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Have you seen the type of garment/accessory at the Fabulous Fashion in person? If so, seeing it and touching it would make difference?

Please write your name on the top in the title.

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I have seen these exquisite clothes in person. I haven't touched though. I touch or try on expensive clothing at the Barneys New York Department Store or the Saks Fifth Avenue so that I know how it feels. Museum objects are off limits for touching or trying on.

Workmanship and precious materials are really important to high fashion.

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Please write your opinion about fashion being art. We will limit our category of fashion to haute couture. In the Fabulous Fashion, which item/dress/accessory could maintain the status of "art"? Have you seen this type of garment/accessory in person? If so, seeing it and touching it would make difference? Write your name on the top and then upload one or two works.

This is Kyunghee Pyun (example). The question is not so simple to answer. See the link.

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Clothes are shorthand for being human

Claire Wilcox, 2001

From the fusion of fashion with surrealist art to Vivienne Westwood's anarchic designs - we've collaborated with Google Arts and Culture to unlock the world of fashion with a new virtual experience and a host of online exhibitions detailing the incredible stories behind the V&A's collections, and the stories behind what we wear.

For the We Wear Culture project (#WeWearCulture), we've taken one object - in this case a Vivienne Westwood corset from her 1990 Portrait collection - and considered it in 360 degrees, both physically and metaphorically, as it stars in a new virtual reality (VR) experience.

The VR experience explores how humans go to extraordinary lengths to refashion their bodies: how we exaggerate, suppress, sculpt and lift to conform to aesthetic ideals. The corset is just one example of how we have achieved these ideals. Like the V&A itself, this Westwood corset brings the world of fashion and art together in one place.

We've also worked with Google to create four ultra-high-resolution Gigapixel images from key pieces from our fashion and Asia collections. This has helped us reveal details of highlights from the V&A collections, until now hidden to the naked eye.

Dragon robe

The Gigapixel of an 18th century Chinese robe features five-clawed dragons in pursuit of flaming jewels, flying bats and scrolling waves, that can now be viewed in incredible detail. This robe was one of several imperial Chinese robes from our Asia collection that inspired Dries van Noten's A/W 2012 collection.

Schiaparelli coat

This coat was a collaboration between designer Elsa Schiaparelli and artist Jean Cocteau - another great example of fashion and art coming together. Its witty design, includes a double image of two faces and in the negative space they create, a vase holding the silk flowers on the shoulders of the coat.

Marshall & Snelgrove Coat

We chose this coat because it's an object that speaks to the history of the V&A itself. It is an example of the influence the Arts and Crafts movement had on dress, with its rejection of the machine made in British art and design. Viewers can now see the intricate detail of the dramatic sprays of Sweet Cicely wild flowers and structure of the medieval-style collar.

Mantua

The story behind this mantua, which would have been worn in the English court in the mid 18 th century, is an interesting one. It arrived in the museum in the 1990s in 15 pieces having been discovered in a Cambridge attic in a box labelled 'dressing up clothes'. This Gigapixel allows viewers to see the detail of the precious metal threads that would have sparkled in the candlelight of the royal court.

We've also created eight online exhibitions - with more to come soon - including:

You can discover more by visiting the V&A on Google Arts and Culture.

The V&A's unrivalled fashion and textiles collection comprises more than 100,000 items. Some of it is on display, and much of it housed at the Clothworkers' Centre. But, given the sheer size of the collection, we will never be able to show it all. That's just one of the reasons we look to digital means to help bring our collections to life online. Our digital audience is many times the size of our physical audience and projects like We Wear Culture, help us connect our collections with a global, online audience.

Vivienne Westwood alongside artists and designers like Alexander McQueen, Jeremy Deller and Dries van Noten, have extensively researched our collections to inform their work. Similarly, we really hope that this collaboration with Google Arts and Culture is a way to bring our collections to many more people to help inform and inspire the designers of tomorrow.

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We Wear Culture - a new virtual fashion experience * V&A Blog

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Clothes are shorthand for being human Claire Wilcox, 2001 From the fusion of fashion with surrealist art to Vivienne Westwood's anarchic designs - we've collaborated with Google Arts and Culture to unlock the world of fashion with a new virtual experience and a host of online exhibitions detailing the incredible stories behind the V&A's collections, and the stories behind what we wear.

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How is contemporary art related to fashion of the same period?

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How is contemporary art related to fashion of the same period?

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See my example:
Kyunghee Pyun
I think contemporary art is not closely related to fashion of the same period. The reason they look related is because of influence of popular culture on both fashion and contemporary art. Some people may disagree with me.

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Can you think of major contemporary artists who were deeply involved with contemporary fashion? Add a link.

See my example:
Kyunghee Pyun
Andy Warhol's Campell Soup Cans were applied to dresses.

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It was unique, groundbreaking and set to change design radically. And yet when Andy Warhol first exhibited his Campbell's Soup Cans in 1962, the work was met with mockery and indifference. A rival parody exhibition of actual soup cans opened in response; the general public was apathetic. It seemed a flop, the epitome of unfashionable.

However, this unpopularity didn't last. Irving Blum, owner of the Ferus Gallery in Los Angeles where the work was first shown, realised the 32 paintings of the piece had to be kept together rather than sold off individually as intended. This made it different; it made it a statement. The work seemed to speak of the spirit of a new America, one that thoroughly embraced the consumer culture of the new decade. Before the end of the year Campbell's Soup Cans was so on-trend that Manhattan socialites were wearing soup can-printed dresses to high-society events.

These days the piece influences collections by fashion houses in Paris, London, Milan and New York every season: from the Pop art palette of Chanel's spring/summer 2014 show to Prada's graphic prints the same year, to everything Jeremy Scott has sent down the catwalk since becoming creative director of Moschino in 2013. As far as the fashion industry is concerned, referencing this particular Warhol is a sartorial statement worth making.

Now, the Museum of Modern Art (MoMA) in New York is exhibiting the Campbell's Soup Cans in a manner that confirms its ongoing relevance. It is being displayed exactly as it was for its debut show: in a continuous line across five walls, as opposed to the grid-like structure in which it has often been shown. This has only happened four times previously - and never before at MoMA. In addition, the frames and Perspex surrounding each piece have been removed to allow visitors even closer scrutiny.

"It's kind of amazing to see it like this - you realise how major it is," says the curator of the exhibition, Starr Figura. "The paintings are all exactly the same except for the name of the soup. You realise how methodical Warhol must have been to work in such a mechanical, repetitive way."

Campbell's Soup Cans was the breakout piece that gained Warhol widespread fame after spending most of the 1950s working as a graphic artist in advertising.

"It was about produce being plentiful and industrial fabrication; great prosperity and convenience," says Figura. "He figured out what American culture in the 1960s was before anyone else."
Supermarket sweep
In 1962 Warhol became one of the first Pop artists to turn his work into fashion items when he began printing this design onto dresses. "These weren't sold commercially," says Alistair O'Neill, a Senior Research Fellow at London art school Central St Martin's, "but were made as one-offs for New York society women who wore them to gallery openings." Wearing one of Warhol's very first Campbell's can dresses, which were printed on paper, was a sign you were part of a very exclusive club - an ironic inversion of the mass-produced consumer item.

This exclusivity was short-lived: in 1965 Campbell's took advantage of its new cult fashion status and produced the Souper Dress. It was made from paper and could be bought by anyone who sent $1 and two Campbell's soup can labels to the company. These days, a 'Souper dress' fetches approximately £5,000 ($7,500).

The impact of doing fashion the Warhol - and later the Campbell's - way had a ripple effect on the rest of the industry. Dr Hazel Clark, head of fashion and design at Parsons Design School in New York, says: "The Souper Dress certainly led the way in mainstream fashion for cheap Pop art printed dresses." After wartime austerity, when clothes were sturdy luxuries created to endure, the dress also changed how women thought about shopping.

"It tapped into progressive design ideas about the disposability of consumer products," says O'Neill. "That you could literally wear the dress and then throw it away."

Warhol's influence seeped into the mass-market fashion and not just in the US. British boutiques Biba and Mr Freedom began commissioning Pop art-printed dresses and t-shirts in the 1970s to sell to the style-conscious public and outfit icons such as Twiggy, Mick Jagger and Jean Shrimpton.

Then, the artist's prints were made catwalk-worthy in the 1980s by his friend, designer Stephen Sprouse, while Jean Charles de Castelbajac included his own Campbell's Soup Can dress for his 1984 Spring/Summer collection.

However, it was Gianni Versace's 1991 Pop art collection featuring a jewel-encrusted version of Warhol's Marilyn Monroe prints that truly made the artist synonymous with high fashion. Modeled by Linda Evangelista, it encapsulated the sexy, daring aesthetic that defined '90s fashion and is seen as so important that it is now owned by the Metropolitan Museum of Art in New York.

More recently, Prada's Spring/Summer 2014 collection was dominated by graphic faces in primary colours, and Céline abandoned its signature colour-blocking for a line of loud prints in the same season.
Pop goes the catwalk
So what is it about Campbell's Soup Cans that continually inspires fashion? Designer Philip Colbert has a few ideas. Founder of label The Rodnik Band, he was anointed the "godson of Andy Warhol" by André Leon Talley - a high-profile editor for US Vogue - for his bold collections which heavily reference the artist's work. "Fashion loves to dip into art and big fashion houses look for a new artistic theme every season," he says. "However, referencing Warhol is about more than just the art itself - the art is symbolic of an incredibly glamorous era. Studio 54, New York, excess, style. It is a very powerful message."

O'Neill believes we still want Warhol-influenced designs because Pop art communicates something we recognise and understand. It takes something traditionally consumerist and reassuringly familiar, but presents it compellingly in a high fashion context. Take Moschino's Autumn/Winter 2014 show. Inspired by fast food restaurants, it was knowingly witty - no one wants to wear an actual McDonald's uniform or logo but you'd consider Jeremy Scott's better cut, distinctly similar versions.

"One of the reasons the work of Jeremy Scott for Moschino is so popular in our age of digital fashion is because of the motifs it draws upon," says O'Neill. "Barbie dolls, McDonalds and M&Ms are visual icons of popular culture with a high visual impact." He adds that the use of these logos and motifs is readily informed by Warhol's experiments made over 40 years ago."

Figura thinks that Warhol's soup cans are still representative of something essential about Western culture and therefore resonate with us decades after they were created. "Consumer goods are our culture and the idea of reproduction and repetition is even more prescient in this digital age - it's like something a designer would do on Photoshop now," she says.

So, if you have graphic prints in primary colours or fast fashion in your wardrobe, their inspiration is rooted in an artwork created 54 years ago. Does this make Warhol the most far-seeing, most referenced artist of consumerist culture ever? Not necessarily.

Figura believes Warhol's background in advertising informed 'Campbell's Soup Cans'. The piece was a canny move, not just a eureka moment. "He knew how to find the next thing that would grab people," she says. "He had instinct and incredible talent, but he was also trained."

Regardless of where his inspiration came from or what propelled him to paint the piece, one thing is certain - it's influence remains strong and there is still an appetite for Pop art-style clothing. The latest evidence? Rita Ora's selfie of her modeling Warhol-esque printed pieces by Au Jour Le Jour earlier this month. It was liked by 101,000 people.

"Campbell's Soup Cans still speaks to us because it still says something about the world now," says Figura. "Warhol had an eye for this - you can't help but be compelled by it."
If you would like to comment on this story or anything else you have seen on BBC Culture, head over to our page or message us on .

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How Warhol's work influenced our wardrobes

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It was unique, groundbreaking and set to change design radically. And yet when Andy Warhol first exhibited his Campbell's Soup Cans in 1962, the work was met with mockery and indifference. A rival parody exhibition of actual soup cans opened in response; the general public was apathetic.

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I think fashion should be considered as an art. I agree that fashion is more  commercial than other art forms like painting and sculptures.
However, when it comes to haute couture, it is definitely one form of art.  This is a picture of Met's Comme Des Garcons' exhibition held last year. Do we think anyone can wear this clothes daily or Are these clothes ever functional? I believe not many people really consumes this kind of fashion but the fashion brand still releases this avant garde collections. Why they make this clothe then?, I believe that is because they appreciate fashion as an art and to make their brand images luxurious.
Haute couture fashion is just so delicately made and it makes huge difference on looking compared to other daily life fashion
Also, fashion is best way expressing ourselves like other art forms do.

Contemporary art relates to fashion of the same period?
In general, not really but there are some cases. For example, street grafiti art which is one of well known cases of contemporary art inspired many fashion designers and we see grafiti printed t  everywhere nowadays.

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I believe undoubtedly that fashion is art. I believe art can be anything physically created with the intention of expressing something without any real limitationsㄧ whether it is something so personal as emotion or a reflection on society or something observational. I think that fashion specifically is one of the most influential art that exists and provides a true insight on context of time periods much like any traditional artwork. Geoffrey Beene’s “Mercury” Fall/Winter 1994-1995 evening dress can easily be compared to art. While I haven’t seen it in person I think in a breathtaking way it doubles as a sculpture when still because it is trying to resemble a solid metal. The material is made of Metallic / acrylic lamé velvet which I imagine isn’t stiff judging by pictures, when being worn by models the garment is shown in a pose that shows off the material and the liquid-like draping off the body that expresses the state of the metal mercury.

While I do believe that fashion is art, I do not see any real consistencies with contemporary art and fashion of the time period. If there is any relationship I would draw it is that perhaps related in the sense that contemporary art is a reaction to the culture and society at the time which is more literally seen in fashion.

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Salvador Dalí and Elsa Schiaparelli had a collaboration to create dresses and a contemporary artwork.

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Paris in the 1930s was a hotspot of creatives. From poets to artists, the post-World War I period saw some of the city's most daring cultural happenings. Running in the same artistic circle were Surrealist artist Salvador Dalí and haute couture fashion designer Elsa Schiaparelli, whose long collaborative history is the subject of a new exhibition at the Dalí Museum in St. Petersburg, Florida. "Dalí and Schiaparelli," which opens on October 18, is the first retrospective to explore the cross-media relationship between the two, pairing works inspired in a parallel timeline, or that they shared a hand in creating.

Regarding the timing of the show, Dr. Hank Hine, curator and executive director of the museum, notes that its provocative spirit is poignant: "There is historical relevance [to exploring the relationship between Dalí and Schiaparelli] at any point, but in this moment, we're showing a sense of daring in this precarious time." The designers began working together in 1934, a volatile time in Paris, but one in which their wealthy clients were interested in exploring the most daring solutions. This innovative spirit is evoked in the show's display of gowns, accessories, jewelry, objects, drawings, paintings, and photographs, which reveal their direct design relationship.

A display of the now-infamous Lobster Telephone by Dalí, for example, is paired with a gown by Schiaparelli of lobster-printed fabric (with parsley to garnish). The symbolism is far deeper than a visual pairing-Schiaparelli asked Dalí to design the dress for Wallis Simpson, Duchess of Windsor, a real-world object of desire (as the story goes, King Edward VIII abdicated the throne to marry her). Dalí saw the lobster as a sexual creature, for its aphrodisiac effects and its mysterious sexual organs.

At the same time, the exhibit explores the great contradictions of a time in flux: the push and pull between natural and industrial forms, craft and mass media, and liberation and restraint. "Surrealism entered popular culture through fashion magazines because it was such a natural way of presenting drama," said Hine. "In its essence, the method of Surrealism is collage": setting disparate things in the same context. It's one of the reasons the exhibition's subjects worked so well and so frequently together. Rebels and absolutists, they cocreated an environment in which both could thrive.

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Salvador Dalí and Elsa Schiaparelli's Inspiring Creative Collaboration

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Paris in the 1930s was a hotspot of creatives. From poets to artists, the post-World War I period saw some of the city's most daring cultural happenings. Running in the same artistic circle were Surrealist artist Salvador Dalí and haute couture fashion designer Elsa Schiaparelli, whose long collaborative history is the subject of a new exhibition at the Dalí Museum in St.

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I have not seen the piece in person or touched it, I think that seeing it in person would have more of an impact than touching it because I could experience its actual resemblance to a liquid state. Touching the material would only give me more of an idea of how it would move and how it was created.

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Takashi Murakami is a Japanese contemporary artist.
I believe some of you are familiar with this flower thing.
I recognizes this flower thing because I've seen so many customized shoes inspired by this flower picture.
He even had collaboration work with luxury brands, Louis Vuitton.
https://hypebeast.com/people/takashi-murakami

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I haven't seen any of the displayed garments on "Fabulous fashion' exhibition but I had chances to see antique garments from FIT museum and even had chance to touch and look closely at FIT archive.
Those haute couture garments made by professional taylors were just perfectly seamed, lined and sewn. When I saw a dress in archive, I was so surprised how patterns were perfectly matched and I could see all small details that dress makers cares and spent time on it.

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Bridget Riley’s  is a pioneer in Op Art. Her Op Art were present on the runway and inspired collections. There are many times the Op Art were used in modern contemporary fashion. Her art appeared in brands such as Comme Des Garcons and Alexander McQueen.

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As new show of Bridget Riley's work opens in London, we catalogue the moments when contemporary fashion looked to Op-Art for inspiration

In April 1965 at MoMA in New York, an exhibition titled The Responsive Eye opened to the public. It was to celebrate a recently established movement in modern art named Op-Art, showing works from artists Frank Stella, Josef Albers and Bridget Riley, to name a few. "Using only lines, bands and patterns, flat areas of colour, white, grey or black, or cleanly cut wood, glass, metal and plastic, these artists establish a totally new relationship between the observer and a work of art," the press release said, in its typewritten font.

The utilisation of graphic shapes and block colours to trick the eye into seeing hidden dimensions in a still, flat image, naturally fascinated the fashion designers of the era. For what could possibly be more intriguing than observing such a print in motion on the body? Ossie Clark, Pierre Cardin, Yves Saint Laurent, Mary Quant and André Courrèges are now synonymous with clothes which reference Op-Art, which genre subsequently remains one of the most referenced to this day, and saw a resurgence throughout the 1990s and 2000s in particular. This month, a new show of Riley's work opens at London's David Zwirner Gallery - a fitting opportunity to explore ten moments her influence can be felt on the runways of today.

1. Comme des Garçons, S/S01 (above)

Rei Kawukubo's collection for Comme des Garçons S/S01 was fittingly called Optical Shock, encompassing Op-Art prints on the inimitable designer's signature bubbling and ruched silhouettes, PVC trousers and tops and also on socks and shoes. Coupled with camouflage and galactic headpieces constructed from used materials such as bubble wrap, plastic and crime scene tape, this was a show that welcomed in the new millennium whilst keeping one foot tentatively in the 20th century.

2. Gareth Pugh, S/S07

Designer Gareth Pugh was instrumental in the resurgence of club-kid culture in the mid-Noughties, not least through the art and fashion collective !Wowow!, of which he was a member. His debut show for A/W06 included an inflatable look - a gothic Jeff Koons bunny affair, that would have looked fitting on the late Leigh Bowery. For his second collection, Pugh seemed to reference Bowery once again, with genderless, faceless figures that stomped down the runway atop elevated platforms, wearing monochromatic chequerboard prints.

3. Alexander McQueen, A/W09

"The Horn of Plenty has proven itself over the past years to be a collection without a sell-by-date: one which epitomises McQueen's inimitable ability to turn trash into treasure," wrote Olivia Singer in 2015. Indeed, McQueen's final Autumn/Winter collection, before his death almost one year later, was set against a backdrop of old show props, piled high in the centre of the runway, alluding to fashion's oft throwaway culture. Even the models' hair, coiffed by Guido Palau, was an homage to recycling; their rollers took the form of Coke cans swathed in clingfilm and secured with sellotape. Houndstooth was omnipresent throughout the collection, combined with chevron stripes and harlequin prints (an Op-Art staple).

4. Marc Jacobs, S/S13

For S/S13, Marc Jacobs looked to 1960s New York and the golden age of Warhol's factory. Naturally, Op-Art was a pervasive theme in the clothes, the women wearing Möbius strip patterned jumpsuits, cut out at the neck following the lines of the graphic print, and scallop-edged dresses highlighting the tail end of wide black and white stripes at the hemline. Although evocative of a bygone era, Jacobs' collection appeared neither pastiche nor retro - no mean feat considering the heavy referencing.

5. Louis Vuitton, S/S13

Op-Art was very much at the forefront of Marc Jacobs' mind for S/S13; the designer referenced the work of French artist Daniel Buren in his collection for Louis Vuitton. Buren was also responsible for creating the show space, which included four striped escalators carrying models down in pairs to a lemon-yellow and white lacquered runway. The clothes themselves were boxy and precise, mod-ish silhouettes printed with blown-up, surrealist Damier check.

6. Dries Van Noten, A/W14

"It's a lot of things: unexpected elegance, bright colours, two-dimensional flowers, chic shoes - and Bridget Riley," said Dries Van Noten of his A/W14 collection. "It's sharp lines of graphic motifs, it's acids, it's raves." The opening look set the tone for the rest of the show: a dove grey wool coat, striped with a Riley-esque swirl the colour of artificial grape juice. This made way for psychedelic sweaters, printed chiffon and silk worn with T-bar shoes and fur stoles. It was part 1930s, part 1960s and entirely Dries.

7. Junya Watanabe, S/S15

Junya Watanabe subverted Op-Art's illusory nature, rendering graphic patterns in a sculptural third-dimension for S/S15. Tessellating shapes and circular PVC forms built into mini-dresses referenced the work of Bridget Riley and Yayoi Kusama, with fishbowl headpieces created by Tomi Kono alluding to fashion's penchant for space travel during the 1960s.

8. Valentino, A/W15

Celia Birtwell, wife of Ossie Clark and fashion designer in her own right, was one of the inspirations behind Pierpaolo Piccioli and Maria Grazia Chiuri's A/W15 Valentino collection. Birtwell was Clark's and David Hockney's muse, and riffing on this theme the Italian design duo also looked to Emilie Flöge - life companion of painter Gustav Klimt. Early 19th century photographs of Flöge depict her wearing monochrome, graphic dresses of her own making. These were almost replicated for the Valentino runway, bringing fashion and art history full circle.

9. Issey Miyake, A/W16

For A/W16, Yoshiyuki Miyamae celebrated the signature Miyake pleat through elaborate moulded garments in Baked Stretch, a new iteration of the designer's trademark technique. The production process involves clothes being marked with wavy lines of glue, rainbow-toned dyes added to the gaps in between, before they are put into an oven and quite literally cooked. The result was buoyant dresses, trousers, coats and skirts that bounced as the models sauntered down the runway as human trompe l'oeils.

10. Jean Paul Gaultier Haute Couture, S/S18

We all hold dear to us somebody who was formative in launching our careers. For Jean Paul Gaultier, that someone is his former employer Pierre Cardin, to whom he paid homage with his Haute Couture collection for S/S18 - M. Cardin was even in attendance at the show, watching Gaultier's latest creations from the front row. There were Op-Art prints in plentiful supply, with sculptural hair and graphic make-up reminiscent of William Klein's 1966 film Who Are You, Polly Maggoo?, particularly evident in the above look worn by Anna Cleveland. Proof, if it were needed, that fashion's relationship with Op-Art is still going strong to this day.

Bridget Riley: Recent Paintings 2014-2017 is open at David Zwirner Gallery, London until March 10, 2018.

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Ten Times Op-Art Crossed Over Into 21st-Century Fashion

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In April 1965 at MoMA in New York, an exhibition titled The Responsive Eye opened to the public. It was to celebrate a recently established movement in modern art named Op-Art, showing works from artists Frank Stella, Josef Albers and Bridget Riley, to name a few.

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I would agree fashion is art, because I see every different designers with their own style of patterns, colors, garments and different types of fabric.  It’s like I’m looking at a painting or a sculptor, but in clothing form.  The Woman's Catsuit, designed by Christian LaCroix, it an item that I consider art.  I think the color are very creative and eye catching.  I haven’t see it in person.  But if I did see it in person, I would still definitely consider it art.

Yes, I think contemporary art is closly related to fashion. The art Deco was influential to fashion in the 1920s. And Pop Art also influenced fashion in the 1960s through the 1970s.

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Damien Hirst works as a contemporary artist of fine art, of repeating patterns of real insects in photography and sculpture.  Alexander McQueen was looking for a new signature for his brand. Till he was inspired by Hirst and they work together to create new patterns, which represent both Hirst’s and McQueen’s motif and style.

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I have seen high fashion at the Museum of FIT and the Met Gala.  I never touched it or tried it on, because it was Museum off limits.  I wish I could, I imagine myself wearing it in person for special occasions.  I don’t see the difference between wearing it or touching it, but if I did touch it I would notice how rare the fabric is and how much work the designer put on it.

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Fashion is definitely art. Art can be defined in many ways, but my definition is as long as the artist expression or thoughts is apparent through a certain media that appeals to our senses, it is art. Fashion design appeals to more than just our eyes, it also has a sense of touch. The hand of the fabric or medium the designer chose for a certain garment or accessory can produce a type of feeling to the person wearing it. A garment worn down the runway, seeing it move in motion is also different from seeing an inanimate dress in a museum. I think of fashion more like a bridge between decorative and utilitarian. In order to be categorized as fashion, I believe the item or artwork must serve its original function, whether not it be a hat, a dress or a piece of jewelry. The piece doesn’t have to be the most convenient garment or accessory, but it must be able to be worn by someone.

In Fabulous Fashion, the Woman’s Designed by Hubert de Givenchy maintains the status of “art”. The shape is abstract and unlike the common idea of what hats would look like, but it still serves the function of being worn on the head. I haven’t seen something like this in person I’ve made a similar headpiece for my art class before and I think seeing it in person makes a huge difference because of the space it occupies three dimensionally.

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I have seen these types of garments and accessories in person at museums but I did not have the chance to touch them. I think seeing them in person allows more space for imagination because you can carefully observe the choice of medium the artist chose, the space it occupies and the color that weren’t shown in pictures. Sometimes just shifting from one angle to another can result in the shift of light and how reflective or dull the surface material is. I think touching it would explain more about the actual texture or visual texture that can’t be expressed by seeing it with our eyes.

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I believe Fashion and contemporary art coexist. By definition art is simply an expression/application of one’s creative and imaginative skill, this perfectly reflects the essence of fashion. Fashion and art are meant to be displayed and critiqued or loved by humans. Fashion is essentially an art form because it is a creation by an artist or a designer. Art however, could very well be in fashion or fashionable during the period or how it is explained. I recently interned at an art gallery this past fall and now I am an intern for Fashion Snoops, a trend forecasting company. It is interesting to look back at the artist exhibits we were featuring and notice a relationship in trends that correlate in the fashion world.  I have attached this cocktail dress on display at the Philadelphia Museum of Art, designed by Emillio Schuberth. This dress is beautifully crafted with intricate embellishments and added bows. I think this dress is a good representation of the relationship between Haute Couture and art because of its unique silhouette and placement pattern. The dress is a desaturated yellow with embellished rose petals creating a unique line to shape the outward curve of the skirt. Adding a playful dynamic the dress includes three dimensional roses in the same yellow. The skirt is interesting because of the projected build hinting at an inspired crinoline style. 

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I believe Fashion and contemporary art coexist. By definition art is simply an expression/application of one’s creative and imaginative skill, this perfectly reflects the essence of fashion. Fashion and art are meant to be displayed and critiqued or loved by humans. Fashion is essentially an art form because it is a creation by an artist or a designer. Art however, could very well be in fashion or fashionable during the period or how it is explained. I recently interned at an art gallery this past fall and now I am an intern for Fashion Snoops, a trend forecasting company. It is interesting to look back at the artist exhibits we were featuring and notice a relationship in trends that correlate in the fashion world.  I have attached this cocktail dress on display at the Philadelphia Museum of Art, designed by Emillio Schuberth. This dress is beautifully crafted with intricate embellishments and added bows. I think this dress is a good representation of the relationship between Haute Couture and art because of its unique silhouette and placement pattern. The dress is a desaturated yellow with embellished rose petals creating a unique line to shape the outward curve of the skirt. Adding a playful dynamic the dress includes three dimensional roses in the same yellow. The skirt is interesting because of the projected build hinting at an inspired crinoline style. 

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Elsa Schiaparelli and Cecil Beaton were two major artists of the 1930s-40s. In collaboration Beaton shot an editorial for Schiaparelli’s women’s suit with drawer-inspired pockets. The two had similar styles that were both inspired by Salvador Dali’s surrealist art style. The dress was juxtaposing drawers on a suit coat which was very popular in surrealist art. Also Beaton created the backdrop to almost mimic a painting and utilized spacing of the models for them to appear disproportionate.  http://www.bbc.com/culture/story/20170929-when-fashion-and-art-collide

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Unfortunately, I have not seen this exhibit in person. I imagine it is a beautiful experience. Being able to touch the garments and see the craft up close would allow me to understand how it was created. I think this is very beneficial when viewing particular pieces images don't do them justice!

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I think in today's day and age people are becoming more open to considering fashion as art. Fashion itself is such a broad topic, that there are definitely parts of it that wouldn't be considered art. But the way the designers sketch and conceptualize designs. One's personal style may not be art per say, yet the pieces they are wearing and they wat they have been constructed to look and feel a certain way is art. Fashion and art are two things that are viewed differently based on each individual's perspective. Depending on the the events or atmosphere going on around a designer in the time that they are creating clothes, they may be inspired by it and unknowingly or knowingly incorporate that into their designs. Turning something that is a necessity, (clothing), into something that becomes a statement and is original is art. If the garments have the ability to make people feel a certain way, or remind them of something, or causes a stir of whether or not the garment is "beautiful", is where the art within fashion lies. Seeing the dress below in a photo only made me want to see it up close in person because of how many details there are put into it. From the shape tp the colors to the silhouette tp the placement of roses, there is a lot to admire that cannot be justified in this photo.

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https://www.wmagazine.com/gallery/swarovski-crystal-world-yayoi-kusama

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Instagrammers, There's a New Kusama Infinity Room Dripping in Swarovski Crystals

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In the Austrian alps, Swarovski has opened a sparkling new atelier featuring a Yayoi Kusama commission.

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I have not seen this in person, but I definitely plan on seeing it before the exhibit's gone! I'd love to see this dress snd more up close to really get a sense of all the details. Even more, I'd love to touch and try on but because it is part of a museum exhibit, I will not be able to. I think touching and feeling them would make a huge difference because I'd be able to really feel the kind of material it is and understand the designers creative process behind it, or even be even more confused as to why the designer chose a specific material over another

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This is yuelin wu. I think fashion is art. Art is something creative and aesthetic. making people feel what are those artist did. same as fashion. fashion use clothes, accessories to show others what is cool or beautiful. for example comme des garçons is a designer who really put arts in her fashions show. she made her show creative and she could put everything to made is a s a cloth.i never seen any other designer did the same thing as hers. it really made me impressed. 

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This is yuelin wu. I think fashion is art. Art is something creative and aesthetic. making people feel what are those artist did. same as fashion. fashion use clothes, accessories to show others what is cool or beautiful. for example comme des garçons is a designer who really put arts in her fashions show. she made her show creative and she could put everything to made is a s a cloth.i never seen any other designer did the same thing as hers. it really made me impressed. 

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Yayoi Kusama is a contemporary Japanese artist working across painting, sculpture, film, and installation. She has produced a body of work formally unified by its use of repetitive dots, pumpkins, and mirrors. and Louis Vuitton use her work and design to related to their bags.

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yuelin wuI have seen these types of garments and accessories in person at museums but I did not have the chance to touch them. for me I had a Bunch of clothes come from the shows which I made it as my own collected stuffs. I think those clothes which better than normal clothes is the way their draped and the way their sew. its really pretty.

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yuelin wuI have seen these types of garments and accessories in person at museums but I did not have the chance to touch them. for me I had a Bunch of clothes come from the shows which I made it as my own collected stuffs. I think those clothes which better than normal clothes is the way their draped and the way their sew. its really pretty.

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Fashion is something that combines art. It's one of the form of art but not pure art in my opinion. For me, Anything relative to "benefit“ will not be considered art.  Art is natural and from heart. Fashion is made by people and made on purpose. It could combined multiple element such ambition, reconciled. Everything made fashion is not innocent especially nowaday.

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Damien Hirst
As one of the most expensive and influential contemporary artists in the world, Hirst launched the project Entomology, a direct reference to a study of the world of insects. This included a collaboration with Alexander McQueen, in which he created a collection of silk scarves complete  with patterns of a variety of butterflies and beetles. A similar hook up with Prada followed, this time for charity and it involved decorating the lables famous handbag. made from precious stones, crystals and feathers.
http://www.buro247.me/fashion/accessories/prada-and-damien-hirst-create-entomology-bags.html

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Unfortunately, I havent have any chance either seeing it in person or touch it. I have seen some beautiful collection at some museum. Sometimes looking at it as a piece of art might better than touch it.

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Yes fashion is art. As if you were doing a painting you would think of line, shape, form, contrast, depth, color, perspective, etc. The same concept applies to fashion. You are wearing art, just as if you were displaying art, everyone is their own canvas, and everyone's art is seen in a different light.

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Fashion is art focusing on how designers use shape and volume, color and pattern, metallic materials, decorative embellishment, and perennial favorite combination, black and white.
Yes i believe that contemporary art and fashion is related. You can see the art reflected within the clothes from the colors to the abstract lines forming from a canvas to a 3D textured piece of clothing.
John Galliano, Diors two-piece pale pink satin day dress from 1948, with a nipped-in waist and full skirt that epitomizes the ultra-feminine "new look" contrasts with a flirtatious hat pink fur-collared wool suit designed in 1998 by John Galliano wanted to design clothing from period styles and displayed them to a contemporary audience. Galliano has produced shows of period styles combined with contemporary art for example, "Edwards Elegance, The Red Guards, The 50's in Americas:.

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no i have not seen any of the fashion. I would love to go and experience it one day, it looks amazing. 

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no i have not seen any of the fashion. I would love to go and experience it one day, it looks amazing. 

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I think fashion can be expressed in many different way. Art is Only one more way. Every designer has their own concept and definition for fashion. For me fashion can be expressed as art depending on my concept. For me art for me is something that you can express freely. fashion also. We can see it clearly in some haute couture fashion shows and exhibitions. I remember the the exhibition of comes des garçons two years ago in met. Those pieces of garment was somethinf unwearable in my opinion. That was a collection of art but made with diferente medium and represented as fashion. The designer expressed her ideas by bringing up her own concept of fashion in every each garment. Something very unique in my opinion. Someone can be also inspired by that concept and create something more wearable, more commercial. That’s why for me fashion can be considerate as art.

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I haven't seen this garment in person. but, looking at the picture I perceive something really nice. I would love to see it and touch it in person tho. also be able to learn the construction of each. as a fashion designer is very interesting to go back and learn how designers in the past had created such a nice garment/ collection.

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If anyone was under the illusion that time was linear or that crazy contemporary fashions coming down the runway were, in fact, new, spend five minutes with Amy Bond and you’ll think otherwise. A successful fashion designer, historian and professor at Otis College of Art and Design, Amy Bond has created a course that for the first time combines art history with contemporary design; research and practice. This has long been an open secret of the most successful designers – Fendi, Givenchy, Alexander McQueen to name a few – but in her brilliant new class at Kadenze, designers of all kinds will learn to fold history lessons into creative process.

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As the Italian philosopher George Santayana famously said, "Those who cannot remember the past are condemned to repeat it." The past, it seems, is present - whether we know it or not. Instead of being 'condemned' then, what if we pranced around the halls of history, gathering inspiration for our creative process as contemporary artists and designers?

If anyone was under the illusion that time was linear or that crazy contemporary fashions coming down the runway were, in fact, new, spend five minutes with Amy Bond and you'll think otherwise. A successful fashion designer, historian and professor at Otis College of Art and Design, Amy Bond has created a course that for the first time combines art history with contemporary design; research and practice. This has long been an open secret of the most successful designers - Fendi, Givenchy, Alexander McQueen to name a few - but in her brilliant new class at Kadenze, designers of all kinds will learn to fold history lessons into creative process.

As is her way, we had a casual yet mind-bending chat with Amy about fashion, the cyclical nature of time, lycra, the fashion-culture connection, and lots more...

How would you describe the fashion moment we currently inhabit?
What is happening now in fashion is actually kind of a societal argument between the 'Style Icon' influence and 'grassroots' creativity. At the pinnacle of the former, we have so-called designers like Kanye West parading thousand dollar sweatshirts to the star-struck population in the name of fashion, while those interested in the art and newness of design are helping many emerging designers and independent capsule collections actually get a footing again. For such a long time - long for fashion anyway - since the latest recession starting around 2007, the only goods that were really selling were those with logo-brand status. If you weren't heard of as a label you were sunk - that's why so many celebrity driven companies and endorsements took over the market, edging out any struggling labels. People were cautious with their money and unwilling to buy anything that didn't have immediately perceived value. Now that the economy has crept back, it has opened the doors and wallets of consumers, who are now feeling freer to choose things they might actually like, regardless of the label, and who also are looking to make an identity based on being creative with their choices. The influence of the fashion blogger and personal Instagram accounts have driven this forward, since individuality is what sells in that realm. So now the upstart creatives have a niche again, existing on the other end of the spectrum from the status label types.
Why is it important to understand the past when creating original and 'new' design?
The practical importance for the designer, and ultimately the one tasked with creating garments, comes mostly from understanding why things developed the way that they did. What changes in culture and innovation changed fashion? Why have we moved from stiff corsetry into body shaping spandex? The emotional excitement comes from seeing what artists before you have done - every single art form looks at its history, and fashion should be no exception. It's just interesting, really.
Who is your favorite contemporary fashion icon (well known or up-and-coming)?
It would be hard to peg who is in the 'up-and-coming' category that will end up being thought of as an icon; after all, no one believed figures like Mary Kate and Ashley would ever be taken seriously as designers. As to the past and present, I love true attitude and concept pioneers like Leigh Bowery, Nick Cave (the soundsuit one) and Viktor & Rolf. I think weird is cool.
Why is fashion so cyclical? Is this as true for other kinds of fashions, in architecture, art, music, etc.?
I think reason behind the cyclicality of fashion is two pronged - subconsciously, I think people have a need to relate to what they wear and see, and being able to rehash a historical precedent is reassuring; consciously or otherwise. Secondly, I think it is because of the ultimately limiting medium that is garments - every single garment design you see now is an amalgamation of things that have come before, and that acceptance holds interest and the desire to try it again "your way". I think fashion is unique in this way, as straight up as it is, but every art form borrows from the past. There are modern homes being built with truly classical elements, and contemporary music with full on baroque string sections. Only in fashion though do these throwback parts become an actual new trend adopted by many designers at a time.
Are fashion and culture connected? How so?
Fashion and culture are deeply connected. It can be something as general as the reflection of military influenced styles that emerge when the nation is at war; such as when Camo saw a resurgence after Desert Storm after 1991; or as specific as when a painter such as Lichtenstein either has a high profile show or respark in popularity, and inspires fashion design very directly.
In a time of 'fast fashion', do you tend to embrace current trends, or is your sense of style influenced in some other way?
Oh geez, once people take the class I think my disdain for fast fashion will be embarrassingly obvious! The garments I actually buy for myself are all scavenged from resale shops and sample sales, and supplemented by my own work or rework. I am not pulled in by pretty much any retail situation where there are many multiples of the same thing. I do love high fashion and follow the shows and designers to enjoy the level of creativity and the innovations in textiles and construction, but have little interest in wearing overall trends.
Do you have a personal style philosophy?

Discover what clothes excite you and what makes you happy to wear.
Most of all understand your body type and wear what suits it best. Fit is everything.

Does what we wear affect state of mind, or other things?
If fashion wasn't emotional then advertising wouldn't exist. We buy things we desire, so what we wear is a reflection of how we are feeling, and conversely what we wear can affect our mood greatly. Just think how good you feel when someone pays you a compliment; "what a great skirt!" can make your day. Which if you think about it is kind of odd, since unless you made the skirt you really have no hand in how great it is, so what that compliment is actually saying is "I like your taste" which is reassuring to our egos.
If you could live in any country or era, what would you choose, fashion-wise?
I'm pretty happy with this era, and do feel like I can live wherever I want. I'm not done moving! Fashion wise, at this point the industry is at the pinnacle of innovation from all previous eras, and comfort has a strong hand in fashion, with which who can argue. Aesthetically I love the 20's the most, but would be hard pressed to give up lycra in my everyday life....!
Has this course ever offered in this way before? How did you design this course?
Before I presented this idea, I thought a lot about what I wanted people to see. There are fashion history classes, pop culture classes, and design classes all across traditional and contemporary platforms. The general awesomeness of Kadenze is in developing classes and content that are not seen in its particular approach and viewpoint in any other place, and this fashion class is right in line with that, as it is totally unique in its blending of research and application.

As much as I love the experience of being in a physical classroom setting, when I was ready to go back to school it just wasn't a practical option. I was married, a mother, working at my own business, and not living anywhere near any of the programs I was interested in. No way could I uproot the family and source of income to fill my creative desires! The online program I found is one of the first of its kind, and gave me the opportunity I needed. Online classes are not 'easy' as such - even though you can access them whenever you want, they require a great amount of self-discipline. Learning how to manage your time and projects become an even stronger necessity than it did when I was a traditional student. What was most amazing about the online system was the dedication of the teachers and designers behind the classes - they understood that what they were doing was going to be greeted with scepticism from the academic community, and required a very thorough understanding of their potential, since they were basically creating everything from scratch. I met (and still correspond with!) some amazing individuals and attained a level of growth that would have been impossible without the online platform.
I know you have a lot of experience with online education, as a teacher and as a student yourself. What inspires you about learning in this way?
Heck no; its for anybody who likes forms of design expression for any reason at all. If you are an artistically curious person generally, you are interested in how all types of artful products are made, and would just as soon want to see how cars were designed and glass blowing developed as you would want to see this angle on fashion. It's not technical or skill-specific, and as such totally approachable and entertaining.
Is this course primarily for fashion designers?
True love not shameless plug - The Fashion Department of Otis College of Art and Design is truly an astounding place, and keeps its general teaching philosophy firmly rooted in the traditions of design and construction. Unique and inspirational; like Kadenze!

Anything you'd like to add?

Find more of Amy Bond's designs from her 2012 runway collection here.

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Where Fashion and History Meet: An Interview With Designer Amy Bond

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As the Italian philosopher George Santayana famously said, "Those who cannot remember the past are condemned to repeat it." The past, it seems, is present - whether we know it or not. Instead of being 'condemned' then, what if we pranced around the halls of history, gathering inspiration for our creative process as contemporary artists and designers?

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I don't think I've ever seen any garment quite like the ones in the exhibit in person - I don't really run in those circles, and I don't really follow haute couture culture. But in the same way that seeing a famous Rembrandt in person gives me a new appreciation for it, I think that seeing a garment in person and being able to actually observe it from all sides or even touch it would definitely give me a better appreciation for it. I think it would be kind of silly to argue that it wouldn't.

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I have to admit that I'm not familiar enough with the fashion world that such an artist readily comes to mind, so I had to do some research to find one. I was going to write about Bridget Riley and Op-Art inspired fashion, but someone else already beat me to that, whoops!

One example I did find of a contemporary artist who has gotten involved in fashion is Christophe Chemin. He is a self-taught French artist who recently collaborated with Prada to design a series of prints. To be honest, I think it's a little garrish as far as fashion goes, but I do think it's cool to see a major fashion powerhouse collaborating with a self-taught artist like this.

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Photography Jason Lloyd Evans

Hercules bashes a club-wielding Sigmund Freud with a pair of Incredible Hulk fists. Nina Simone sports boxing gloves while dancing with Joan of Arc, who shakes Macarenas. If that sounds like a world history seminar meets an episode of Celebrity Deathmatch, you're not so far off. These sparring singers and scholars, gods and Guevaras, form The Important Ones, one of four original artworks featured on fabrics in Prada's fall/winter 16 menswear collection.

This blue colored pencil scene was dreamed up by Christophe Chemin, a self-taught French artist who deals in words and images with equal dexterity. Chemin dances between drawing, directing, photographing, designing, and writing. Most recently, the Berlin-based polymath was commissioned by the iconic Italian designer to create her newest collection's prints. Though Mrs. Prada's creased cotton shirts, naval wool jackets, and sailor hats mined different pockets of the past, her offering was concerned with the here and now - the troubled world we live in.

Showgoers were presented with a five page press release announcing the creative collaboration. It included a chronological list of years and corresponding cultural moments that inspired Chemin's pieces. For example, Survival Utopia cites a medieval tapestry dating back to 1500 alongside ARK: Survival Evolved, a PlayStation game released last year. "People will see what they want in the clothes," said Chemin. "The references are there for the people that are curious enough."

You create across so many different disciplines. Which did you first gravitate towards and how did your practice blossom?
I think artists have certain responsibilities. You have to be honest with what you do, otherwise it's really an awful waste of time. There is so much trash all around, and waste. It is sad and terrifying. The world is full of dull images, everywhere - in your face from the moment you wake up. People 'like like like' the same way they dislike. It means nothing; it is a farce. I feel like we need to give back meaning to images. As an artist, I always ask myself about the necessity of creating another one.

I constantly have ideas, it's just my nature. I like to be able to express them through different mediums - to be able to fully express what I want to say in the right way. Certain ideas work better with specific mediums, so I end up jumping from one to another. Some work as books, some as movies, drawings, or sculptures. You never really know, so it's good to test and to be able to decide what works the best in the end. But it's just all the same to me; it's always the same voice.

How do you get inspired and what inspires you?
Pretty much everything. I'm a bit like a sponge, I react very quickly to things around me. Of course I have obsessions, things that always seem to recur again and again in the work. One thing that I like, and that I don't refuse myself as an artist, is beauty - simple beauty.

I love the way you described your practice in your press release: like a seamstress sewing one thing to another.
The practice is a bit like delicate embroidery, yes. I have these instinctive ideas, but I need to put them next to each other on the table and see how they react. It's a bit like editing. I don't invent big things, I'm not delusional. I accumulate ideas, each is like a thread. I start to sew and create certain patterns with all these threads.

How did the collaboration with Mrs. Prada come about?
I am a big fan of her work, and what she does means a lot to me. I find her work much more interesting than most of the so-called artists I see on the market. I like what Mrs. Prada does with fashion because I feel close to her way of working. She really doesn't care about what people think she should do, she just does it and I find it brilliant. What she does has a real value and means something,which is not the case with most of what I see these days.

What did that collaborative process entail? Did you discuss the ideas Mrs. Prada was considering in depth, or was the commission more open ended?
I know the brand pretty well. Mrs. Prada and Fabio Zambernardi had directions and moods they were working on. They asked me to propose them a list of concepts and she picked out four ideas that I developed as drawings with different techniques I often use. The concepts were pretty clear and close to the result. There was no censorship; we talked a lot with Fabio and her, and they totally trusted me, from beginning to end.

Why was it important for you to share a list of reference artworks and years for each of your drawings with the show attendees?
The list of years comes from the fact that I wanted to design specific tags for each shirt. Each shirt has a collection of tags: the Prada tag, a small jacquard with a visual of stars falling into the sea, the title of each drawing, and years. Each year refers to a very special moment in history that related somehow to the drawing. It's a sort of game and a way to reveal part of the process of creating the drawings. It's also to point out that things don't come out of nowhere. But mostly, we liked to have these years sewn on the shirt as memories from the past - it has a certain sweetness and mystery.

Do you plan to collaborate with Mrs. Prada, or other fashion designers, in the future?
I don't want to say too much, but yes, more collaboration is coming with Mrs. Prada. About other fashion designers, I don't want to be rude, but I have no desire at all to work with any of them. Prada is the only place where I could have done what I did; it wouldn't have happened anywhere else. There is an immense trust and respect there. It's something precious and rare.

Despite its exploration of the past, the collection is concerned with the contemporary. Why is it important to look back?
We are going through harsh times and there is no escape. It is not a time for vague abstractions or things that are so conceptual that they are bleakly non-understandable. These are not abstract times. We come from somewhere, we belong to something bigger than ourselves. Looking at the past - and not in a nostalgic way - can help humanity in search of truths to find hope. To learn to be humble would be a great thing, because, after all, we human beings are truly nothing.

What's exciting you about tomorrow?
Hope. The idea that there is hope for things to change and to get better in this world. Hope to do something. Hope to meet interesting and beautiful people to share moments with. Hope for beauty.

Credits

Text Emily Manning
Photography Jason Lloyd Evans
All images courtesy the artist

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meet christophe chemin, the creative powerhouse behind prada's newest prints

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Photography Jason Lloyd Evans Hercules bashes a club-wielding Sigmund Freud with a pair of Incredible Hulk fists. Nina Simone sports boxing gloves while dancing with Joan of Arc, who shakes Macarenas. If that sounds like a world history seminar meets an episode of Celebrity Deathmatch, you're not so far off.

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I definitely think fashion should be considered an art. I don't know how you would argue against that. That being said, you might argue about exactly where it falls on the spectrum of kinds of art. Some might consider it commercial art but not fine art, since it can be argued that its primary purpose is to fill a function, namely to clothe people. Similar arguments could be made about decorative arts in general. It might feel a little strange to compare a dress to a Van Gogh or Michelangelo's statue of David. I think we tend to mentally categorize different mediums of art as being more or less worthy of the title of "Art" - but that distinction is arbitrary. I can definitely say that when I look at some of the examples of haute couture on display in this exhibit that I feel they seem more focused on their appearance rather than strictly on their functionality, and I think that might be a factor that pushes me to think of them more as art rather than just a commercial product. But even then I think there is just an ingrained distinction in my head between a garment and a work of art.

(As a side tangent, the conversation of what constitutes "Art" is certainly one that encompasses many different forms of media - from fashion to film to video games to interior design. It turns out that it's very hard to create an empirical, objective definition of art!)

The example I chose to share is an evening dress designed by Jacqueline de Ribes c. 1990. Part of the reason I picked it is that I find it very elegant and appealing in a way that strikes me as requiring someone with an artist's eye and senses to design, but also doesn't go so far into the realm of "weird" that it loses its sense of practicality and functionality. I think the effort and knowledge that goes into designing something like this is enough to justify calling it art, even if purists might argue that its functionality puts it on a different level than something like a painting or a sculpture.

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I do think fashion is an art form. Art is defined by human expression or application of its creative skill and imagination. Especially haute couture, I would say in a form of art. I don't think it matters what type of fashion it is. Whether it's an accessory, dress, shoes, etc. Even putting together an outfit would be a form of art because it's a human expression of creativeness.

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One example that comes to mind is the Yeezy X Vanessa Beecroft collaboration. It can be an interesting collaboration between contemporary artist and fashion. Depending on the season and what's in, it can be hard for the fashion artists to make a collaboration work and sometimes it doesn't. But I think this is an example of one that did work well.

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I haven't really seen anything that would is in the fabulous fashion exhibition up close. I have been to a few fashion week shows and were pretty amazing. I'm sure if I ever got to try something on, it would be amazing.

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I think that high fashion definitely should be considered an art form. A lot of elements seen in these types of clothing can be seen in other traditional art forms such as paintings. Color, lines, shapes, and texture are all a part of what is taken into consideration when creating either a painting or clothing. It also takes someone creative and innovative to come up with some of these fashions. Also when you consider runway shows, these fashions can be very unique or strange at times but they're never really meant for an ordinary person to come alone and wear them, its more of an art show where people can look at the impressive types of fashion designers come up with. This dress by Pierre Cardin is one of the pieces which captured me, the way the black and white contrast each other but also flow so well together with the shapes it creates, is a beautiful artwork.

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Vanessa Beecroft and Kanye West's collaboration is one I thought of and is a strange one, although it is interesting to think of the meaning behind Vanessa's work in this collaboration, it is still sort of a strange one with the women covered in clay and the khaki military photos.

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There are some encounters that were written in the stars. Vanessa Beecroft could have had a stunning career in modern art, but instead, the woman who stunned the art world in the 90s and 2000s with her vibrant frescos decided to close the door on art dealers Larry Gagosian and Jeffrey Deitch to embark on a quasi-exclusive, cult collaboration with Kanye West. Look back at how the collaboration blending art, fashion and music came to be.

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Kanye West and Vanessa Beecroft: the collaboration in 9 moments

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There are some encounters that were written in the stars. Vanessa Beecroft could have had a stunning career in modern art, but instead, the woman who stunned the art world in the 90s and 2000s with her vibrant frescos decided to close the door on art dealers Larry Gagosian and Jeffrey Deitch to embark on a quasi-exclusive, cult collaboration with Kanye West.

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I haven't seen this collection in person, although I imagine it would be quite interesting and cool to see these in person and if only you could touch them would make it that more impressive as it seems to have a variety of high quality materials and textures.

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I think it depends on the purpose. If it made for art like haute couture or exhibitions, it is art. However, if it is designed for the customers to sell it, I think it is more design than the art. It is always tricky to define design and art clearly. I think if the artist or designer focus on their message or idea to the work, that is art. If the artist or designer is focusing on clients and consumers, it is design. You can wear “art”. It is same as people can hang or place arts as decoration.

I definitely agree that contemporary art relates to the fashion of the same period. It not about only fashion. I think it affects general designs as well. For example, minimalism influenced music, architecture, and fashion. Some people don’t understand the art that has just simple shapes but they love the simple and clean design of product and interior.

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Culture CHANEL exhibition seoul korea FASHION

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Design is not art!~ Art is very personal experiences and people can use fashion as a art form, however, design is not a internal activity, it is for your client, it is about what market need, it is not about artist's art, it could has artist's tastes, but it is not art, it is design.

Haute couture like Dragon robe for me it is soft of art that represent some special culture and skills, but I do not think it is "art"

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andy warhol is the first artist that come to my mind.
https://portlandartmuseum.org/exhibitions/warhol/

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The Mondrian Collection was designed by French fashion designer Yves Saint Laurent in 1965.

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Yves Saint Laurent's passion for painting led him and Pierre Bergé to assemble a truly incredible art collection. The couturier also expressed his admiration fo

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I don't have any experiences about that! but I agree that "Workmanship and precious materials are really important to high fashion".

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I’ve gone to fashion exhibitions several time but I’ve never touched them. I really want to touch the fabrics. I want to know how it feels when you wear those clothes. Clothing is not only about how it looks but also how it feels.

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In addressing the question wether fashion is considered art. I am immediately inclined to say YES, it is absolutely art.

When a designer creates a garment, he is working the same way a painter or a sculptor would. They all think about the end product and the media they will use to achieve their vision.

It is the same way for a fashion designer to think about what kind of fabric they will use to create a certain movement. What is the color palette that will best emphasize a part of the body, or in the opposite, do they want to minimize a certain body part?

I believe a fashion designer uses the human shape as a blank canvas to create a certain mood around the piece. We wear certain types of clothes to certain types of events and in that sense, we wear fashion depending on the type of reaction we want to get from our audience.

Source:
https://www.vogue.com/fashion-shows/fall-2016-ready-to-wear/balmain/slideshow/collection#31

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This is a great question, specially because the first person that came to mind is my friend from Dallas, Cesar Llamas.

He is a contemporary, abstract artist who has been inspired by fashion, (among with the the clear Jackson Pollock influence).

Because of this influence, he was recently invited to collaborate with a few brands, including Adidas and Roger Vivier Paris. I believe his art and fashion are a perfect mix in the pieces he collaborated.

Source:
http://voyagedallas.com/interview/meet-cesar-llamas-cesar-llamas-art-east-dallas/

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I have actually seen quite a few collections at FIT, as well as some fashion house flagships in 5th avenue. The quality of the fabric and the level of hand work is just magnificent. I think it's definitely a different experience to see a show on tv or the computer, versus when you are able to see the intricacy of their work in person. It makes you appreciate high fashion so much more.

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I have read your posts. It is important to "feel" in clothes according to Rei Kawakubo. Her stores do not have any mirror because it is not how you "look" in the clothes but how you "feel" and feel like yourself in them. I think we often forget about tactile qualities of clothing as we see amazing pieces of garments in museums or in showcases. For fashion students, it is a good practice to explore the world of haute couture. Department stores have all the high fashion brands. Visit those shops and feel garments. "Luxury" comes from materiality as well.

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I have not yet seen any of these garments in real life. I belive that seeing then in real life and touching then would make a big impact on me. I also tend to be able to get sucked into more when I am present and can use all my senses. Just like walking into a vintage store most of your senseces are Alarmed and I feel present

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Oksans Tanasiv