand up to convention. The fact that she shows distain for the growing celebrity culture which vies for fame and promotes perfection makes her individualistic and stand alone in her approach.

Her work is passionate and inspiring and although once designed in more muted tones of black, grey and white, colour has now broken into her design and as always the shape and flow of her garments are beautifully crafted and a gift to the wearer.

She holds fast to her own ideals of how the body should be presented and distorted. She has stated that, “contemporary culture does not allow enough space for nuance,” she makes her creative visions reality rather than copying what has come before her. She is a leader and not a follower.

Editor of Vogue Online Suzy Menkes has called Rei “a visionary blurring the distinction between art and fashion.” This is why Rei is one of the most celebrated fashion designer of the 21st century, becoming the second designer to be given a solo exhibition whilst still alive at the New York Metropolitan Museum. This honour has only been given to one other radical and celebrated designer, Yves Saint Laurent. The exhibition was not a retrospective but a celebration of art and creativity.

Rei Kawakubo continues to take fashion to dimensions it has never visited before. Her SS18 collection radiates her familiar message of freedom, entitled ‘It’s Whats on the Inside that Counts’. The collection displayed surreal art by Mona Luison on jackets that were turned inside out, a prime example of why Rei is more than just a fashion designer or artist, she’s a visionary of the future and an embassador of change and individuality.

In modern day society we err towards gender fluidity. The design and cut of her collections are certainly embracing the ethos.

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FASHION AS ART. 2000s MCQUEEN.

his dress produced by fashion designer and icon Alexander Mcqueen as part of the Horn of Plenty A/W 2009 collection. It resembles more than just a piece of clothing, it appears as a carefully curated piece of art. The piece moves away from conventional clothing, exploring clothing as an art form. The title ‘Horn of Plenty’ comes from Greek Mythology, it describes the horn of the goat that suckled Zeus, which broke off and became filled with fruit. In folklore it became full of what the owner most desired. This means the piece is reflecting the beauty and life that comes from death.

The piece was also part of the Savage Beauty exhibition that was displayed at the Victoria and Albert museum in 2015. The title ‘Savage Beauty’ is suggestive of a merciless beauty. A beauty that takes form on it’s own accord without human meddling; a decay brought on by nature and the elements. His work within the exhibition is in the spirit of romanticism, his profound appreciation of beauty came from a love of theatrics, this evident in the exuberance of this piece.

The piece incorporates beauty with decay, the life within the person wearing the dress contrasting with the thick black duck feathers that ring memory to their former glory as a bird. The curvature and texture of the dress transports the womanly and human shape into taking the form of a strong bird, the power once within it’s wings evident within their formation at the waist. Perhaps comparing the curvature of a woman to a wing. The piece shows the harshness and the unfairness of beauty, a black duck, an animal not regarded as something of great beauty, in death becomes something much more stunning.

It shows decay to be a process of beauty, and a process to be celebrated, It takes the strongest forms of the bird to build the depth the piece has.

The 3D and exaggerated waist and shoulders encompass the curvature of a women with the great shape and strength of a bird’s wing.

The piece almost reflects a disguise it attempts to change and exaggerate human form to make something a lot more monstrous yet beautiful. The wings and exaggerated shoulders look as if they have become part of the mannequin or model. The model in the photo above is in fact Kate Moss, her identity however is completely unrecognisable. She has become something else taken on the shape of a new character, emphasising the theatricality of the design.

Mcqueen has used large black feathers to mimic those that would come from a real bird. He does this in order to capture the power within the feathers, they are built up to create texture and depth, exaggerating that this is not a human form.

The lace covering on the face brings the piece back into the human conception and reminds the viewer that their is in fact a woman within the elaborate design.

G A R E T H P U G H

“WHAT I DO IS MORE THAN JUST THE CLOTHES. IT’S GETTING OUT WHATEVER IS INSIDE SCREAMING THE LOUDEST.” - GP

D A M I E N H I R S T x A L E X A N D E R M C Q U E E N

Damien Hirst is an English artist, entrepreneur, and art collector. He is the most prominent member of the group known as the Young British Artists, who influenced the art scene in the UK during the 1990s. He is well recognised for his somewhat controversial and macabre experimentation with displaying dead animals such as sharks, cows and zebra, preserved in formaldehyde and exhibited in tanks. He takes an individual perception on decay, his work showing that death gives no end to art and the beauty in the process of display.

The scarf design on the opposite page is from a collaboration in 2013 with the late Alexander McQueen, who again fascinates with the process of decay. The artwork is adapted from Hirst’s Entomology series; butterflies, bugs, spiders and other insects have been worked into each scarf design to form kaleidoscopic geometric shapes, laid out to create the signature McQueen skull motif.

The print was designed to celebrate the 10th anniversary of the Alexander McQueen skull scarf. Hirst gives an injection and burst of life to McQueen’s lonely skulls. In this piece a skull is surrounded by butterflies, representing life coming from death. The butterflies have inhabited the skull, pulsating new life into it, rejuvenating the life of the skull.

The collaboration was a meeting of similar minds both Hirst & McQueen sharing a vision for aesthetic symmetrical design which incorporated the natural world.

The use of Alexander McQueen’s iconic skull motif scarves and the collaborated re-imagining of the original design resulted in a much coveted fashionista collection of 30 unique silk designs. These scarves have been reproduced every fashion season using new materials, patterns and colourways. The success in these designs continues to be celebrated long after McQueen deceased in 2010. The opulent designs reflected a partnership joining fashion and art in a extraordinary and triumphant way. I feel that the celebration of mortality depicted in the design and art is ever changing and tireless.

2010 “ART SHOULD COMFORT THE DISTURBED AND DISTURB THE COMFORTABLE” -

- BANKSY

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IRIS VAN HERPEN

From her studio in Amsterdam, Van Herpen’s use of 3D printing as a garment construction technique has completely transformed fashion design. Using code in replacement for traditional needlework and embroidery, Herpen has built her million dollar empire. She fuses technology with traditional craftsmanship to produce something more sculptural than wearable. Herpen successfully pulls together art, fashion and technology to create something that is credited as way more than just Haute Couture, but as wearable art. Her individuality has made her a prominent fixture on the Paris Haute Couture calendar since 2011. She has collaborated with artists such as Jolan Van der Weil and Neri Oxman. Her collaboration with Oxman created an 11 piece collection inspired by the idea of the body attaining a second skin. gHer vision creates more than just high fashion with a sustainability for the future. Her clothing is a brilliant display of art existing as fashion.