8.28.2011

What to wear while making art, part II.

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"[...] in the 1970s artists saw fashion as this huge enemy: the only reason you would dress up and have red lips would be to seduce a curator so they would show your work. It wasn’t until I moved to Paris in the late 1980s that I felt allowed to be interested in fashion."
Marina Abramovic and Riccardo Tisci by Dusan Reljin in Visionaire 60: "Religion", via fashionfolds. interview here.

Collaborations between fashion and art fields are growing savagely. Dealing with inspired personalities is as hard today as it always has been, but you better be patient and obliging and pick and cuddle your own artist; since no bride is ever going to wear that opulent wedding gown you designed last season if a rash, suffering, preferably politically committed and with an uneasy background brush doesn't mark it first. In part I, I was examining the reasons that may bring the moody, temperamental and notably isolated soul of the artist and the busy, charming, and slightly imposing temperament of the fashion designer to their awkward but lucky alliance. I considered it an issue of durability: the too long, often eternal life of an art piece that loads it with responsibility and the hasty, ruthless seasonal withering of a fashion item finally finding their balance together. A love story to justify them both. Here however, I'd like to question who's going to buy the products of this beneficial association, and why. The fashion victim won't sense a difference, since he would buy anything his favorite brand would ever come up with, because of his innate sense of loyalty, and of the safety that having a fixed lifestyle allows him to feel in his stressful, unpredictable life. Nor will the art collector, because how could he ever buy something that isn't original anymore now that it has been printed all over a double-breasted suit so many could buy? And even if he buys it, how could he ever be supposed to wear it, and let the blessed beauty of art get damaged, ruined, creased with the everyday living of a single person? But these pieces are bought indeed, even more so, they are sold like hot cakes. How's that? I guess these collaborative efforts are answers to the worn out, tired morality of the middle class intellectual with a soft spot for fashion. Liking fashion has never been easy, let alone without guilt. Fashion is consumerism, it isn't ecological, it is too pricey and it's definitely a product of capitalism. Even so, when a brilliant, dedicated, sensitive mind allows himself to enjoy fashion as much as taking part in it, it all looks less evil, they feel they are allowed too, and even those people not usually interested suddenly see the possibility of walking around wearing art, more than that, wearing those interest of theirs nobody ever asked about, since they normally wander around unnoticed in their soulless cardigans. Wearing culture, a study, a statement of an open mind against cheap old prejudices. And in a western world increasingly criticized because of its dubious ethics, this brings a little shame away. And that's why we are going to need more and more of these salutary alliances in the near future.
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Long before Balenciaga editorials, there was Cindy Sherman for Comme Des Garçons, fw 1993. via thvmrag.
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Then came Cindy Sherman for Marc Jacobs, side by side with Juergen Teller, via mouthfullofdirt.
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More recently, we have Sterling Ruby for Raf Simons, ss 2010, via rafsimons.com.

And here we have a couple of fashion-art-photography-model partnerships on the cover of the first issue of Garage by Dasha Zhukova. 'Cause you know, once you got how it works, it's never enough.
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Nick Knight, Dinos Chapman and Lily Donaldson. BABOOM.
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Hedi Slimane, Damien Hirst and Shauna Taylor's brand new tattoo. via fashionologie.

I'm thrilled with what will come next.

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