![]() ![]() In turn, many contemporary artists (like, most famously, Damien Hirst and Takashi Murakami) have made art's function as a market commodity a core aspect of their work. Artists today have become brand names, with many investors looking less at the aesthetic or formal qualities of an artwork and instead examining an artist’s sales history and “brand value.” As art economist Claire McAndrew noted in her book The Art Economy, “no matter how highly valued art is in society, there is no escaping the fact that it is produced, bought, and sold by individuals and institutions working within an economic framework inescapable from material and market constraints,” a fact that is largely a byproduct of an increasingly global art market. Just as fashion is following art, art, too, is steadily adopting characteristics typical of fashion. And the nonutility of art is a key differentiator from fashion, as is the fact that its value increases over time. Those considerations, one could argue, keep fashion distinct from art, in which economic considerations in general are seen as much less important-art is created regardless of its eventual economic value (or lack there of). ![]() Fashion is ever-evolving, frequently changing based on trends. It has a clear commercial value, priced as a cross-function of the cost of goods and brand perception. Fashion is constrained by certain factors, including wearability and the specific contours of the human body, for instance. Displaying the iconic clothes in the same manner and context as masterpieces by Picasso, Monet, and Pollock angered many critics, who were forced to question whether an “applied” or “decorative” art should be elevated to the same platform as fine art.įrom one point of view, the main differences between fashion and art could be found in their utility and temporality. In 1983, this occasional dispute was brought to the forefront of art criticism and scholarship when the Metropolitan Museum of Art's Costume Institute mounted a 25-year retrospective of Saint Laurent's designs. ![]() In fact, Yves Saint Laurent considered there to be such a gulf between the two fields that he once lamented that, despite his legendary accomplishments as a couturier, “I am a failed painter.” There have been designers who identified themselves first and foremost as artists, such as Elsa Schiaparelli, who declared in her autobiography that she regarded dress design not as “a profession, but an art.” By contrast, many prominent designers of the present day reject this position-including Miuccia Prada, Karl Lagerfeld, and Marc Jacobs-instead viewing fashion and art as their own separate, if highly complementary, realms. The status of fashion within the sphere of fine art has long been the subject of debate. ![]()
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