COP 3 QUOTES
1.
Frankel Susannah. 2010 Perfect match: How the crossover between fashion and art inspires creations on canvas and the catwalk. [online] Available at: https://www.independent.co.uk/arts-entertainment/art/features/perfect-match-how-the-crossover-between-fashion-and-art-inspires-creations-on-canvas-and-the-catwalk-2142988.html
FASHION TO CANVAS, GRAYSON PERRY, how practitioners are branching out to new mediums to explore fashions expressive powers. (Frankel S. 2010 Perfect match: How the crossover between fashion and art inspires creations on canvas and the catwalk) FASHION AND ART, HOW THE TWO COEXIST “Even the most rarefied of fashion designers is unlikely ever to describe him or herself as an artist” (Frankel S. 2010 Perfect match: How the crossover between fashion and art inspires creations on canvas and the catwalk). "Witness the Louis Vuitton flagship store that opened on London's New Bond Street earlier this year with its Michael Landy kinetic sculpture, Damien Hirst monogrammed medicine chest and hugely successful bags designed in collaboration with Takashi Murakami"(Frankel S. 2010 Perfect match: How the crossover between fashion and art inspires creations on canvas and the catwalk). The two disciplines coexist to support each other "the Prada Foundation in Milan, home to some of the most innovative artworks of the age"(Frankel S. 2010 Perfect match: How the crossover between fashion and art inspires creations on canvas and the catwalk). Fine art is alike fashion in the sense of the "world's perception of a brand's status and power"(Frankel S. 2010 Perfect match: How the crossover between fashion and art inspires creations on canvas and the catwalk). "practitioners from the world of art and fashion appear to be exploring one another's territory more than ever before"(Frankel S. 2010 Perfect match: How the crossover between fashion and art inspires creations on canvas and the catwalk). GRAYSON PERRY "artists with more than a passing interest in fashion's expressive powers and fashion designers who demonstrate a cross-disciplinary approach that reaches beyond the creation of pretty clothes for pretty clothes' sake" (Frankel S. 2010 Perfect match: How the crossover between fashion and art inspires creations on canvas and the catwalk). His alter-ego, Claire, we all know, is a permanent fixture on the fashion scene" (Frankel S. 2010 Perfect match: How the crossover between fashion and art inspires creations on canvas and the catwalk). "the Walthamstow Tapestry, meanwhile, that went on display in London in 2009, features as its centrepiece the "Madonna of the Chanel Handbag", a weeping fashion victim with Virgin head-dress (Hermes scarf?) clutching a quilted 2.55 bag. "Maybe she's just realised how bleak the orgasm of purchase actually is," Perry has said"(Frankel S. 2010 Perfect match: How the crossover between fashion and art inspires creations on canvas and the catwalk). "The exhibition is based on the exploration of the role of clothing in the artistic practice of a number of contemporary artists," says co-curator Edith Devaney. "They are not restricted by working on any one discipline and many work across a variety of media. In the past, artists tended not to stray from the medium of their formal training. Now it is not unusual for artists to cross over into other disciplines in the creation of their work"(Frankel S. 2010 Perfect match: How the crossover between fashion and art inspires creations on canvas and the catwalk). “ fashion designers, in turn, are ever more preoccupied with more purely artistic pursuits” (Frankel S. 2010 Perfect match: How the crossover between fashion and art inspires creations on canvas and the catwalk). MID 90’S BRIT ART MOVEMENT “Brit pop was on the rise and two young fashion designers, the aforementioned Chalayan and Alexander McQueen (Frankel S. 2010 Perfect match: How the crossover between fashion and art inspires creations on canvas and the catwalk)” FASHION AS AN EXPERIENCE “the most remarkable, elaborately conceived fashion experiences” (Frankel S. 2010 Perfect match: How the crossover between fashion and art inspires creations on canvas and the catwalk). “Often described as having more in common with art installation than the conventional catwalk presentation ” (Frankel S. 2010 Perfect match: How the crossover between fashion and art inspires creations on canvas and the catwalk).
“These functioned not only as vital marketing tool but also as highly provocative performances in their own right” (Frankel S. 2010 Perfect match: How the crossover between fashion and art inspires creations on canvas and the catwalk). “The subject matter, in both cases, was far from restricted to any forthcoming skirt length or seasonal colour, focusing instead on some of the most pertinent cultural issues of the age” (Frankel S. 2010 Perfect match: How the crossover between fashion and art inspires creations on canvas and the catwalk). ALEXANDER MQUEEN “I mix art history with modern art and concept” – Mcqueen (Frankel S. 2010 Perfect match: How the crossover between fashion and art inspires creations on canvas and the catwalk) "When Lee [McQueen] and myself were designing in the mid-Nineties we were poor so we had to find other ways of being creative," Chalayan says. "It was a great moment to create a new energy, a moment where there was room for new-ness." (Frankel S. 2010 Perfect match: How the crossover between fashion and art inspires creations on canvas and the catwalk) “McQueen consistently referenced fine art in his collections” (Frankel S. 2010 Perfect match: How the crossover between fashion and art inspires creations on canvas and the catwalk). “the designer's final collection to consider, surely the most poignant meeting of art and fashion of them all” (Frankel S. 2010 Perfect match: How the crossover between fashion and art inspires creations on canvas and the catwalk). “McQueen referenced some of his best-loved old masters – Heironymus Bosch, Hugo van der Goes and Jean Fouquet among them – the Gothic woodcarvings of Grinling Gibbons and the grand and golden flourishes of Byzantium” (Frankel S. 2010 Perfect match: How the crossover between fashion and art inspires creations on canvas and the catwalk). “1998 collection, Joan. Presented on a lava catwalk and accompanied by a soundtrack that crackled with flames, the designer's portrait of the famous martyr saw her in clothing that nodded to historical French armour culminating in her dressed in a blood-red body suit that covered her face entirely and surrounded by a circle of fire” (Frankel S. 2010 Perfect match: How the crossover between fashion and art inspires creations on canvas and the catwalk). HUSSEIN CHALAYAN “Alongside designing his twice-yearly women's wear collections that are shown as part of the Paris ready-towear season, he makes a living as a fine artist, selling limited-edition installation, film and sculpture to collectors the world over” (Frankel S. 2010 Perfect match: How the crossover between fashion and art inspires creations on canvas and the catwalk). “Chalayan told The Independent earlier this year. "I was encouraged to study art in my foundation and I have that way of thinking." Like McQueen, he ended up studying fashion at Central Saint Martins nonetheless” (Frankel S. 2010 Perfect match: How the crossover between fashion and art inspires creations on canvas and the catwalk). “I studied fashion but we mixed with other departments, went to each other's studios. I really always felt that I went to an art school." Art schools have influenced a correlation of practices (Frankel S. 2010 Perfect match: How the crossover between fashion and art inspires creations on canvas and the catwalk). “example of a fashion designer whose thinking and creativity is completely in keeping with that of an artist and the sense of development of complex ideas is very clear in his work” Devaney says (Frankel S. 2010 Perfect match: How the crossover between fashion and art inspires creations on canvas and the catwalk)
2.
Webb, Ian R. (Britain Creates) 2012 Fashion and Art Collusion Booth-Clibborn Editions, London.
Fashion and Art by Iain R Webb, Professor of Fashion, Royal College of Art and Central Saint Martins “At London Fashion Week you are just as likely to find Tracey Emin, the poster girl of Brit Art, or Peter Blake, the Godfather of Pop Art, sitting front row as you are a buyer from Browns or a twittering fashion blogger. The worlds of fashion and art have long been blurred along their borders” (Webb I, R. 2012 Fashion and Art Collusion Booth-Clibborn Editions, London. p 11). “Their mutual fascination has ensured a fertile relationship of inspiration, collaboration and dialogue” (Webb I, R. 2012 Fashion and Art Collusion Booth-Clibborn Editions, London. p 11). Britian Creates 2012 marks a time of excellence in British culture, they invited artist to collaborate with designers and work as ‘co-authors’ without the restraints of the commercial market, finding a true and inspiring
captivation of British creativity (Webb I, R. 2012 Fashion and Art Collusion Booth-Clibborn Editions, London. p 11). MUTUAL INSPIRATION “Throughout the decades artists and designers, along with writers and musicians, have been drawn to one another to inspire or be inspired” (Webb I, R. 2012 Fashion and Art Collusion Booth-Clibborn Editions, London. p 11). GUSTAV KLIMT, EGON SCHIELE, WIENER WERKSTÄTTE 1897 “this kind of mutually supportive community that has become a template for artistic enclaves down the years” (Webb I, R. 2012 Fashion and Art Collusion Booth-Clibborn Editions, London. p 11). PAUL POIRET, FRENCH FASHION COUTURIER 20th CENTURY “was on a mission to raise the status and perception of fashion” (Webb I, R. 2012 Fashion and Art Collusion Booth-Clibborn Editions, London. p 11). “The designer stitched ideas into the garments, for those that wished to interpret them, pertaining to modernism, freedom and ethnicity” (Webb I, R. 2012 Fashion and Art Collusion Booth-Clibborn Editions, London. p 1112). ECONOMY AND SOCIETY “economic downturns and hard times can often pressurise the population to conform, they have also provoked immense creativity and imagination” (Webb I, R. 2012 Fashion and Art Collusion Booth-Clibborn Editions, London. p 12). “Artists and designs tend to live on the fringes of society, outside the norm” (Webb I, R. 2012 Fashion and Art Collusion Booth-Clibborn Editions, London. p 12). 20TH CENTURY, COLLISON OF CREATIVE TYPES “key moments throughout the twentieth century where the threat of war or the reality of fiscal fiasco has encouraged a banding together of creative types, in part inspired by and notwithstanding the accepted wisdom of the mainstream” (Webb I, R. 2012 Fashion and Art Collusion Booth-Clibborn Editions, London. p 12). ELSA SCHIAPARELLI & DALI “poets and designers gathered together to share ideas that explored and crossed the boundaries of their chosen means of expression” (Webb I, R. 2012 Fashion and Art Collusion Booth-Clibborn Editions, London. p 12). CROSSING BOUNDERIES OF CHOSEN MEANS OF EXPRESSION “Fashion’s continually changing characteristics and ephemeral nature excited them, providing as it did fresh leeway from the stiff-necked conservative confines of the art establishment” (Webb I, R. 2012 Fashion and Art Collusion Booth-Clibborn Editions, London. p 12). SURREALSIT ART “Surrealist art, with its aesthetic of starting juxtapositions, has proved a constant source of inspiration for fashion imagery, whether in a department store window display, a make-up advertising campaign or as the inspiration for a leaf shoe by Manolo Blahnik or an amusing hat by Stephen Jones” (Webb I, R. 2012 Fashion and Art Collusion Booth-Clibborn Editions, London. p 13).
ARTISTS AND DESIGNERS HAVE, THROUGH TIME, CONSISTENTLY GROUPED TOGETHER WITH A SIMELAR IDEA OF MOTIVE (Webb I, R. 2012 Fashion and Art Collusion Booth-Clibborn Editions, London. p 13). BRITISH ART SCHOOL SYSTEM (Webb I, R. 2012 Fashion and Art Collusion Booth-Clibborn Editions, London. p 13). “the British art school system is the envy of the world. Within the likes of Goldsmith’s (that boasts alumni as diverse as Mary Quant, Sam Taylor-Wood and Alex James) and Chelsea School of Art(David Hockney to Alexa Chung) there has always been a cross pollination of ideas between departments, with students not only sharing studios and conceptual discourse over a coffee in the canteen, but just as likely beds” (Webb I, R. 2012 Fashion and Art Collusion Booth-Clibborn Editions, London. p 13). “it’s not surprising when so many of the concerns that have shaped the last century’s art making are shared so closely with the world of fashion: appearance, gender, identity, performance, and an exploration of the properties of materials” (Webb I, R. 2012 Fashion and Art Collusion Booth-Clibborn Editions, London. p 13).
“follow the art students to discover the new upcoming postcode” (Webb I, R. 2012 Fashion and Art Collusion Booth-Clibborn Editions, London. p 13). “these art schools have constructed between them a tradition of self-expression and theoretical conceptualism combined with technical nouns” (Webb I, R. 2012 Fashion and Art Collusion Booth-Clibborn Editions, London. p 14). “This amalgam of imagination and craft naturally spans the spheres of art and fashion” (Webb I, R. 2012 Fashion and Art Collusion Booth-Clibborn Editions, London. p 14). “British designers, who have been nurtured through this system, are a particual breed with a genuine curiosity beyond the button and bows” (Webb I, R. 2012 Fashion and Art Collusion Booth-Clibborn Editions, London. p 14). “proven as intellectually curious an provocative” (Webb I, R. 2012 Fashion and Art Collusion Booth-Clibborn Editions, London. p 14). “the fine line walked between art and fashion; the product of a British fashion system that melds street life with nightlife, art school with artisan. A system that encourages non-conformity and subversion with irony stitched between the seams” (Webb I, R. 2012 Fashion and Art Collusion Booth-Clibborn Editions, London. p 14). LONDON AS A SOURCE OF INSPIRATION “For the inquiring mind London itself offers a diversity of inspirations” (Webb I, R. 2012 Fashion and Art Collusion Booth-Clibborn Editions, London. p 14). “historically artists and designer have gathered together in artistic enclaves throughout the capital” (Webb I, R. 2012 Fashion and Art Collusion Booth-Clibborn Editions, London. p 14). -JUDY BLAME“a scene that naively mixed media, art, fashion and film, music and nightclubbing” (Webb I, R. 2012 Fashion and Art Collusion Booth-Clibborn Editions, London. p 14). GRAYSON PERRY “Grayson Perry, as well known for his flamboyant transvestitism as for his confrontational ceramics, collaborates annually with the textile students at Central Saint Martins on a special project” Webb I, R. 2012 Fashion and Art Collusion Booth-Clibborn Editions, London. p 14). “Perry and his pots challenge conventional notions of iconography and idolatry, sexuality and gender” Webb I, R. 2012 Fashion and Art Collusion Booth-Clibborn Editions, London. p 14). KATE MOSS As Web describes, Kate Moss’s beauty like many before her “Moss had become the muse for a slew of contemporary artists and the focus of endless artistic interpretations” (Webb I, R. 2012 Fashion and Art Collusion Booth-Clibborn Editions, London. p 15) KATE MOSS SOLID GOLD STATUE BY MARC QUINN, 2005
“It is the same transaction between artist and sitter as the court painters of the Renaissance or Warhol’s Marilyn: the art work appropriates the mystical aura of beauty and fame, and promises immortality in return” (Webb I, R. 2012 Fashion and Art Collusion Booth-Clibborn Editions, London. p 15). MCQUEEN & CHALAYAN “The designer’s collaborations with jewellery designer Shaun Leane could easily be viewed as pieces of sculpture” (Webb I, R. 2012 Fashion and Art Collusion Booth-Clibborn Editions, London. p 15).
CHALAYAN - “his work is characterised by ’intellectual rigour and a quest for technical perfect that often defies fashion stereotypes” (Webb I, R. 2012 Fashion and Art Collusion Booth-Clibborn Editions, London. p 16) “his presentations are concerned as much with issues of politics, nationality and identity as with hemlines and tailouring” (Webb I, R. 2012 Fashion and Art Collusion Booth-Clibborn Editions, London. p 16) “He describes his approach and interdisciplinary” (Webb I, R. 2012 Fashion and Art Collusion Booth-Clibborn Editions, London. p 16) SHOW STUDIOS 2002, NICK NIGHT “innovative and ground-breaking website that pushes the bounderies of communicating fashion” (Webb I, R. 2012 Fashion and Art Collusion Booth-Clibborn Editions, London. p 16) http://showstudio.com/about “The virtual shop is an extension of the gallery space located at Showstudio’s central London HQ” (Webb I, R. 2012 Fashion and Art Collusion Booth-Clibborn Editions, London. p 16) “it is an osmotic communion” fashion, film and fine art available for the online consumer (Webb I, R. 2012 Fashion and Art Collusion Booth-Clibborn Editions, London. p 16) Aggrandising – increasing the power, status or wealth (Webb I, R. 2012 Fashion and Art Collusion Booth-Clibborn Editions, London. p 16) “the aggrandising power of aligning oneself in the art arena” (Webb I, R. 2012 Fashion and Art Collusion Booth-Clibborn Editions, London. p 16) CURATOR – THE POWER OF THE CURATOR , THE EXPANSION OF THE FASHION STORE AS A GALLERY, HIGH-END FASHION LABELS PRESENTING PRODUCTS AS ‘ARTEFACTS’ “In recent years giant luxury fashion brands have taken the highbrow highroad by aligning themselves with art” fitting the role of the modern-day philanthropist (Webb I, R. 2012 Fashion and Art Collusion Booth-Clibborn Editions, London. p 16) 1993 - “Miuccia Prada and Patrzio Bertelli founded the Prada Foundation that showcases the couple’s contemporary art collection” commissioning new contemporary artists that are internationally acclaimed. (Webb I, R. 2012 Fashion and Art Collusion Booth-Clibborn Editions, London. p 17) “the stores of luxury label Louis Vuitton now showcases original artwork alongside the product for sale, which are also treated like artefacts to be admired” (Webb I, R. 2012 Fashion and Art Collusion Booth-Clibborn Editions, London. p 17) MARC JACOBS & LOUIS VUITTON HOW DESIGNERS AND ARTIST PRACTICES CONSISTENTLY INTERACT. LOUIS VUITTON SPONSERSD THE EXHIBITION OF GRAYSON PERRYS AT THE BRITISH MUSEUM “In return Perry redesigned their trademark traveling trunk” (Webb I, R. 2012 Fashion and Art Collusion Booth-Clibborn Editions, London. p 17) Under the leadership of Marc Jacobs, as in house creative director, Louis Vuitton ‘luxury label’ was transcended back to its stylistic routes and basic canvas (Webb I, R. 2012 Fashion and Art Collusion Booth-Clibborn Editions, London. p 17) “Over the past 15 years he has become a seasoned collaborator, inviting artists from Takashi Murakami and Richard Prince to ‘paint’ onto his range of bags and luxury goods” (Webb I, R. 2012 Fashion and Art Collusion Booth-Clibborn Editions, London. p 17) “these artists, for the most part. Seem happy to embrace the coalition, gaining exposure exponentially” sensation generation (Webb I, R. 2012 Fashion and Art Collusion Booth-Clibborn Editions, London. p 17) FAST FASHION – FROM CATWALK TO CURRENT TRENDS Young artists of the 90’s thrived in the ‘throwaway ethos’ of fashion as it transcended from catwalk to current fashion “wildly entrepreneurial and self-promoting” (Webb I, R. 2012 Fashion and Art Collusion Booth-Clibborn Editions, London. p 17) LOW FASHION VIVIENNE WESTWOOD - “blurred the edges of fashion and art” (Webb I, R. 2012 Fashion and Art Collusion Booth-Clibborn Editions, London. p 17) She applied a delicate touch to embroidery in the ornamentation of clothing “convey intense emotions, painful memories and an underlying introspection and self-analysis” (Webb I, R. 2012 Fashion and Art Collusion Booth-Clibborn Editions, London. p 17)
CINDY SHERMAN collaborating with the likes of Marc Jacob appearing in a fashion ad, also collaborated with Comme des Garçons. Dressing up, costume, disguise, becoming someone else. “her work portrays how dress and image has become integral to the understanding and perception of how we present ourseves to the world” (Webb I, R. 2012 Fashion and Art Collusion Booth-Clibborn Editions, London. p 17) There has been consistent ties between artists and designers “inspired or influenced in some shape or form” (Webb I, R. 2012 Fashion and Art Collusion Booth-Clibborn Editions, London. p 17) “how works of art have referenced the world of fashion, and how many wearable homages to the world of art have been made” (Webb I, R. 2012 Fashion and Art Collusion Booth-Clibborn Editions, London. p 17) – “fashion designers and visual artist will co-author a single, collaborative work of art, in which their contributions are perfectly integrated: both craft and concept a joint enterprise from the start” (Webb I, R. 2012 Fashion and Art Collusion Booth-Clibborn Editions, London. p 17) whether the trading of concepts and ideas is something that is clear, referral or hidden, it translates as a work of art. COLLABORATION (BRITIAN CREATES COMMISIONED ARTISTS TO COLLABORATE AND PRODUCE WORKS OF ART) DO NOT NEED HUSSEIN CHALAYAN & GAVIN TURK Graduating from London’s Central Saint Martins 1993 “his degree collection was immediately bought by renowned London boutique Browns” About ideas – “an exploration, a journey, storytelling”. “proposing a way of looking at something” P 29 halayan’s approach as a designer has consistent similarities to the ideas and approach of an artist. “He was named British designer of the year in 1999 and in 2000” once the creative director Asprey. 2008 creative director of puma. Awarded an MBE Gavin Turk, “the value that the artist’s name confers onto a work” p 30 Giles Deacon and Jeremy Deller Collaboration 2012 UNTITLED GILES DEACON & JEREMY DELLER Designer at the Bottega Veneta, Gucci Group. P44 “his debut received instant international acclaim and brought a renewed focus to London Fashion” P 44 “The collection was featured in American, British, Japanese, Italian and French Vogue” “bought by London stores Harvey Nichols, Liberty and Selfridges” P44 “Deacons work mixes a high level of craftsmanship with a whimsical approach often referencing pop-culture” P 44 Deacon manipulates his use of surface finishing as a canvas, transcending visual ideas through dynamic prints. JEREMY DELLER With a background in the history of art, Deller understanding of the art world “helped to rewrite the rules of contemporary art” with a key understanding for what the ‘art world’ needs, Deacon has established a way in which to influence artist over the past decades. P45 “explores compelling social and cultural territories” P45 “a good collaboration is like going on a long journey without a map, never knowing quite where you will end up” P 45 The unknown STEPHEN JONES & CERITH WYN EVANS Jones’s hats can be seen as works of art, as his approach to design follows those of an artist. Stephen Jones appearance on the ‘fashion scene’ in London, during the 70’s and “its explosion of street style” P 46 He was part of the 70’s ‘style-blazers’ “always crowned with a striking hat of his own idiosyncratic design” P 46 “Jones made millinery seem modern and compelling” P 46 “Jones’s hats have been an integral component in some of the most memorable runway spectacles of the past thirty years” P 46 CERITH WYN EVANS His conceptual practice ranges from media, instillation, sculpture, photography, film and text. Beginning his career as a film maker in the 80’s. His focus is language and perception Is fuelled through his work. “Often his works harness the potential of language to create moments of rupture and delight, where romantic longing, desire and reality conjoin” P 47 MARY KATRANTZOU & MARK TITCHNER
A designer from Athens (1983), born to a designer mother and a textile designer father. After graduating her practice transcended from textile design to “women’s wear with a focus on print” p 72 “Katrantzou’s graduating show in 2008 COLLUSION CURATOR’S NOTE
3.
Greeves, Susanna. (Britain Creates) 2012 Collusion – Curators Note ‘Fashion and Art Collusion’ Booth-Clibborn Editions, London.
“The Britain Creates project set out to add a new chapter to the long story of fashion and art’s special relationship. By paring artists and fashion designers, the ambition was to foster a whole new series of fresh collaborations between the two disciplines , and out of them a body of work, in less than a year” (Greeves, Susanna. 2012 Collusion, Booth-Clibborn Editions, London. p.2). “The two world have intersected in a myriad of different ways before now” (Greeves, Susanna. [Britain Creates] 2012 Collusion, p. 2). “designers and artists have influenced and inspired one another, artists have contributed prints and designs for garments and accessories, plenty of individuals have defied the boundaries between fashion and art” (Greeves, Susanna. 2012 Collusion, Booth-Clibborn Editions, London. p. 2). Collaboration - “the joint conception and execution,, not a spectacle or a dress or a handbag, but a work of art” (Greeves, Susanna. 2012 Collusion, Booth-Clibborn Editions, London. p. 2). Not a response into wether fashion is art “an enquiry which suggests an implicit hierarchy, and a false assumption that Art is the condition to which fashion does,or should aspire. Fashion: frequently inventive, inspired, surprising, shocking and capable of producing true genius” (Greeves, Susanna. 2012 Collusion, Booth-Clibborn Editions, London. p. 2). “literate in one anothers’ worlds” “an appreciation of the other’s different talents and craft, and an excitement about investigating the other’s territory” (Greeves, Susanna. 2012 Collusion, Booth-Clibborn Editions, London. p. 2). THE BRITISH FASHION COUNCIL “understands better than most the practical and commercial pressures that constrain any young designer on leaving college” the BFC helps with these pressures “to free the designers temporarily from these pressures by returning them to the conditions of art school, where designers and fine artists work side by side” “where business models do not apply, and creativity has free rein” (Greeves, Susanna. 2012 Collusion, Booth-Clibborn Editions, London. p. 2). Through commissioning these artists and designers, it allowed the commercial and professional concerns to be left behind and each creative was able to become expressive and free in the creation of a work of art. – How art school is a confined space where creativity is at its height. FILM AND MEDIA “The rise of film and video, installation and archive and documentary-based forms of art have made this way of working all the more prevalent” “co-operative collective approach to art making” (Greeves, Susanna. 2012 Collusion, Booth-Clibborn Editions, London. p. 2). COLLABORATION “There are some famous examples of close and lifelong collaborations in the art world among them Gilbert and George, Jake and Dinos Champman, and Jane and Louis Wilson. All provoke fascination and speculation as to how they can work, as indeed the whole concept of collaboration challenges our ideas about authorship and the artists’ relationship to the artwork” (Greeves, Susanna. 2012 Collusion, Booth-Clibborn Editions, London. p. 23). “we challenged the artists and designers to stretch beyond their imaginations and their media beyond their normal practice, and were rewarded with some proposals so ambitious that they risked being impossible to realise” (Greeves, Susanna. 2012 Collusion, Booth-Clibborn Editions, London. p. 3). “an exercise in trust; the artist and designers trust in one another” and in the participating creatives, who didn’t disappoint. Artist collaborate in finding common ground (Greeves, Susanna. 2012 Collusion, Booth-Clibborn Editions, London. p. 4). “For Simon Periton and Nicholas Kirkwood... the unifying structure of a chandelier was a clever device to allow each of them to contribute different elements” (Greeves, Susanna. 2012 Collusion, Booth-Clibborn Editions, London. p. 4). “The idea of conversation is perhaps most perfectly embodied in the work proposed by Gavin Turk and Chalayan” “They spoke about Gavin’s enduring preoccupation with the mythical status and identity of the Artist,
with authorship and authenticity – the very issues which the concept of collaboration itself raises” “To Hussien the transcript of their conversation read like the lyrics of a song, and from that the idea of a track called Four Minute Mile” (Greeves, Susanna. 2012 Collusion, Booth-Clibborn Editions, London. p. 4). “the artists and designers have seemed to relish the novelty of the experience and have enjoyed exploring each other’s processes, and have even found fresh inspiration to take back to their own practice” (Greeves, Susanna. 2012 Collusion, Booth-Clibborn Editions, London. p. 4). PRACTICAL RESEARCH (Webb I, R. 2012 Fashion and Art Collusion Booth-Clibborn Editions, London. p 14). [{(JEAN COCTEAU, EARLIER ACCOUNTS OF ART AND FASHION COEXISTING “Schiaparelli was one of the most celebrated exponents of the fusion of fashion and art, her designs blurring the line between the two mediums” (Webb I, R. 2012 Fashion and Art Collusion Booth-Clibborn Editions, London. p 12). NEW YORK 60’S & 70’S “another group of artists and designers came together in the twilight world of Manhattan” (Webb I, R. 2012 Fashion and Art Collusion Booth-Clibborn Editions, London. p 13). MANHATTAN “artists took advantage of the vast loft spaces on offer, turning them into live-in studios” p 13 “these soon became the playground for a twenty-four-hour lifestyle that mingled art and culture, fashion and music”. P1 3 THE FACTORY- STUDIO OF ANDY WARHOL “moved seamlessly between the world’s of fashion and art”. P 13 “after starting his career as a commercial illustrator he later experimented with many mediums from printmaking and filmmaking to managing the Velvet Underground rock group. He even published his own magazine Andy Warhol’s Interview that documented the fabulous lifestyles of New York’s in-crowd, with whom Warhol was besotted, and who became the focus of many of his iconic art-works” “he also created a series of cut-up collage dresses that emulated the vogue for collage and soft sculptures of his Pop Art contemporaries”. P 13 ZANDRA RHODES, HIGH PRIESTESS OF PUNK “out of this community emerged fashion designers such as Bill Gibb and Zandra Rhodes, who described her colourful couture pieces as ‘Works of Art”. P 13 “It’s not surprising that McQueen and Hussein Chalayan emerged in the mid-Nineties at the time of Brit Art” (Webb I, R. 2012 Fashion and Art Collusion Booth-Clibborn Editions, London. p 15))}]
4.
Müller, Florence. 2000 Art & Fashion. Thames & Hudson Ltd. London
20TH CENTURY FROM AT WORK TO CATWALK CREATIONS ” The twentieth century has witnessed far more that the mere transformation of art work into catwalk creations. It has produced a whole array of ideas and movements that illustrate the way in which the world of art and fashion inspire one and other” (Müller, F. 2000 Art & Fashion, p. 4) HOW THE TWO COEXIST AND AID ONE ANOTHER, TO DEVELOP AND TRANSFORM “The relationship between the two worlds has given rise to a number of new perspectives, including a reassessment of the meaning of life through dress, the revising of the fashion system, the creation of a new spiritual dimension within the fashion industry, and the use of clothes to aid artistic impression” (Müller, F. 2000 Art & Fashion, p. 4). THE DRESS & SOCIETY HOW IT IMPLIES QUALITIES OF SOCIAL IDEOLOGYS “Depending on the era and the artist or couturier who interprets it, dress can become the expression of an ideology, a social critique, or a combination of both” (Müller, F. 2000 Art & Fashion, p. 4). PROVOCATIVE POWER OF CLOTHING “At the beginning of the twentieth century, many artist exploited the provocative power of clothing”(Müller, F. 2000 Art & Fashion, p. 5). HISTORY AND DEVELOPMENT OF THE DRESS THEO VAN DOESBURG & JEAN ARP “Theo van Doesburg, leader of the De Stiji movement, wore a black suit with a white tie and socks to represent the negative of normal dress. Dadaist Jean Arp invented extravagant costumes as part of their display of nonconformism” (Müller, F. 2000 Art & Fashion, p. 5). The campaign for challenging the ‘elite and futile’ notions of Parisian couture voicing a new idea for clothing to be something that “expressed the philosophy of life” (Müller, F. 2000 Art & Fashion, p. 5). RAPPROACHMENT- AN ESTABLISHMENT OR RESUMPTION OF HARMONIOUS RELATIONS.
A harmony between art and life, “between creativity and scientific modernism” (Müller, F. 2000 Art & Fashion, p. 5). MERGING ART WITH LIFE 1903 – WIENER WERKSTÄTTE “brought together painting, sculpture, architecture and the applied arts to create décor for everyday life” (Müller, F. 2000 Art & Fashion, p. 5). “famous Parisian Paul Poiret visited the Viennese ateliers and would later recognize them as an inspiration for the launch in 1911 of his Ecole Martine” (Müller, F. 2000 Art & Fashion, p. 5). interior design house created carpets, hangings, drawing and objects for interiors, RAOUL DUFY THE TEXTILE INDUSTRY – DEVELOPMENT OF INDUSTRY AIDING ONE ANOTHER “Poiret also offered Dufy the opportunity to create prints in a fabric workshop, an experience that was to be short-lived- as soon as the textile industrialisation Bianchini spotted this new talent, he offered Dufy ‘more worthy industrial activities” (Müller, F. 2000 Art & Fashion, p. 5). ITALIAN FUTURISTS “excited by the progress achieved in merging art and life, became involved in actionart, which aimed to change the world and mankind” (Müller, F. 2000 Art & Fashion, p. 5). FUTURISM & FASHION – concerned with the function of clothing 1919 and its ideological qualities. “Opposed to artificial and traditional fashion, and in favour of playful dress, Futurism aimed to achieve dynamic effect through the use of bright colours, asymmetrical cut and modifiers (small objects that could be added to clothing to indicate changes in wearers mood)” (Müller, F. 2000 Art & Fashion, p. 6).
5.
Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, Thames & Hudson Ltd. London
Millennium transformed the relationships between art and fashion “Since the turn of the millennium, the global fashion industry has increasingly looked to the art world for inspiration and information” luxury brands have established and engaging relationship in supporting the arts, through the funding of projects and exhibitions. (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 10) COUTURE BRANDS WORKING WITH ARTSITS - COLLABORAITON “other brands have incorporated the fine arts directly into their products, inviting individual artists to collaborate” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 10) PHILATROPHIC – ENGAGED IN “encouraged and complicated the perpetual debate about whether fashion really art to such an extent is that is almost impossible to discuss one without the other” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 10) FASHION IN MUSEUMS – The millennium saw the transition of fashion into the museum placing it amongst ‘artistic content’, “broken numerous attendant records and sparked further discussion about role and place of fashion within artistic context” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 10) DEVELOPMENTS FROM JUST CLOTHING “Changing the nature of fashion as we know it” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 10) ABOUT – ART/FASHION 21ST CENTURY “Art/Fashion in the 21st Century therefore aims to document and interrogate the creative works and theoretical significance of the most important artists, designers, fashion houses and museums that have participated in this aspect of contemporary fashion since the start of the new millennium” (Müller, F. 2000 Art & Fashion, p. 10) “I think the way people dress today is a form of artistic expression. Saint Laurent, for instance, has made great art. Art lies in the way the whole outfit is put together. Take Jean Paul Gautier. What he does is really art’Andy Warhol” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 10-11) FASHION PERCIEVED AS ART “fashion is generally understood to be fickle, transient and largely driven by popular culture, fine art is viewed as timeless, considered and elitist. Art has historically been exalted as the more noble and intellectual pursuit in comparison to fashion, which was regarded as a primarily commercially motivated form of expression” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 11) ART & FASHION HIERACHY - HIGH AND LOW
Art is seen as the ‘more noble’ and highbrow industry in comparison to fashion. “The concept of ‘originality’ in contrast with the act of reproduction inherit in fashion” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 12) THE KEY QUALITIES OF ART REMAIN IN ITS AUTHORSHIP THEREFORE THE FASHION OF MASS PROCUTION, RETAINING NO INDICATION OF AUTHORSHIP OR AUTHENTICITY CAN NOT BE CONSIDERED ART. “like limited-edition prints, haute couture pieces are individually numbered and catalogued, in contrast to massproduced factory-sewn garments and even designer ready-to-wear collections, which Benjamin’s definition might be deemed to lack the aura of authenticity that allows them to be considered art” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 12) “a combination of exemplary artisan and craftsmanship that more profoundly fulfils a deeply help human desire for a haptic experience” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 13) HIGH FASHION “haute couture is typically associated with flights of fantasy, excess, theatrical runway shows and exorbitant prices, its allure resides not only in the folly it represents but also in the way in which it speaks to the idea of ‘the handmade’, characterized by hand sewing and pattern cutting” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 12) “clothes intimately imbued with a sense of touch” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 13) “art and couture have a great deal in common: both exist because they can, and not because they serve a practical purpose” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 13) ART FOR COMMERCIAL GAIN “Art has become so wholly absorbed into the capitalist model that it now enjoys the status of a luxury item and appears alongside handbags, shoes, yachts and watches as an object of desire, the subject of ‘status anxiety” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 13)– art has become popular like fashion. ELITEISM “Collectors of expensive contemporary art wear and buy expensive contemporary fashion; there exists a mutual audience for these two genres that seems to parallel the blurring of lines among other creative pursuits apparent in wider contemporary culture” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 13) COLABORATION “Today, established fashion houses such as Hermés, Louis Vuitton and Bally collaborate with artists to simultaneously reinvent their brand for existing clientele and make them relevant to new audiences in a contemporary context” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 13) “in what amounts to a calculated risk, a historic house such as Louis Vuitton can successfully thwart its own status quo while reasserting itself as the original taste maker, thus assuming a position of cultural sophistication” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 16) “Collaborations in the commercial fashion sphere has become synonymous with the luxury-store experience, making it almost impossible to buy a shirt or a bag or a shoe that has not been given an artist’s personal makeover” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 17) “the product of a collaboration is imbued with the aura’ of the original artwork, even when the handbag or dress is reproduced in large numbers” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 17) HIGH TO LOW FASHION “Louis Vuitton’s head designer Marc Jacobs initiated the practice in 2001 with Stephen Sprouse, and these initiatives have proves so successful that the practice of artist-collaboration has also been adopted by mass-market high street labels” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 17) DESIGNERS AS ARITSTS
“Many designers who can be considered artists in their own right, whether they simply employ the body as a canvas or use it to create performance art in their runway shows” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 17) “fashion seduces the wearer with damental notion that fashion seduces the wearer with the promise to transform, affording them the opportunity to become many different characters” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 17) FASHION SHOWS – MUSEUMS “Fashion shows have since evolved to resemble… evocative museum presentations with equivalent didact labels and meanings” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 17-18) “The shows of designers such as Viktor & Rolf, John Galliano for Christian Dior, Alexander McQueen and Channel have rivalled the scale and expense of the world’s most ambitious operatic productions” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 18) how the museum space has contributed to the way in which fashion shows are directed and staged. The general consensus is that there is still room in the market for both online and print content, yet the new media platforms have radically changed the fashion landscape they report” – fashion houses “now live-stream their seasonal runway shows, possible to an impatient global audience” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 18) Media landscape “the art world lends fashion a much-needed cerebral element that is otherwise lost in fashion’s interminable transience and lack of a formal, intellectual critical framework” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 20)CEREBRAL – CHARACHTERIZED BY THE USE OF THE INTELLECT RATHER THAN INTUITION OR INSTINCT. Fashion borrows the intellect and intuition from art that is somewhat lost in the trending discussion of fashion and its intellect. THE DEVELOPMENTS IN TECHNOLOGY – MEDIA PLATFORMS “The general consensus is that there is still room in the market for both online and print content, yet the new media platforms have radically changed the fashion landscape” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 20) “A growing number of fashion houses, for instance, now live-stream their seasonal runway shows, delivering the ‘slow art’ of haute couture as quickly as possible to an impatient global audience” p 20 the live streaming of runway shows (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 20) FAHION MAGAZINES HAVE EVOVKED A NEED FOR COLLABORATION “Fashion magazines invite artists to serve as guest editors, working in a curatorial rather than commercial mode, and, like the leading fashion houses, seek out collaborations with fine-art photographers for shoots that break the traditional mode” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 20) SHORT FILMS Film “has become an important medium for artists collaborations in the digital age, as fashion houses increasingly reach their customers via film shorts disseminated online” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 20) INTERNET “The rise of the internet has radically hanged the retail sphere of fashion as well” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 20) “Consumers can now browse for and buy garments online from the comfort of their own homes; Burberry, for example, has even introduced functionality for online customers to purchase looks directly from its livestreamed runway shows” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 20) FLAGSHIP STORES The economic revolution aided the simultaneous growth in establishing of the store for major fashion brands. “architecturally significant megastores are, in effect, the museums of the fashion world, and operate in a way that resembles the art museum model: the visitor is invited to view the works of art and make a purchase” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 20) The flagship stores, that remain within the highest society, “have taken this process a step further, building their own art museums and exhibition spaces, or sponsoring innovative public art projects” P 20 WEALTHIEST LABELS (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 20) “The art world has been somewhat slower off the mark in adapting these new retail and media landscapes” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 20) The world of art, is reliant on the
space of the gallery “The art world is still reliant upon museum and gallery exhibitions to generate media exposure via magazine reviews and the publication of exhibition catalogues, and the success of an exhibition it still measured by its attendance figures” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 20-21)ART AND MODERN MEDIA DIFFICULTIES, art has a necessity to be viewed like clothing is to be worn. Art has a need to be seen ‘in the flesh’, it has been unable to transition completely to the media world as there still remains a sense that “this face-to-face apprehension is part of the haptic experience that the artistic gesture demands and a means of personally verifying the ‘authenticity’ of the artist’s hand” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 21) TRADITIONAL SYSTEMATIC PROCESS OF SELLING ART, WHY THIS REMAINS? “moreover, although art can be and is sold online, the traditional models of art gallery, dealer and auction house have survived largely unchanged, as these institutional structures are still necessary to secure and authenticate the status of the artist” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 21) BRANDING “fashion shares this need to establish authenticity of a work” luxury brands are consistently imitated. “Although brand identity is therefore especially important to fashion houses, many of the most successful artists – such as Murakami, Hirst or Cindy Sherman – are also brands in their own right” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 20) VALUE AND WORTH “A discussion about art and fashion inevitably comes back to a concept of implied value and worth” p 20 “fashion has a ‘price’ and art has a ‘value’ Art typically appreciates in value, whereas fashion, despite the perpetual trend for vintage, typically depreciates” p 20 “Very few items of fashion hold their price outside the world of haute couture and beyond the immediate desire that surround an ‘It’ bag or designer, because this desire is by its very nature fleeting” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 20) fashion is unlike art in the sense that it is unable to withhold value. “fashion is, after all, fashionable” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 20) THE RISE OF LUXURY BRANDS in time with the global financial crisis 2007. “On the surface it would seem that consumers are turning to bespoke luxury items for solace in a time of widespread austerity, and we might postulate that on a deeper level this is motivated by a desire for certainty in an era of upheaval” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 20) WHY DO PEOPLE BUY INTO LUXURY BRANDS? “That an object is well made, perhaps, but more specifically that is has been designed by an artist or handmade by an artisan; that it has taken time to make, and therefore hass value beyond its monetary price” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 20)
THE NECECITY IN CONTEMPORARY CULTURE FOR THE UNION OF ART AND FASHION “contemporary culture, in which time itself is the ultimate valuable commodity, has generated a global craving for ‘authenticity’ that the union of art and fashion is uniquely able to fulfil” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 20) FASHION AS A CONTEMPORARY FORM OF ENTERTAINMENT – FASHION AS ART. “The mutual inspiration of art and fashion operates in two directions: outside of their officially commissioned commercial collaborations with contemporary artists, many fashion designers have looked to the fine arts form inspiration, for John Galliano’s homage to painter John Singer Sargent to Yves Saint Laurent’s famous
‘Mondrain’ dress or Rodarte’s ‘Fra Angelico’ collection” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 26) Fashion created, with the sole purpose of a work of art, is critically dictated to be ‘unwearable’ “this unwearablility would seem to negate the commercial viability of fashion, challenging its reason for existence” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 26) FASHION THAT IT MADE UNWEARABLE CAN BE SEEN AS A TRANSITION IN WHICH FASHION IS PLACED OUTSIDE OF ITS IMMEDIATE VALUE. “Fleury’s bronze Prada heels, too, are not wearable; they are transitory fashion given longevity and a value outside of the immediate financial transaction. In this context, might we not then view the work of some fashion designers as art” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 26) PREFORMANCE “the art of dressing can be performative, and many designers present their work in ways that resemble contemporary performance or conceptual art” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 27) fashion theatre “Alexander McQueen concluded the presentation of his seminal ‘No.13’ collection with an epic finale in which model Shalom Harlow spun slowly on a turn-table in a white dress as she was spray-painted by a robot” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 27) MCQUEEN AS A VISUAL DIRECTOR OF FASHION AS A PREFORMANCE HUSSEIN CHALAYAN 2000 AUTUM/WINTER – A DRESS THAT CHANFED SHAPE BY REMOTE. “in which clothing transformed into furniture; and several collaborations with Swarovski in which garment decorated with crystals and thousands od LED’s created spectacular light shows on darkened runways” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 27) FASHION CRITISIM AS AN ART FORM “fashion is often criticized for what is perceived as its lack of content; judged for its speed, commerciality and ephemeral, ‘throwaway’ nature, despite the clear artistic rigour exhibited in the design process and the presentation of garments” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 27) how artistic impression and a moment of feeling can be transformed through elements of presentation, intention and impression. It intelligence is questioned in the complexity of design. PRACTICAL “Chalayan, Bernhard Willhelm, Henrik VIbskov, Masion Martin Margiela, Viktor & Rolf and Walter Van Beirendonck all create clothing that is not primarily about following trends for commercial gain, and that challenges definition of what fashion is and how it functions” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 29) designer predominantly European or Japanese, the developments in European fashion that developed with the historical aesthetic of culture (art, film, music, architecture). MUSEUMS “It is here – the museum – that fashion’s validity as an art form is questioned, prompting countless discussions and debates in recent decades” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 29) “a challenge furthered by it’s connection to a capitalist culture” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 29) IT CHALLENGE TO IDENTIFY AS A TRADITIONAL ARTISTIC FORM FASHIONS WORTH IS IN THE EYES OF THE BEHOLDER, “Fashion’s cultural, social, economic and aesthetic worth should ultimately remain with the viewer or consumer” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 29) HUSSEIN CHALAYAN “intellectual approach to fashion sees him frequently described as an artist” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 30) “his non -conventional approach to materials and for his inclusion of technological elements within designs that meld the languages of fashion, furniture, architecture, theatre, music and cinema” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 30) PREFORMANCE AND INSTALATION, “his aesthetic relies on intellectual concepts that are often related to social engagement and where the boundaries between fashion and architecture become blurred” p 30 “His work has been the subject of exhibitions at the
Victoria & Albert Museum London; the 21st Century Museum of Contemporary Art…”(Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 30) etc THE BUYER AS A COLLECTOR- COLLECTORS OF ART. MAISON MARTIN MARGIELA “always played with the notion of personality and visibility in his work, however, and allowed speculation to swirl in the lead up to his retirement about whether he was still in the role” p 40 never photographed or appeared on the catwalk, it is rare for there to be speculation and confusion to the brand identity in a personally driven industry. THIS IDEA OF APPROACHING WITH ARTISTIC NOTIONS CAN BE FOUND IN MARGIEALS APPROACH, questioning the notions of fashion, and a resolved garment “not about celebrating conventional notions of beauty; indeed, at times his style seemed more about the suppression of the female form” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 40) LOW FASHION – case study???- investigate. MARGIELA & HM Challenging the notion that fashion can only be perceived as art in the most elitist of society. “in 2012 the label collaborated with high street retailer H&M, the epitome of global mass-produced fashion, to produce a capsule collection of more wearable and affordable versions of some of the founder’s signature designers” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 40) “some observers branded the H&M collaboration an insult to Margiela’s original creative visions; others, such as fashion correspondent Fiona Duncan, saw it as a deliberate act of performance, ‘a continuation of Margiela’s funhouse-mirror reflection of the fashion system, an inside joke and an insidious proposal of protest, a statement on authenticity and mechanical reproduction”. Fashion designer Margiela’s ideas on authenticity, contradicting the fashion system and mechanical reproduction. ALEXANDER MCQUEEN PRACTICAL – PUNK 2010 – HIS SUCIDE, “arguably the most important designer of his generation, famed for hid heady mix or classic couture techniques, punk sensibility and futuristic visions of fashion” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 48) THE MUSEUM SPACE “Alexander McQueen: Savage Beauty’ at the Metropolitan Museum of Art, New York, in 2011 has cemented his place, already firmly established, in the cultural archives of the 21st Century” through his life McQueen was described by critics as an artist. (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 48) A creative that truly transformed fashion through performance, adapting visual films and music to inspire his audience. His somewhat moody, provocative approach to design revels in the darkest depths of life P 48. McQueen was obviously saddened by the world, and in the sense, he found a great drive through empowering women. Shaping them in an amour of “poisonous snakes, improbable shoes that resembled an armadillo, or feathered layers that transformed the wearer into an exotic bird” his approach to design mimics that of an artist HIGHLAND RAPE COLLECTION 1995 “was popularly misunderstood as a misogynistic gesture when in fact the designer was making a serious comment about the troubled relationship between Scotland and England”p 48 “Art was important to McQueen, both for its own sake and as a source of inspiration” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 48) PREFORMANCE FASHION VOSS 2001 SPRING/SUMMER MCQUEEN – AN OBESE WOMAN CONNECTED TO A MONKEY THROUGH A BREATHING APPERATUS “The audience was forced to look at its own reflection for over an hour before the show began, setting up an unease that the designer enjoyed. As the presentation began the lights went on inside the box and the tableau of the woman and the monkey became visible; the glass walls fell away and shattered… these beautiful models were walking around in the room, and then suddenly this woman who wouldn’t be considered beautiful was revealed. It was about trying to show… that beauty comes from within” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 40 HIGH FASHION Fashion borrows from artists ideas and the elitist of designers, that produce the most coveted garment, can be perceived as artists themselves as they employ the ideas of artistic expression, voicing or provoking a reaction to something that relates cultural or socially within a time. ISSEY MIYAKE, COMME DES GARÇONS – WITH YOHJI YAMAMOTO, REI KAWAKUBO
“Their creative output is frequently described as art by virtue of its contribution to a larger dialogue about what fashion is and what it could become” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 75) “a desire to expand the potential for clothing outside of the purely functional” Issey Miyake explores fashion as an art form in the making of sculptural shapes through clothing, transforming the way in which the clothing is worn and traditionally made. Miyake approach to design mimics the idea of transitioning and developing, his practice, a designer that thrived in fashion futuristic qualities and need to progress. Miyake challenged the way in which fashion was made, setting new pretences through fabric printing. His collaboration with numerous artists evoked a change, transforming from canvas to fabric, setting new ideals for the way in which clothing is made. P 75 “Miyake has collaborated with numerous contemporary artists, including Japanese appropriation artist Yasumasa Morimura, whose reenactments of classic paintings were reproduced as fabric prints in 1996, and Chinese artists Cai Guo-Qiang, whose trademark gunpowder drawings were transferred onto delicate printed dresses in 1999”(Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 75) ArtForum 1982 cover “this endorsement by one of the world’s leading contemporary art journals was met with a derision and approbation that seems absurd in hindsight” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 75) “his work has been included in innumerable exhibitions and surveys at art galleries and museums and is held in permanent collections of many fashion museums and costume institutes” Miyake aided the transition of fashion as a form of art. P 75 “The Miyake label hosts changing art exhibitions and installations in its own retail spaces, such as the boutique designed by Frank Gehry in New York’s Tribeca neighbourhood” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 75) TELLING STORIES THROUGH DESIGN ADRIAN MESKO, TEMPS DES RÊVES, 2010 “a series of photographic prints on silk-satin scarves under the label Temps Des Rêves as a creative aside to his career as a fashion photographer…based on the philosophy of providing wearers with an intangible ‘feeling’, is sold at stores such as Liberty London and has quickly gained global recognition” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 80) “Temps Des Rêves means ‘Dreamtime’ in French” “It’s all quite personal, including the photographs that I realease to print onto the silks. There is a story woven into each one of them” p 80 “Fashion is a means of expression. The way someone puts together what they choose to wear is a form of creativity, an expression of how they might be feeling before they step out of the door or a projection of who they’d like to be” P 80 “this sort of expression on a subconscious level is still important” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 80) Adrian Mesko – “In my opinion art’s main purpose is to be a sign of its time, a representation of what it means to be alive in this time, this place” Temps des Rêves was not made with commercial intent, his scarfs are not classified as art, he states, as they are not conformed to the space of a gallery, yet they also aren’t restricted by commercial production. (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 80) COLLABORATION P 96 – DECORATION – ARTISAN “collaboration in fashion is evident in the way a house employs an artist’s work for the purpose of decorating its signature or staple products, such as leathergoods, accessories and fabrics” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 96) “this level of collaboration varies; while in some instances an artist is invited to alter a product’s physical proportions, construction and style, or indeed imagine an entirely new product” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 96) COXIESTION “such collaborations between art and fashion represent an important meeting of the two worlds” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 96) “Collaborations are not a new phenomenon: artists and art movements have been stylistically influencing fashion designers for centuries” is the origin of the new age of fashion intrinsically linked to the appropriation of art? (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 96) – example early evidence of collaboration 21st century collaboration something of popular interest. “the concept of ‘collaboration’ – a 21st Century buzzword” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 96)
“the Lobster dress designer with Salvador Dali and famously work by Wallis Simpson, set the trend for future collaborations between contemporary artists and fashion houses” “Schiaparelli’s influence in this respect was celebrated by the exhibition ‘Schiaparelli and Prada: Impossible Conversations’ at the Metropolitan Museum of Art, New York, in 2012, in which her work was curated alongside that of contemporary Italian designer Miuccia Prada, also known for her collaborations with visual artists” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 96) PROFIT DRIVEN MODERN FASHION INDUSTRY – Collaborations with artists result in the creation of a product “whatever their artistic ambitions, these initiatives are regarded as commercially viable by the international conglomerates who own the major luxury brand” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 96) “Collaborating with contemporary artists brings a new kind of creative fecundity to the product. It forces creativity that is different from that typically found in fashion” Yves Carcelle, President and and CEO, Louis Vuitton (Art Lessons, Time, Kate Betts 2007: http://content.time.com/time/magazine/article/0,9171,1670494,00.html/ (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 96) GIVING FAHSION THE AUTHENTICITY OF ART. “A fashion collection created in collaboration with an artist is almost always a one-off capsule, whose status as a limited edition gives it the aura of authenticity normally associated with work of art” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 96-101) HIGH CULTURE “exclusivity is equated with luxury, and nothing is so desired as that which has sold out” example of artistic collaboration led to luxury and limited edition “many houses rely on their history as a powerful marketing tool, emphasising notions such as tradition, authenticity and brand recognition to survive the fluctuating global economy, whilst simultaneously trying to remain relevant in the contemporary market” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 101) PRESTIGE OF COLLECTING LUXURY GOODS - Artistic elements applied to a garment or accessory, conform to the consumers desire for something extra or of limited edition, a sense of identity, of relevance in amongst society, can be found in history of luxury brands. “the incorporation of a visual art element into a fashion item adds an of-the-moment relevance that is especially important for historic luxury brands, and can bring both a fresh irreverence and additional gravitas to functional product lines as leather goods” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 101) Consumers desire for something extra. The relationship between art and fashion can be described as a ‘collusive one “mutual risk for mutual reward” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 101) “just as fashion houses risk the substantial financial outlay required to produce a collection, the artists who collaborate with them risk being branded ‘sell-outs’ by their colleagues in the art world as they benefit from the increased publicity” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 101) Widening arts audience “For many consumers, a collaborative fashion project is the channel through which they are first introduced to a particular artist’s work, in a form that – unlike contemporary art – is not seen as requiring a strictly defined body of knowledge in order to be engaged with and discussed, and is open to anyone with the financial means to buy the products or a willingness to explore them via the media” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 101) – “widening public access to contemporary art, and are able to enact a cultural education via the cash register” -engaging a generation further. CHAPTER 3 – POSSIBLE CASE STUDY STARTING POINTS BRITIAN CREATES 2012 “initiative of the Fashion Arts Foundation set up by the British Fashion Council and Harper’s Bazaar in order to foster connections between the world of fashion and opera, theatre, dance, cinema and visual art. The project celebrated the strength of British fashion and contemporary art as London prepared to host the 2012 Olympic Games” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 103) “the collaborative pairs was given free reign to create, in any medium that represented their dual practices and aesthetics, a one-off piece that was then displayed at the Victoria & Albert Museum London” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 103) “we wanted to do something quite new in inviting
this kind of genuine co-authorship, right from concept through to execution, and by giving them such an open brief so that they could take their conversation in an direction… some saw it as a change to make something completely different from their normal practice, others felt they wanted to bring something they were essentially known for, but all were ambitious” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 103) – Greeves PRADA & JAMES JEAN 2008 CASE STUDY 1 “Prada engaged illustrator and comic artist James Jean to collaborate on its Spring/Summer 2008 collection, in what represented the first such partnership in the labels history” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 107) “one hundred pieces, including dresses, shoes and bags, was not confined to clothing and accessories, however. Jeans was invited to create a mural for Prada’s Rem Koolhaas-designed Epicentre store in New York as well as a backdrop for the collection’s runway presentation in Milan and his art work was integrated into the seasonal advertising campaign” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 107) TECHNOLOGICAL ADVANCES “Jean also wrote and developed an animated short film, Trembled Blossoms (2008)” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 107) – working with a team using motion caption technology “a dark fairy-tale in which creatures turn into fashion products, bought to life the characters in the watercolour prints Jean had created for Prada” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 107) Engaging and captivating an audience, enticing them through the moving picture “The film was screened in Prada’s Epicentre stores in New York, Los Angeles and Toyko, where the windows of the building in the city’s Aoyama district were covered in coloured film printed with a giant image of the lead character reaching for a peach tree” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 107) Re-inventing Prada, creating something new and inventive to entice and audience. “Jean is best known as a cover artist for DC Comics” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 107)Jean’s practice is an unusual pairing with the ‘modernist’ look of Prada, yet the contrast seemed to work intrinsically. DEIGNERS INSPIRED BY WORK “I believe there is a line between fashion and art. They are two different disciplines. Nothing I do is art, but I draw inspiration from it and admire the way it allows my mind to think in new ways” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 109) “art opens boxes in my mind that I can’t open myself” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 109) HOW THE TWO COXEITST AND SUPPORT EACH OTHER “to offer art to a fashion consumer is a good way of raising the profile of both the artist and the art as a field” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 109) THE USE OF NEW MEDIA – FILM “We have always worked with film as a format at Acne, and then all of a sudden everyone was doing fashion films. I felt like we had to do something contemporary that would reach beyond the house” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 109) LOUIS VUITTON: TAKASHI MURAKAMI, RICHARD PRINCE YAYOI KUSAMA & STEPHEN SPROUSE “no other fashion house has wielded as much influence on the work and reputation of an artist in the way Louis Vuitton cultivated its highly visual relationships. It’s founder Gaston-Louis Vuitton, collaborated with decorative artists such as Pierre-Émile Legrain, Jean Puiforcat and René Lalique” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 122) “the 21st Century the house has worked with visual artists to create ready-to-wear or accessories capsule collections on an almost annual basis” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 122) CASE STUDIES??? “It’s artist collaborations have included Julie Verhoeven (2002), Takashi Murakami (2003), Richard Prince (2008), Yayoi Kusama (2012), and Stephen Sprouse who was responsible for the label’s successful
‘Graffiti’(2001) and ‘Leopard’(2006) patterns”. (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 122) “especially important area of collaboration for Louis Vuitton has been the regular updating of its signature prints – most prominently the ‘LV’ monogram – by contemporary artists” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 122) EMPOYING ARTIST TO FURTHER A BRANDS AUTHETICITY, CREATING SOMETHING OF THE MOMENT, THAT IS OF HIGH QUALITY AND LIMITED EDITTION THAT THE CONSUMER CRAVES. “George Vuitton, the founder’s son, created the company’s current monogram, which represented a break from the house’s traditional geometric pattern” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 122) COUNTERFEITS – FAKES, HIGH TO LOW CULTURE A SIMPLE DESIGN IS EASY TO COPY, BY EMPOLYING MORE DETAIL AND REBRANDING ITSELF, VUITTON WAS ABLE TO ESTABLISH ITSELF ABOVE THE ‘COUNTERFIETS’ “George’s pattern, based on Japonisme and Art Nouveau designs, not only served to modernise the brand at the turn of the century but also to distinguish the house wares from its counterfeits, of which there were as many then as there are today” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 122) LOUIS VUITTON DID MORE THAT EMPLOY ARTISTS, FORMING PARTNERSHIPS THAT ALLOWED THE CREATIVE TO BE INVOLVED INDEFINITELY, ALLOWING THE ARTIST TO WORK FREELY WITH ARTISTIC INTENT. WHAT HAS CAUSED THIS FIXATION ON CREATING FASHION WITH ARTISTIC QUALITIES? MARC JACOBS FOR LOUIS VUITTON “Throughout his tenure at Louis Vuitton, Jacobs has attempted to honour its founder’s vision that the house should straddle both the fashion and art worlds” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 129) “this practice of updating the monogram was continued by the company’s current owner, Bernard Arnault of luxury conglomerate LVMH, which assumed a controlling interest in 1990… re-release of the house’s signature products in 1996. The celebratory collection featured bags personalised by somem of the world’s leading fashion designers including Azzedine Alaïa, Helmut Lang, Sybilla, Manolo Blanik, Isaac Mirzrahi, Romeo Gigli and Vivienne Westwood” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 122-129) 2002 MARC JACOBS CREATIVE DIRRECTOR FOR L.V – TAKASHI MURAKAMI “Redesign the house’s iconic monogram, resulting in one of its greatest commercial successes to date” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 129) PROCESS “Murakami first reinterpreted the monogram in acid colours on black and white backgrounds, and later diversified in a number of versions, some incorporating anime-style images of cherry blossoms, cartoon characters and toy animals” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 129) COMMERCIAL AND HIGH ART “designed in-store installations to house the products, as well as sculptures to accompany them” he later “reappropriated the paintings and sculptures he had produced for Louis Vuitton, showing them in his solo exhibitions, thereby further collapsing the distinction between commercial and high art” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 129) ‘RADICAL MELDING OF HIGH AND LOW CULTURE’ “this radical melding of high and low culture is typical of Murakami, who founded the Japanese postmodern art movement Superflat that conflates Japanese graphic design with hyper-consumerism of Japanese society” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 129) IN WHAT WAYS IS CONTEMPORARY ART ONLY ACCESABLE TO THOSE OF ‘EXTREME WEALTH’? “Jacobs himself is an avid collector of contemporary art, but equally understands the intimidating nature of a sparse gallery space. ‘I had in my mind that only incredibly grand, extremely wealthy people lived with art of any sort’, he explained in his early career. MARC JACOBS
“In an attempt to break down this barrier, Jacobs uses Louis Vuitton’s collaborative projects to communicate the work of an artist to the wider public in an accessible medium: fashion” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 129) VERSACE & TIM ROELOFFS, FOUR DRESSES AUTUM/WINTER 2008 Tim Roeloffs was commissioned to create twelve prints “Gianni loved Berlin,’. The resulting images, a mélange of a fragmented skyline and neo-classical furnishings digitally printed n neon pink, purple and yellow silk dresses were, however, ebullient and baroque in the very spirit of Versace” “As a collaboration it embraced the conceptual ambitions of both artist and brand, creating new audiences for both” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 130) NATALIE WOOD SOMETHING ELSE X JULIE VERHOVEN 2012 SUMMER “I like to merely inspire an idea and let the artist shape it from there’ – Natalie Wood” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 130) COACH: HUGO GUINNESS & JAMES NARES “Guinness created four exclusive design motifs for the label… ‘Coach is a New York institution, so I created what I see every day on the streets of the city’… The block prints were applied to a seventeen-piece collection of bags and accessories to appeal to a more youthful audience” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 140) single brush stroke paintings applied to classic canvas tote bag “the collection was limited to 175 bags produced in each of the five different designs; all were individually numbered and stamped with Nares’s signature, offering a witty take on the idea of the artist’s mark: the brushstroke”. LIMITED EDITION, REBRANDING THE NAME TO REACH OUT TO A WIDER AUDIENCE. (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 140) FASHION AS AN EXHIBITION – MUSEUM SPACE, QUESTIONING IF FASHION IS ART, OR IN THE SPACE OF THE EXHIBITION, FASHION CAN BE COMMENDED FOR ITS INVOLVMENT WITH CONTEMPORARY CONCEPTS AND IDEAS ALSO FOR ITS ARTISTIC, COMMUNATIVE QUALITIES. AS FASHIION THEREFORE, ONCE PLACED IN AN EXHIBITION, SEEKS PRAISE FOR THE CREATORS ACHIEVEMENT OF AUTHENTICITY. FASHION BECOMING ART IS THROUGH ITS RANKING OF GREAT INDIVIDUALTY, COMMEMORATED FOR ITS CAPTIVATION, ALIKE ART, “a fashion exhibition is eye candy and ideas rolled into one” when placed in the space of an exhibition, a designers inspiration and intent can be displayed. (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 154) “fashion has the ability to connect with viewers on multiple levels” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 154) VISUAL SPECTICLE “its theatricality and grand gestures attract fashion and non-fashion audiences alike to museum exhibitions in order to experience an extraordinary visual spectacle” p 154 “fashion is also an art form that speaks to a universal understanding of the body” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 154) how high end fashion of the 21st Century, with all its grand and extraordinary details, has transcended fashion to become something a spectacle to be admired, as is art. – “Audience demand for both aesthetic and intellectual content has been increasing steadily since the turn of the millennium, resulting in a plethora of fashion exhibitions in traditional art venues” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 154) THE MET MUSEUM OF ART N.Y – SAVAGE BEAUTY 2011, ALEXANDER MCQUEEN - triangulate with documentary quotes!! “the show attracted more than 650,000 visitors, an unprecedented number for any previous exhibition in any artistic genre” p(Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 154) bringing an audience that is interested in fashions popularity, into the space of the museum, educating generations. PUBLIC INTEREST “‘savage beauty’ nonetheless proved a litmus test of fashion’s cultural worth and established the bankable appeal of fashion exhibitions in a fine art context” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 154) a further refinement and election of the elitist society 2009 MUSEUM RETROSPECTIVES, SINGLE DESIGNERS OR LABELS
“Jean Paul Gaultier, Cristóbal Balenciaga, Christian Louis Vuitton, Yves Saint Laurent, Madame Grés, Hussien Chalayan, Rodarte, Comme des Garçons, Chloé” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 154) “these exhibitions focus on designers whose practice is defined by rigorous attention to detail and high level of craftmanship, as opposed to fast or high street fashion” INTRO (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 154) FASHIONS NEW STANDING IN THE ART WORLD “fashions new credibility within the art world” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 154) THE EXHBITION SPACE AS AN INSTALTION – ‘THE ART OF FASHION: INSTALLING ALLUSIONS’, THE MUSEUM OF BOIJMANS VAN BEUNINGEN, ROTTERDAM 2009 – ARTIST AND AVANT GARDE DESIGNERS. “the exhibition resembled a series of installations, which largely eschewed the traditional mannequin/garment approach to presentation, and, by exhibiting both fashion and contemporary art in a shared platform, successfully bridged the perceived cultural divide between the two” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 154-155) THE CURRATORS THAT CHANGED THE MUSEUM SPACE INDEFINANTLY “this critical re-preesntation of fashion has been led by a roll call of ‘It’ currators that included Andrew Bolton of the Costume Institute at the Metropolitan Museum of Art, New York; Valerie Steele of the Museum of Fashion Institute of Technology, New York; and Pamela Goblin of the Musée de la Mode et du Texile, Paris” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 155) DESIGERS CROSS-DISCIPLINARY PRACTICE, ENGAGMENT WITH OTHER DICIPLINES TO FORM A DYNAMIC PRESENTATION OF THE DESIGNERS INTENT. “there new breed of fashion exhibition typically focuses on a designer’s cross-disciplinary practice and features dynamic an innovative means of presentation, often the result of the designer’s creative engagement with artists, filmmakers, stylists and architects” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 155) The museum space encourages an audience to engage, not only the authenticity of the designer, but also a curated vision of the designer’s intent. “presenting them both as works of art and as important artefacts of social history” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 155) “as fashion exhibitions increasingly move outside the remit of leading fashion institutions and into mainstream art museums and galleries, they challenge the ways in which fashion has traditionally presented to the public” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 155) APPLYING FASHIONS NEED TO MOVE WITH MODERNITY, engaging with an audience like never before. THE MUSEUM SPACE HAS CHANGED THE WAY IN WHICH THE PUBLIC IS ABLE TO ENGAGE WITH FASHION INDEFINITELY. “the sight of a garment displayed on a mannequin triggers an automatic appraisal of the work as a potential purchase, a reaction unlike that normally elicited by other types of fine art” “inspired by the popularity of such high-profile exhibitions, fashion brands are at the same time increasingly styling their stories to resemble art galleries or miniature museums, blurring the line that once existed between art and fashion, or, in the view of some critics, between creativity and commerce” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 159) “products are displayed on plinths, in Perspex cases or artfully arranged on a wall in the manor of a salon hang, mimicking art curation as they offer democratic entry to its rarefied world” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 159) “this similarity in appearance between art galleries and fashion boutiques also reflects the reality that shopping and visiting exhibitions are both forms of contemporary entertainment in which one can consume ideas and products – via the all-important museum shop in the case of art museums” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 159) 21st Century “fashion houses have emerged as influential patrons of both contemporary and traditional fine art” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 159) - Grayson Perry, relate quotes 2012 LOUIS VUITTON X YAYOI KUSAMA, SUPPORTING EACHOTHER IN THE COMMERCIAL AGE
“2012, Louis Vuitton sponsored Yayoi Kusama’s touring survey exhibition that was organised by Tate Modern in London, increasing Kusama’s public profile as the brand embarked upon as the brand embarked on its own collaborative projects with the Japanese avant-garde artist” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 159) PRADA AND THE ARTS “maintains exhibition spaces in Milan, Venice, and its extensive financial sponsorship of art projects” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 159) “the growing place of fashion within the art gallery, in creative, curatorial and patronage roles… the 21st Century is a pivotal moment for fashion – by right of its considerable financial resources, gift for dynamic presentation and ability to attract enormous new audiences to art museums” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 159) “both scrutinized and admired as an influential force in the shifting hierarchy of the art world” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 159) ANDREW BOLTON – THE CURATORS ROLE IN CHANGING THE FAHSION WORLD, HOW WE PERCIEVE FASHION, THE COSTUME INSTITUTE AT THE METROPOLITAN MUSEUM OF ART, NEW YORK “The costume institute at the Metropolitan Museum of Art, New York, houses what is arguably the greatest costume collection in the world” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 160). “under the direction of Harold Koda and Andrew Bolton, the Costume Institute continues to set a global standard for fashion exhibitions” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 160). savage beauty ANDREW BOLTON “FASHION RESPONDS TO CURRENT EVENTS QUICKLY, ACTING AS A MIRROR OF OUR TIME” – ANDREW BOLTON Bolton claims that fashion can comfortably sit within an art museum “fashion isn’t just about wearability or about the pragmatics of clothing, but also about ideas and concepts” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 160). “Hussein Chalayan and Alexander McQueen, for example use fashion to talk about ideas of gender, identity, politics, religion” “fashion is a vehicle to express ideas about the subject. And that is too what art is all about… I think of fashion as an art form” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 160). HAUTE COUTURE/HIGH FASHION “you need to think of haute couture in terms of craftsmanship – there’s extraordinary talent in technical expertise; it is the art of fashion” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 160). “It’s accessible and democratic: people can relate to it more than other art forms” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 160).“don’t need prior knowledge of fashion to appreciate it because they wear clothes everyday” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 160). COLLABORATION “they’re not thought out, they don’t expand the argument of art and fashion, and they’re too simplistic. I don’t think that fashion designers need to work with artists to elevate fashion because I really do think fashion is an art form” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 161) “interesting collaborations, like that between Marc Jacobs’s Louis Vuitton and Takeshi Murakami, where there was a focus on the argument of [both] fashion and art” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 161) COMMERCIAL BENEFITS – MCQUEEN IDEAS ENGAGING WITH THE PEOPLE “responsible for producing the McQueen shows, talked about the ideas McQueen had for the runway and Trino Verkade, who was his first employee, would talk about the commercial side. Having access to those people was extraordinary… used fashion to channel, convey and evoke emotions in the viewer... He didn’t care if you liked or hated his work, he just wanted you to have a reaction” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 162-163)
“the uphill battle is with art critics rather than the museum itself, particularly in America where there’s a bias against fashion, because they see it very low down on the ladder when it comes to art” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 163) Bolton’s argument against critics – fashion is art – “it very deservedly has a place in the museum context because it taps into all of the other artistic references that other designers have used, particularly postmodern artist… it has contextualized fashion within a broader design environment” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 163) DESIGNERS WORTHY OF EXHIBITION, ADVANCING IDEAS IN TERM OF CONCEPT, CONSTRUCTION “designers who have really advanced fashion in one way or another, whether through techniques and construction, or conceptually… designers who have made a contribution to faShion history” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 163) “Channel, Balenciaga, Versace, McQueen, Chalayan and Galiano; designers who have engaged with the boundaries of fashion” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 163) “people are very much aware of the power of fashion to express ideas of gender, politics and the body. The commonality and themes between artists and fashion designers represents the breakdown of boundaries of the disciplines” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 163) “realizing how integral fashion is to contemporary culture” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 163) MUCCIA PRADA, WAIST DOWN SKIRTS INCLUDING ORIGINAL PIECES DRAWN FROM ’88. INITIALLY PRESENTED WITHIN KOOLHAAS’S PRADA TRANSFORMER, SEOUL 2008 - “as the pieces shown were no longer available for purchase, the intention of these in-store exhibitions was not to encourage sales but to celebrate the artistic heritage of the brand and offer an unexpected view of fashion” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 166) “in which some skirts twirled on rods suspended from the ceiling, demonstrating, the dynamic movement that occurs from the waist down on the human body” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 166) CHRISTIAN LOUBOUTIN AT THE DESIGN MUSEUM, LONDON “The design museum in London has presented exhibitions of architecture, fashion, industrial design… with the aim of placing design at the centre of contemporary culture and demonstrating the richness of its creativity” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 168) “iconic French shoe designer Christian Louboutin, celebrating a twenty-year career that has pushed the boundaries of shoe design and spawned a celebrity following” “ the exhibition was housed in a specially designed environment that evoked Louboutin’s source of inspiration, including art, film and travel… velvet sofas and a wall of cobblers’ moulds in Louboutin’s signature red, as well as a holographic performance by burlesque artist Dita Von Teese” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 168) “this inclusion of Louboutin’s then-current line in the exhibition created a link between retail and gallery space and highlighted the commercial considerations at the heart of contemporary design” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 168) PAMELA GOLBIN, MUSÉE DE LA MODE ET DU TEXTILE, LES ART DÉCORATIFS, PARIS – LES ARTS DÉCORATIFS, PRIVATE, MUSEUM, THREE SITES IN PARIS. “Chief curator of the 20th century and contemporary fashion, has been responsible for a number of blockbuster fashion exhibitions that have travelled the globe and generated important catalogues… the most successful have been retrospectives of fashion greats including Madeleine Vionnet, Christian Lacroix, Yves Saint Laurent, Valentino, Balenciaga and most recently ‘Louis Vuitton – Marc Jacobs” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 168) What makes fashion worthy to be part of the museum framework?
“haute couture has always been exhibited in museums because of its value and the level of skill involved. Creativity remained in the hands of couturiers until the 1970’s when ready-to-wear was introduced by designers such as Jean Paul Gautier, Kenzo and Comme des Garçons… it took a long time for museums to express this shift in the creative process” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 187) “what makes it so dynamic and important is the fact that it’s relevant to the cultural phenomenon of today” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 187) “we have always worked closely with fashion designers and collected prototypes from archives. So its never off the rack, but focused on the raw elements of the creative process. The creative output is the priority” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 187) “fashion and art are two distinctive domains that sometimes have a dialogue and sometimes don’t” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 187) “fashion will never attain the prices that art does, and yet people push fashion aside because of its associations with commerce” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 192) “the level of sophistication in both sectors has increased dramatically and museums have played a major role in raising the profile of each, but I don’t think one can become the other” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 192) “while both speak to the same audience…. I think fashion is more important now. People don’t often comment on the fact that the art world has changed just as much as the fashion world” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 192) “Collaborating with designers always pushes our limits and creates an incredible dialogue between a creative and commercial culture. This dialogue makes us and the designers rethink the way we work on many levels” p 192 “fashion is an extremely sophisticated language with an incredible syntax and vocabulary, and we must find a way of bringing the world of each individual designer to the exhibitions… This variety and independent perspective is extremely important” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 192) “the final consumer of art and fashion is the same… Both art and fashion are now global entities – each one has explored in terms of scale… Art is looking for an edge and fashion delivers it, as it is highly transient and based on a lot of money. Fashion also has an incredible way of appropriating art, but chews it up and spits it out” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 192) “People often talk about what fashion sees in art, but what’s really interesting is what art sees in fashion. Art is looking for an edge and fashion delivers it, as it is highly transient and based on a lot of money” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 191) PRADA MARFA “One of the most successful and striking examples of an artwork inspired by the collision of art and fashion is Prada Marfa, an installation created by Scandinavian artist duo Elmgreen & Dragset on the outskirts of the artistic community of Marfa, Texas… 2005” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 197) “on the side of an interstate highway outside a small town in the middle of nowhere is conceptually significant, both as an incongruous juxtaposition if two radically different enviroments and as a play on the theme of pilgrimage, since visitors are required to make a long and difficult journey in order to view the installation” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 197) “made to resemble a real Prada store, complete with a Prada-approved colour scheme, the brand’s logo and real merchandise… which had previously collaborated with the artists on a project in New York in 2001” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 197) “to all intents and purposes a shop, yet it cannot be accessed by shoppers. It is a hermetically sealed, full-scale museum vitrine displaying some of the most important cultural icons of the new millennium” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 197) “Prada Marfa is a museum that will become a cabinet of curiosities as it decays and falls into disrepair” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 197) “the items inside will remain forever unchanged, subjects of unfulfilled, unrequited desires when they were first made and displayed. The hapless ‘shopper’ or art admirer is forced to window-shop for these items long after they have passed their commercial use-by date” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 197) “a contemporary memento mori, a meditation on mortality and the futility of existence” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 197) “some fashion designers should be considered real artists. They are always in the process of creating and they always have to reinvent everything, every season, as with contemporary artists today with all the art fairs, like Basel, Fiac, Frieze – they must produce new works all the time for clients, and I think that is very similar to the
fashion design callender” Thierry-Maxime Loriot (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 199) NEW FASHION MEDIA – CROSS POLINATION OF FASHION AND ART IN THE FASHION MEDIA “The advent of digital technology and the concurrent revival of high-end traditional print publishing has evolved significantly over the past decade in both form and content” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 204) “the roles of fashion magazines, too, have changed as a result: their editors have become curators; fashion photographers are now film makers” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 204) “the internet has challenged the traditional hierarchy of fashion media providing an accessible and democratic platform for communication” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 204) A shock to the system, how fashion critique has developed. “the quality and intellectual merit of some of these new blogs, forums and websites have been questioned by industry experts… they have overturned the long-established system of fashion reporting in which trends were interpreted and summarized by a small group of elite editors who attend the seasonal runway shows, and then disseminated to the masses months later via print publications” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 204) Technical age, fashion media fast response. “runway shows are now live streamed online, where they can be viewed and reported on by anyone with an internet connection. Online versions of fashion editorials are posted moments after, and sometimes even before, print editions are released, negating the need to physically purchase and collect a publication” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 204) “where it once had the power to make or break a collection with a single review… the traditional mainstream fashion media no longer unilaterally controls the public perception of a particular label or designer” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 204) once controlled by the elitist critics opinions, the developments in mass media have evoked new conversations over a more ‘public perception’ and understanding of a label or brand. “as a consequence of this shift, fashion brands have attempted to establish new communication channels that allow them to speak directly to their audiences. Many now employ moving images rather than still photography for this purpose… traditional art and fashion photographers are increasingly experimenting with film as a medium” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 204) “aided by the development in digital technology… made film equipment more accessible to photographers and films themselves more easily viewed by online audiences, as well as the ride of platforms” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 204) The developments of short films “this sort of intelligent insinuation of fashion into the narrative arc of a film reflects the historically significant role of fashion in film since its inception in the early 20th century” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 205) “fashion and film are seemingly inseparable: witness, for example, the red-carpet parades at the Oscars or the Golden Globes that feature film stars wearing endorsed product” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 205) How has the developments in fashion, in the space of the museum, aided towards a greater understanding of a designers’ creative journey/intent? The hierarchy and level of refinement has engaged an audience with creativity like never before. “since the turn of the millennium there has been a spate of films about the fashion industry produce and directed by highly regarded documentary film makers” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 206) The September Issue 2009, director - R. J. Cutler, behind the scenes of Vogue – staring Anna Wintour (editor), Grace Coddington (creative director). “is important not only for the huge audiences it drew to the cinema, but also for its affirmation of the cultural importance and relevance of fashion” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 205). Magazine culture, curatorial approach
“despite the apparent downturn in magazine subscriptions rates as consumers move to digital platforms, there has been a proliferation of new print fashion titles that emulate the layout and intellectual content of art journals” “These publications operate at different ends of the marketing spectrum, ranging from the mass-produced Pop and Love launched by stylist Katie grand to the high-end, limited-edition Visonaire and Self Service… these titles aspire to a more intellectual presentation… they reject the traditional commercial priorities of fashion magazines in favour of presenting a curated picture of fashion trends” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 206) “these collaborative magazine editorials have helped to make contemporary artists the new celebrities within the fashion industry” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 206) FASHION ILLUSTRATION “a more traditional form of art-based fashion editorial, has also made a comeback in mainstream print publications such as Vogue which regularly features the work of a contemporary band of illustrators”’ (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 208) (practitioners - David Downton, Daisy de Villeneuve and Richard Grey) Developments in fashion media “handsome hard cover publications produced by fashion houses such as Louis Vuitton, Gucci and Ermenegildo Zenga, documenting their art, fashion and architectural projects; the success of these volumes is indicative of the high level of public interest in the marriage of fashion, art and architecture” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 208) Throwaway print medium “as free and even more ephemeral websites increasingly supplant physical magazines, the re-publication of a selection of curated images in a glossy, expensive, artistically designed tome is a way of restoring a sense of value – both monetary and intellectual – to fashion media” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 208) “the current generation of fashion photographers – like their influential 20th- century predecessors Richard Avedon, Herb Ritts… who first established the reputation of fashion photography within the art world… Mario Testino, Stephen Klien… is taken seriously by the art world and is regularly exhibited in mainstream art museums and galleries” “in many cases such fashion work threatens to eclipse an art photographer’s wider practice, due not only to the wider public exposure afforded by advertising campaigns, but also to the large budgets typically provided by fashion labels that commission such projects, which allow for an especially grand realization of a photographer’s vision” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 209) Jefferson Hack, Another magazine “characterizes the 21st-century fashion-media landscape as an arena in which ‘Photographers have become brands, stylists have transformed into artists and many magazines have emerged as contemporary exhibition spaces” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 209) “the new forms of fashion media that have emerged over the past decade are adopting the presentation styles and editorial practices of the art world in an attempt to record and lend gravity to fashion projects that are inherently ephemeral” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 209) “fashion labels themselves turn to art photographers and filmmakers in an effort to reach the widest possible audience through new forms of media” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 209) “to offer a richer and more authentic way of communicating and experiencing fashion” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 209) 2002 Belgium, A Magazine, Daniel Thawley “showcasing the creative output of individual designers and fashion brands who are invited to ‘curate’ each issue in collaboration with its editorial team, lending it a criticality that is often lacking in commercial fashion magazines” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 211) “A magazine aspires to artistic dialogue that, in the words of editor Daniel Thawley, ‘leads to beautiful projects, special friendships and a fusion of explosive talent to create work that transcends the ordinary” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 211) “I think the reason that art, fashion and publishing work together is that they all tend to inform each other to different extents’- David Thawley” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 211)
“a ‘carte blanche’ platform for fashion designers to explore and expose the inner working of their design process, their personal journey, and the friends and heroes who inspire them” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 212) “many designers research art when designing a collection, just as they may also look at imagery – be it historical, artistic, ethnic, political – in beautiful books… each issue is a publication that accounts for a designer’s singular vision in these three spheres combined, elevated by their chosen peers and our established framework” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 212) “we like… to work with both established and emerging designers and celebrate a diverse mix of nationalities and styles” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 212) CURATING DESIGNER “a good curating designer is one whose universe runs deep, traversing multiple disciplines away from the monotony of face-value fashion imagery. We are intrigued by designers who diffuse their own aesthetic and have a signature [look] in all facets of their garments, stores, shows, invitations, events, collaborations and communications” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 212) “quite a variety of archetypal readers, all of whom are open-minded and creative people with a keen interest in higher culture… likewise a certain cult following of A magazine” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 212) “a good curating designer is one whose universe runs deep, traversing multiple disciplines away from the monotony of face-value fashion imagery” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 213) “I think there is a lot of interesting potential in the intersection between fashion and film, and the most exciting part is it’s only the beginning” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 218) “what is really key is the intention to make good work, whether that be in the realm of film, fashion, art or some intersection of them all” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 218) Fashion films as a tool for brands “access to technology. Film is no longer an illusive medium. With the emergence of digital SLR’s with high quality video capabilities a lot of photographers are suddenly making short fashion films and a whole new generation of creative people are just getting into film without thinking twice” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 218) The promising future for a revolutionised language “the quality of work coming out is a bit hit-and-miss since everyone can suddenly make moving images… it’s great that so many people have access now, and it will no doubt lead to some revolutionary work in the future as the language evolves” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 218) MARC JACOBS & JUERGEN TELLER, ONGOING CAMPIGNS SINCE 1998 “the photographer’s style is best characterised by the aesthetic of the home snap shot… The power of his image resides almost in their lack of artifice, which is, of course, their art” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 225) “Teller’s photographs for Jacob’s campaign have famously featured artists such as Cindy Sherman and Roni Horn alongside a roll call of the actresses and celebrities” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 225) “these images, which acquire multiple layers of meaning from the fact of being both artworks and photographs of an artist, Marc Jacobs products themselves are almost an afterthought; the label simply acquires cultural credibility by association” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 225) CHRISTIAN DIOR & QUENTIN SHIH 2008 DIOR & CHINEESE ARTISTS, ULLENS CENTER OF CONTEMPORARY ART, BEIJING “to promote its position in the rapidly expanding Chinese luxury-goods market while tapping into the rising popularity of Chinese contemporary artists in the art world in tandem with the emergence of Hong Kong International Art Fair: One-off couture pieces by the house’s then-creative director John Galliano were exhibited alongside a series of specially commissioned works by twenty of the country’s leading contemporary artists, who had been asked to comment on what Christian Dior stands for” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 236) “fashion models wearing Christian Dior haute couture and sealed in glass boxes are inspected by small groups of identically dressed Chinese bystanders who resemble stereotyped characters from Communist propaganda posters, photographed against the gritty industrial settings in northern China” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 236)
“the Dior models were photographed separately in Paris and then digitally inserted into the Chinese images… highlights the grotesqueness of each culture’s image of the other, and gives visual expression to the impact of the arrival of affluent Western culture on the Chinese landscape” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 236) “I wanted the power of Chinese people standing together and a kind of socialism in Chinese history” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 236) HOW THE GALLERY SPACE HAS INFLUENCED THE ENVIROMENT OF THE BOUTIQUE “the close relationship between art and fashion is increasingly reflected in the built environment” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 248) “Luxury fashion brands now regularly collaborate with award-winning architects to create unique retail stores, art museums and temporary structures to exhibit their goods. These architectural commissions are part of a wider 21st-century trend in which large luxury fashion conglomerates” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 248) “LVMH (owner of Louis Vuitton, Givenchy and Christian Dior) Kering (Saint Laurent, Gucci and Balenciaga) and Richemont (Dunhill, Cartier and Montblanc) – are increasing their involvements in the art world both financially as patrons and creatively as collaborators… started their own foundations in support of the fine arts, assembling impressive art collections and building museums to house them” “special commissions to contemporary artists, and funding promoting” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 248) “Design writer Bradley Quinn believes that the past decade’s explosive combination of fashion, art and architecture, as exemplified by the proliferation of large-scale shopfronts and architecturally significant fashion emporiums, has deep historical roots and is an expression of the essential similarities between the two crafts” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 248) “the organisation of space has always been hovering on the margins of a mutual existence throughout history… The organization of space has always been the essence of both fashion and architecture; fashions architecturally unfolds in its containment of space” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 248) “Architecturally ambitious, the new fashion retail spaces are secular temples to good design and consumerism, place of worship for fashion’s followers” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 248) “they are evidence of an important change in the traditional architectural hierarchy in which retail spaces enjoyed significantly lower status that public or civic buildings” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 249) “Fashion houses have the financial resources to hire the same high-profile architects who design landmark art museums… these fashion companies, with their private and independent funds, often have the fiscal freedom to throw caution to the wind in their pursuit of the ultimate architectural statement… an edgy, innovative and controversial design will become important creative capital for the brand” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 249) “luxury fashion emporiums has been commensurate with the rise of online retail in the 21st century. The phenomenal success of internet-only retailers such as Net-A-Porter, ASOS… has made leading fashion labels recognize the importance of establishing an online presence; yet at the same time, the established brands are conscious of their customers’ desire for a ‘luxury’ experience that transcends the ordinary shopping experience” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 249) “Inspired by the success of the new fashion megastores, existing traditional boutiques and department stores are competing to attract customers via similar means” “working with innovative architects, installation artists and art curators on a myriad of approaches that include pop-up stores, curated retail spaces and unique store windows” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 252) “inaugurations are now preformances. Original works are commissioned from contemporary designers and artists and displayed in the stores” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 252) “a period for mixing genres and for hybridizing art and fashion” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 252) “these major foundations (Foundazione Prada e.t.c) have a reputation for staging exhibitions on a scale that rivals that of public institutions and, importantly, retain critical autonomy and engage leading international curators and consultants” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 252-253) “As fashion houses build these foundations, museums and architecturally significant retail spaces, the traditional diversion between store and museum is fast disappearing” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 253) “innovative retail store commissioned by a luxury house no only gives the fashion items offered for sale a perceived value akin to that of fine art displayed in a museum, but also became part of the brand’s own identity…
reinforcing the sense of artistic ‘authenticity’ that is consumers crave” (Smith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, p. 253)
6.
Twitchell, James B. 2004 ‘The Museumification of Shopping and the Shopification of Museums’, Branded Nation, The Marketing of Megachurch, College, Inc., and Museumworld p. 327-328.
“This new museum visitor was not just a consumer of the artistic experience, she was a customer of the thing itself. Museum mile was soon including such other outlets as opuluxe shops, elegant dining, spectacles of all kinds, even including the midcult department store, which sold pieces of things called art” (J.B. Twitchell 2004 ‘The Museumification of Shopping and the Shopification of Museums’ p. 327) “The modern department store and the art museum are now joined at the hip. They have always been close since they appeared almost simultaneously in London and Paris in the twilight of the nineteenth century” (J.B. Twitchell 2004 ‘The Museumification of Shopping and the Shopification of Museums’ p. 327) “They are all about vaunting things, branding things. They both attempt not just to be with it, but slightly ahead of the curve. Structurally, they are dream palaces, Lands of Enchantment” “The principle guiding the museum is the idea of singularity; the principle of the department store is abundance. The mu- seum says, “Don’t touch, you can’t have.” The department store says, “Please fondle, it can be yours.” Museum says unique, store says it’s part of an ensemble. But they are both about consumption” (J.B. Twitchell 2004 ‘The Museumification of Shopping and the Shopification of Museums’ p. 327-328) “The initial human behavior in both is scoptophilia. We gaze at the framed and floodlit ob- jets d’art behind glass. We gawk at the decorated and ele- gant mannequin in the store window. We peer at the label beneath the painting just as we inspect the label on the object. We need to know provenance, the brand, s’il vous plaît, before we can consume” (J.B. Twitchell 2004 ‘The Museumification of Shopping and the Shopification of Museums’ p. 327-328) “Walter Benjamin, the moody Cassandra of modernism, was prescient. As he remarked in numerous essays and observations, the flâneur is both window shopping and gallery cruising. (J.B. Twitchell 2004 ‘The Museumification of Shopping and the Shopification of Museums’ p. 327-328) His eye lights on new things, but his “I” needs to know narrative in order to know value’ “All department stores will be- come museums, and all museums will become department stores,” said Andy Warhol of the impending amalgam. In fact, Pop Art was the party thrown to celebrate it” (J.B. Twitchell 2004 ‘The Museumification of Shopping and the Shopification of Museums’ p. 327-328)
7.
Bagley, Christopher 2007, Marc Jacobs [online], Available at https://www.wmagazine.com/story/marc-jacobs-2
“Jacobs always harbored an inferiority complex when it came to the art world; in galleries he was generally too intimidated to speak to the assistant, let alone the dealer. “I had in my mind that only incredibly grand, extremely wealthy people lived with art of any sort,” he says”(Bagley, C. 2007 Marc Jacobs) “Soon he was traveling to international art fairs, befriending dealers and artists, and in some instances asking his LVMH bosses for salary advances to cover paintings he couldn’t really afford, such as Ed Ruscha’s Birds, Pencils (1965), which he spotted at Art Basel” (Bagley, C. 2007 Marc Jacobs) “As he sits in his Paris apartment on a midsummer afternoon, Jacobs is surrounded by eight John Currins, six Richard Princes and six Ruschas, plus an assortment of Elizabeth Peytons, Damien Hirsts, John Baldessaris, David Hockneys and Lisa Yuskavages, not to mention a small but growing collection of Fifties Scandinavian handblown glass birds.” (Bagley, C. 2007 Marc Jacobs) “Sees his new passion for contemporary art as a (relatively) healthy habit, one he intends to indulge for the foreseeable future”. (Bagley, C. 2007 Marc Jacobs) “work that tends toward the figurative, the graphic—and hangs it where he can see it” (Bagley, C. 2007 Marc Jacobs).
8.
Barthes, Roland. 1990 The Fashion System, University of California Press, Ltd. London, ‘The Poetics of Clothing’. CHAPTERS TO RESEARCH • VARIENTS OF IDENTITY P. 115 • MEANING, SUPERVISED FASHION 161 – • THE PERMANENT INVANTORY OF FASHION 184 • THE IDEOLOGY OF FASHION 230 • 239,244,246,286 DENOTING OF LANGUAGE THROUGH SIGN, HUMANS NEED TO COMMUNICATE
“when social science deals with a reality partially transformed into language by society itself: this, moreover, is why every sociology of motivations, symbols, or communications, which cannot achieve its object except through human speech, is called upon, it seems, to collaborate with semiological analysis; furthermore: being language… by ascending to the rhetorical signified, the analyst touches the termination of his task; but this termination is the very moment when he joins the historical world and, in that world, the objective place he himself occupies” (Barthes, R.1990 The Fashion System, p. 234) The description of clothing’s’ content implies meaning, taking away from the material and functional nature of an object. “the description of a garment… may be the site of a rhetorical connotation. This rhetoric derives its particularity from the material nature of the object being described, namely the garment; it is deined, one might say, by the coming together of matter and language… denotation is pure as long as description remains functional produced with a view to actual use… there is a poetic mutation as soon as we shift from real function to spectacle, even when this spectacle disguises itself under the appearance of a function” (Barthes, R.1990 The Fashion System, p. 235) “it moblilizes with great variety all the qualities of matter: Substance, form, colour, tactility, movement, rigity, luminosity” (Barthes, R.1990 The Fashion System, p. 236) BARTHES DESCRIBES CREATIVE DESIGN AS RHETORICAL FASHION Vestimentary – relating to clothes or dress “because touching the body and functioning simultaneously as its substitute and its mask, it is certainly the object of a very important investment; this ‘poetic’ disposition is attested to by the frequency and quality of vestimentary description in literature” (Barthes, R.1990 The Fashion System, p. 236) Barthes discusses fashion attention from media/magazines and its prominence in the technical advancements of mass production, in this sense, Barthes claims that fashion is unable to attain ‘poetic’ authorship “it furnishes no raw material to a psychoanalysis of substances… does not refer to an exercise of the imagination” (Barthes, R.1990 The Fashion System, p. 236) “if we look at the utterances the magazines devotes to clothing, we immediately note that Fashion does not hour the poetic project which affords it its object; that it furnishes no raw material to a psychoanalysis of substances; that here connotation does not refer to an exercise of the imagination” (Barthes, R.1990 The Fashion System, p. 236) Barthes argues that fashion authenticity is lost through the process of becoming something objective, as any ‘connotation’ or meaning is abandoned in that clothing nature is to be worn. “Fashion is least literary on the level of the garment itself, as if, encountering its own reality, it tended to become objective, and reserved the luxury of connotation for the world… Fashion tends to denote the garment because, however utopian it may be, it does not abandon the project of certain activity, i.e., of a certain transitivity of its language ( it must persuade its readers to wear the garment). (Barthes, R.1990 The Fashion System, p. 236-237). “when there is a rhetoric of clothing, this rhetoric is always poor; whereby it must be understood that the metaphors and turns of phrase which constitute the rhetorical signifier of clothing, when there are any, are determined not by a reference to the radiant qualities of matter but by stereotypes borrowed from a vulgarized literary tradition” (Barthes, R.1990 The Fashion System, p. 237). “Fashion sets itself up, as it were, between the terminological level and the rhetorical level, as if it could not choose between the two” (Barthes, R.1990 The Fashion System, p. 237) HIGH END FASHION – LABEL BRANDING “The imbrication of the two systems occurs at two points, on the one hand at the level of certain variants, on the other hand at the level of what have already been termed mixed adjectives. In passing, we have seen that certain variants, though the belonging to the denotative system [those elicted], or at least classified in the inventory of the first code (insofar as they are linked to variations of the vestimentary meaning [linked to the variations/advancements relating to clothing]), had a certain rhetorical value: for example, the existence of mark or regulation depends in fact on a purely terminological expression” (Barthes, R.1990 The Fashion System, p. 237) MASS PRODUCTION – “belonging to the denoted level… by approximation” “dividing the two systems is simple because the denoted value of the word takes its place directly in a paradigm belonging to the vestimentary code” (Barthes, R.1990 The Fashion System, p. 239”
FASHION BORROWING ARTS RICHES AND AUTHENTICITY – Barthes highlights the intertwining of the creative arts. “and last, art (painting, sculpture, literature, film) the riches of inspirational themes, marked in the rhetoric of Fashion by total eclecticism, provided the references themselves” (Barthes, R.1990 The Fashion System, p. 242). HIGH END FASHION “Naturally – this is the characteristic of connotation – the signified of all these rhetorical signifiers is not, strictly speaking the model, even if it is conceived in a generic manner… Fashion proposes pell-mell are borrowed from the intellectual baggage of a young girl who is ‘on the go and in the know” (as fashion would say), who would take courses at the Ecole du Louvre, visit a few exhibitions and museums when she travels, and would have read a few well-known novels” (Barthes, R.1990 The Fashion System, p. 242) BARTHES IDEAS OF THE FASHION SYSTEM - PERCIEVED AS THE LESSER OF ART. BARTHES DESCRIBES THE ‘SOCIOCULTURAL MODEL’ OF FAHION TO BE ‘PROJECTIVE “nothing requires that is coincide with the cause it doubtless corresponds quite closely to a real (economic) condition of the production of Fashion” (Barthes, R.1990 The Fashion System, p. 243) “its signifier is constituted by all the metaphorical variations of the ‘detail’… The ‘detail’ involves two constant and complementary themes: tenuousness and creativity; the exemplary metaphor here is the seed, the tiny being from which an entire harvest springs: a ‘morsel’ of ‘nothing’, and suddenly we have an entire outfit permeated with the meaning of fashion” (Barthes, R.1990 The Fashion System, p. 243) FASHION AS ART “it’s importance is energetic rather than extensive, there is a propagation from the detail to the ensemble, nothing can signify everything” (Barthes, R.1990 The Fashion System, p. 243) HIGH & LOW FASHION FUZION, THE BORROWING OF IDEAS “one detail is enough to transform what is outside meaning into meaning, what is unfashionable into fashion, and yet a ‘detail’ in not expensive; by this particular semantic technique, Fashion departs from the luxurious and seems to enter into a clothing practice accessible to modest budgets; but at the same time, sublimated under the name find, this same low-priced detail participates in the dignity of the idea: Likewise free, like wise glorious, the detail consecrates a democracy of budgets while respecting an aristocracy of tastes” (Barthes, R.1990 The Fashion System, p. 243). POOR AND RICH “the denotation of the luxury magazines implies rich garment with many variations, even if it is described exactly, i.e., without rhetoric; the denotation of the popular magazine is poor for its apprehends a cheap garment with it regards as obtainable: utopia occupies, as it should, an intermediary position between the praxis of the poor and that of the rich” (Barthes, R.1990 The Fashion System, p. 245) “Fashion presents the reader with an activity defined either in itself or by its circumstances of time and place (if you want to signify what you are doing here, dress like this); according to the second, it offers an identity to be read” (Barthes, R.1990 The Fashion System, p. 249) “Fashion win this wager insofar as its narrative is fragmentary, limited to citations of décor, situation, and character, and deprived of what could be called organic maturation of the anecdote” (Barthes, R.1990 The Fashion System, p. 262) ECOMOMY How was fashion exulted through the developments of mass media? “how much the mass distribution of Fashion magazines, which may be considered truly popular magazines, had modified the Fashion phenomenon and shifted its sociological meaning: by passing through written communication, Fashion becomes an autonomous cultural object, with its own original structure and, probably, with a new finality; other functions are substituted for added to the social functions usually acknowledged by vestimentary Fashion” (Barthes, R.1990 The Fashion System, p. 277) “through the language which henceforth take s charge of it, Fashion becomes narrative” (Barthes, R.1990 The Fashion System, p. 277)
“It is this regime of initial exclusions which are sometimes closed (excluded), sometime wide open ( typical associations)” (Barthes, R.1990 The Fashion System, p. 279)
BIBLIOGRAPHY ORGANSIE ALPHABETICALLY I.
II. III. IV. V. VI. VII. VIII.
Frankel, Susannah. 2010 Perfect match: How the crossover between fashion and art inspires creations on canvas and the catwalk. [online] Available at: https://www.independent.co.uk/arts-entertainment/art/features/perfect-match-how-the-crossover-between-fashion-and-art-inspires-creations-on-canvas-and-the-catwalk-2142988.html Webb, Ian R. (Britain Creates) 2012 Fashion and Art Collusion, Booth-Clibborn Editions, London. Greeves, Susanna. (Britain Creates) 2012 Collusion ‘Fashion and Art Collusion’ Booth-Clibborn Editions, London. Müller, Florence. 2000 Art & Fashion. Thames & Hudson Ltd. LondonSmith, Mitchel O. & Kubler, A. 2013 Art/Fashion in the 21st Century, Thames & Hudson Ltd. London Twitchell, James B. 2004 ‘The Museumification of Shopping and the Shopification of Museums’, Branded Nation, The Marketing of Megachurch, College, Inc., and Museumworld p. 327-328. Bagley, Christopher 2007, Marc Jacobs [online], Available at https://www.wmagazine.com/story/marc-jacobs-2 Barthes, Roland. 1990 The Fashion System, University of California Press, Ltd. London, p.
DEFFINITION FOR SOMETHING TO BE COSIDERED ART WALTER BENJAMIN 1936, ‘THE WORK OF ART IN THE AGE OF MECHANICAL REPRODUCTION’ immediate identification with garments – “ ‘do we like it? Would we wear it? How far does it differ from our taste, style, period, assumptions, etc.?... we use our own dictionary of style to judge the designers project – is it daring, sexually exciting, glamourous, etc by our own moral code?” p 158 fashion is able to relate to an audience like no other form of art, playing on aspects of identity in humanity, that is relatable to all. – ‘looking at the dress’, Fashion and 6. Imagination: About clothes and Art, Judith Clark, 2010:184-90 at Blogs and social media “rapidly transformed fashion media ‘from an authoritarian business model to a democratic peer-to-peer quest for information’ – Industrie, opening manifesto of founding issue, Jean Grede, Eric Torstensson 2012: 12.