by Scarlett Baker
A spectacle can be created when the fusion of two disciplines come together, particularly between the fashion and art world. Entering the eternal critical debate as to whether fashion is truly is “artistic” or rather an “art form” in itself, the 2018 runway found itself paving the way for fine art to infiltrate the fashion industry.
Whilst 2017 saw the fetishisation of concert merchandise, endorsing celebrity world tours such as Justin Bieber’s Purpose Tour, 2018 has paved the way for canonical artists to give a renaissance to their masterpieces. That is to say, a physical rebirth in the form of a new medium: on the catwalk, rather than the gallery walls. The experiential process has thus changed. The question of the gaze is no longer a static union between a spectator entering the gallery space, entering – what seems – almost a two-dimensional experience from the canvas that hangs passively amongst the blank walls of the gallery. Instead, the spectator is invited to undergo a stimulating experience, one that offers movement and invigoration as a classical piece is transformed and carried by the movement of two legs simply walking, but commanding global attention.
Viktor & Rolf’s SS16 undeniably sought inspiration from Pablo Picasso’s Woman in the Hat (1961), regenerating fragmented structures of a sculpted face, and reworking the physiognomy into a dress. The abstract, yet iconic collaboration moulded together binaries of the past and present, traditional and classical, working to change our experience with classical pieces of art, yet still providing the opportunity for the work of an artist to remain relevant and appreciated. This renaissance of sorts, the “rebirth” of a painting and our perception of it duly changes, from viewing Van Gogh’s A Wheatfield with Cypresses with the naked eye, to actually feeling the sublimated mastery printed onto bag on your arm. It invites an alternate experience, one that is more tactile and tangible, rather than visionary.
Recognising the need to proclaim a particular taste in art and subsequently make an eminent display of it, designers are beginning to recognise this, and have found the niche gap in the marketplace to satisfy consumer needs with artistic talent. Situated amongst the critical divide of “art appropriation and popular idealism” sits Jeff Koons, argues Financial Times reported Jo Ellison. Koons, the American artist renowned for his monumental works, approaches interdisciplinary collaborations with a habitual chutzpah. Symbolically deconstructing the classical frames and moulding the masterpieces into purposeful commodified goods, Koons, amongst other fashion houses have sought to change our aesthetic experience with an artwork.
Whilst few artists would dare to grapple with the ancients of the canon, Koons has boldly stamped his initials alongside that of Rubens, Fragonard, Monet, Bucher and Da Vinci to create ekphrastic handbags. His curatorial vision follows alongside creative campaigns such as Raf Simons, Comme des Garçons x MoMa and Virgil Abloh who are paving the industries obsession for collaborations between art and fashion. In this process of replication, Koons came under deep scrutiny for the exorbitant price tag that detractors found ridiculous for sublimating an image onto a handbag. Yet, they failed to recognise Koons’ ambition with the collaboration. He compliments and works towards the demands of both the fashion and art world that that are obsessed by exclusivity and the enticement of ‘limited edition’, changing the DNA of the paintings by offering them a new canvas, and a life beyond four constrained walls. But, unfortunately their aren’t six billion Mona Lisa’s to go around the world, so if we can’t get the original, then a handbag is good enough.