A series by Alex Gallina
When considering methods of expression, two subjects often come to my mind: fashion and art. Both form reactions to politics and social change, acting as two of the strongest symbolic, conceptual and material representations of mass thought. As products of their societal and cultural contexts, these subjects can communicate in rebellion, invite escape, and also shape understandings of identity and community.
When a message is conveyed in fashion, it is often through the style of a piece; its simplicity, maybe the modesty it provides, or its coordination with the wearer’s other choices. Alternatively, it can be more explicit—exceptions could be a runway show as performance art, the symbolism that lies in the inclusion of cultural motifs, or simply the artistry of haute couture and craftsmanship. Art, most frequently carrying intentional and overt symbolism, can act as a form of escapism or criticism, but can also offer unintentional suggestions. It is notably referential, occasionally alluding to subjects such as history and literature, allowing deeper societal understanding and cultural literacy. As art’s identifying boundaries have delineated over time and adopted various formats, it has begun to adopt fashion.
The two subjects draw inspiration from each other and can also, in ways, advocate for the other; their relationship is reciprocal. Some of the strongest conceptions of fashion design have enlisted artistic qualities or were directly influenced by artists. Art’s depiction of fashion within illustrations, portraiture, and beyond has enabled a more comprehensive understanding of its social role and each’s respective enjoyment. Both prompt analysis and act as symbols of eras, movements, and shared ideals. Inherently interdisciplinary, they are mechanisms of education as well.
Beyond historical contexts, their commonalities are particularly amplified by their attachment of meaning to daily life. They can host a sentimental association with events and people. We use them in building identity, and in shaping our self-conception. The act of dressing, like art, can be expressive and rather personal.The act of looking at art and fashion invites introspection and the act of creating them can offer incomparable satisfaction and external connection. However, contemporary conditions place many of these more revered qualities at risk.
It would not be accurate to generalize and define all fashion and art as the same (they are by no means synonymous), but it is difficult to deny the influence each has had, along with each’s respective integration into the other. That being said, some of the most criticized elements of fashion, such as commodification and materialism, have bled into art and though there are exceptions, many can agree both industries are falling victim to rushed, trend-driven or most notably, detached existences, behaving as indicators of a greater cultural crisis.
This series will identify intersections between the two subjects, and critically explore the relationships and contributions between art and fashion, highlighting examples of inherent artistry and successful references that stimulate reactions. Subsequent articles will progress further with comparisons of how each subject has conveyed messages of political affiliation and social movements, elaborating on how each method aims for statements along with direct examples of intentional intersections and patronage between artists, designers, and institutions. As an introduction, however, this specific article will introduce shared flaws for consideration. Like many others, I have developed a rather devout interest in art and fashion, both as independent topics and as a collaboration, but I have reached a point where the recognition of various dilemmas is unavoidable.
With fashion in particular, I feel a very present guilt when feeding into that interest. It is difficult to appreciate in its current context; as an industry, it is intrinsically and deeply flawed. Anyone can and should recognize the environmental impact, the systemic exploitation, and the perpetuation of class division. Knowing that my investment in the two will never truly go away, these implications force me to question how I can possibly make my interest worthy or at the least, less problematic. I think my desire to conflate art and fashion might be instinctual because in my mind, art earns more respect, and fashion has resonated more deeply with me when it exists under artistic influence or integration. Synthesising the two and contemplating the ways in which they succeed aids in rationalizing my interest.
Art, of course, faces its own issues. Engagement has been on the decline as it continues to be devalued by the general public, and government interference has also posed recent difficulties, contributing to censorship and funding pauses. The United States in particular seems to be regressing when it comes to a unifying artistic identity. The censorship and criticism of the same voices that are integral to America’s background creates further cultural division, and effectively works to diminish the importance of art that actually critiques or rebels. We are also witnessing a contentious period within the art market– the commercial sector is objectively struggling as it navigates digitization and economic instability. Galleries are attempting to adapt to the self-representation of artists and their digital platforms and auction houses are dealing with a notable decline in art sales (even turning to fashion and other luxury contributions to fill the gap). An increase in generative and AI art online and in commercial settings is also a major cause for concern, and it further stresses an alarming trend of quick, profit-driven practices. There is, however, potential for intense change to counteract the current chaos, but careful responses will be pivotal in shaping how artists move forward.
Although both art and fashion retain varying cultural significance and recognition, they are also diminished to frivolity partly because of their historical affiliations. The dismissal of art as elitist or characterizing it as a subject or practice only for the wealthy has further contributed to detachment. Art, especially in the present moment, holds connotations of luxury because it is deemed unnecessary and excessive. Art that garners the most visibility is often that which is purchased by the wealthy, and frequently this type of art is a purveyor of alienation; it is not immediately understood, nor is it always relatable or relevant. Meanwhile fashion is continually perceived as trivial, and it certainly can be, but its presence is ubiquitous nonetheless. Both disciplines have reached a level of democratization and are more accessible, but again, financial burdens and a strenuous wealth gap can have a hindering, debilitating effect, particularly when creating. It takes a conscious effort to persist despite this. And often, many that do have the privilege to engage do so in a rather superficial manner, even if it is unintentional.
This superficiality goes hand-in-hand with our common understanding of aesthetics, and it alters our ability to contemplate deeply. We are rather fixated on the aspirational instead of what provides personal significance. Aesthetics in a commercial contemporary context are typically fleeting, and are based on preconceived ideals that are somewhat concocted for us instead of personalized choices. Within art and fashion there exists an ongoing overlap; people that demonstrate some interest in fashion are likely to interact with art in one way or another, but it often occurs in a passive manner that feeds into an aesthetic or even fosters an illusion of cultural capital. We are used to mindlessly consuming an abundance of subjects, images or media for example, and this heightened consumption burdens the respective creative success of art and fashion. It accelerates detachment. You separate from the creator, the process, and the intention; it is separation from the slow and thought-out conception associated with meaningful, personal interactions that heighten experiences or lead to the qualities I referred to earlier. Any “creative” should recognize that things or materials of substance require time and consideration, and this principle goes beyond art and fashion. It is difficult to create resonant materials when you are lacking in knowledge and experience or sustained engagement, i.e, when you are detached.
These challenges are exacerbated by the same industry practices that I have briefly touched upon. AI art and fast-fashion knockoffs are compatible in that they take advantage of an impatient late capitalist mindset, with far more societal and environmental repercussions than they are worth. In these ways, the industry struggles continue to intersect. Any notion that fashion is art ceases with these actions and any contemporary notion that art holds, or can hold meaning/or cultural significance likewise begins to cease with the formulaic production of generative art and stolen choices. Fashion that is made to last– made to endure— can function as a cultural reflection and contextualization, effectively acting as a material symbol. That is quite difficult to achieve as the same previous capacity when most garments, regardless of ‘social tier’, are not made to last. These practices even begin to take away from basic roles of functionality. When we enable this as a consumer, we are part of the problem.
With the complexity and nuance of fashion and art, this primer cannot possibly be exhaustive and much remains to be considered, but I think one fact is decidedly clear: We are actively undermining the values of art and also limiting fashion’s capacity for valuable expression.
For those planning to continue consuming and remaining invested in the inner workings of fashion and art, shouldn’t we proceed with diligence, given the cultural context? We have reached a point where we must be cognizant of dilemmas and consider where we actually go from here. There are of course people who are naturally disconnected from the idea of fashion. They are the people who are not active consumers and focus on functionality, and that is entirely reasonable. There is, however, a rather large population that does engage on a variety of levels. We are, after all, very much immersed in a consumer culture, but those who have the privilege to remain connected should. Allow yourself to enjoy fashion but push yourself to do so meaningfully, e.g. consider who made it, consider its possible historical/cultural/social context, appreciate craftsmanship and artistry, and value sustainability. As for art, it clearly faces an extreme disconnect of its own. It maintains a presence, but it is so widespread that it is rarely recognized or respected in the manner it has been historically. Each requires a shift; the fashion industry cannot sustainably continue as it has and art needs to find a way to reinsert itself into the forefront.
My desire is to recognize successful contributions each subject has made to the other, but to urge for a critical lens when consuming, creating, and engaging with art and fashion. Transposing the idea of fashion to an art form can push us into a better mindset—one that encourages us to consider our choices more deeply, and to potentially adopt a practice of carefully collecting clothing as one would collect art. With hopes of overcoming this cultural disconnect, we may conclude that fashion needs to embrace more artistic qualities, e.g. conceptually thought out provocations, mindful intentions, or that we need to reconnect the independent designer and the creation. Or alternatively, that art holds more influence when it is accessible and prevalent in the way that everyday wear is. With fashion and art both being in precarious states, it is necessary to question what each discipline can offer the other and what balance can be sought for a new era.
Upcoming in Series: Luxury’s Utilization and Patronage of Arts & Culture, Surrealism in Fashion
The Violet Post 
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