FASHION. ART. AND CRAFT. IS FASHION ART?
- Oct 27, 2024
- 6 min read
This question fascinates me; it feels like a dramatic tug-of-war among philosophers, artists, and designers. Actually, it’s my second favorite - right after the infamous rivalry between Coco Chanel and Elsa Schiaparelli! To answer this question in personal opinion, I would like to borrow a line from my all-time favorite designer, Maison Margiela: 'Fashion is a craft, a technical know-how, and not, in our opinion, an art form.', which is No.
However, I would love to delve deeper into this topic, exploring the intersections of Fashion, Art, and Craft across cultural, aesthetic, and commercial contexts through various theories and case studies. Therefore, you can have your own thoughts about this multidimensional topic.
Art & Crafts.
In Art Worlds, Howard Becker describes Art as an activity driven by the artist's inner vision, existing outside of function - it is created purely to be appreciated. Theorists like Immanuel Kant posited that art exists for its own sake, reflecting beauty or emotional depth without utility. If Art serves any purpose, its primary is the functionality of aesthetics features and the pleasure we take in them, which presents the public appreciation. Contemporary philosopher Arthur Danto expanded on this idea, suggesting that Art attains its status within a "theoretical context"—the "art world" of galleries and museums that validates an object as art. In other words, without a suitable context for appreciation, Art arguably cannot exist at all.
Craft refers to technical skills, hands-on creation of functional objects. Craft requires technical mastery, but its purpose is often practical, though not devoid of beauty but focusing on the quality. Historically, Craft has been linked to utility, with William Morris and the Arts and Crafts Movement of the 19th century advocating for the beauty and quality of handmade objects in response to industrialization.
At first glance, the definitions and theories suggest that Art and Craft are two entirely opposite concepts. However, as society has developed, the demand for aesthetics has grown alongside an emphasis on the functionality of objects. This has led to a gradual blending of Art and Craft, blurring the boundaries between the two.
The Living Objects Stool by Vormen is a typical example for this blur line. Belgian design studio Vormen crafted a stool using very thin sheet steel welded to four thicker tubular legs, which not only makes an elegant look but a striking effect, particularly when the stools are stacked, creating a compact but sculptural display. The practical aspect is also focused when the design is the slight curve to the seat, ensuring optimal ergonomic support. It also adds a visual interest, which Vormen describes as having "a sense of poetic allure". Beyond the functionality of sitting, it is not a guilt for anyone if just put a set of this stool for decoration.
Fashion vs. Art: A Love-Hate Relationship
Fashion is a multifaceted concept, difficult to define with precision. As Yuniya Kawamura explains in Fashion-ology, Fashion is shaped by cultural, social, economic, and philosophical influences. It is distinct from ‘dress’ or ‘clothing,’ which serve practical, protective purposes and are tangible objects. Fashion, however, involves cultural significance and societal adoption. Historically, fashion symbolized class distinction, with the nobility wearing ornate garments made from luxurious fabrics, while commoners wore simpler clothing. Originally, Fashion was mostly for the wealthy, as a means to communicate identity and status; but since the industrial revolution, mass-production of stylishly tailored clothing has enabled the majority to embrace fashion as a means of self- improvement and self-expression.
The functionality of Fashion and Art differ. While art signifies aesthetic enjoyment and the expression of thoughts or feelings, Fashion relates to the aim of utilizations: physical protection, warmth, and convenience in daily life. Fashion is formed when it is adopted, meaning being distributed and consumed. At its best, Fashion embodies the craftsmanship seen in Haute Couture, with pieces so intricate they might make you say, “Wow.” However, unlike Art, Fashion rarely captivates you in silence for hours. This difference underscores the unique roles of Fashion and Art. Yet, in cases where Craft reaches the level of Art, the Fashion-Art relationship revolves around questions of aesthetic function and appreciation.
When Fashion Meets Art.
Fashion transforms into Art when it moves beyond commercial objectives and becomes a medium for self-expression, provocation, or cultural reflection, often displayed in galleries or through experimental, non-wearable designs, which is a freedom of a designer’s creativity but also a risky move.
Elsa Schiaparelli collaborated with Salvador Dalí, creating pieces like the Lobster Dress and Shoe Hat that echoed Surrealist ideas. Schiaparelli’s designs were not only garments but visual manifestations of Dalí’s subconscious explorations. These pieces questioned reality and embraced absurdity, distancing fashion from mere functionality. Schiaparelli’s approach underscored how fashion could engage viewers intellectually, operating as an artistic language.
Yves Saint Laurent collaborated with the renowned embroidery house Maison Lesage to create the sunflower jacket, a highly detailed, multi-dimensional haute couture piece inspired by Van Gogh’s textured painting style. Adorned with vibrant sequins and beads, it became one of the most expensive couture pieces ever, selling for 382,000 Euros at Christie’s. Saint Laurent’s work exemplified how fashion could be worn as art.
Margiela’s work often deconstructed fashion’s conventions. His Tabi Boots became symbols of his avant-garde philosophy, challenging traditional fashion construction and norms. Margiela blurred boundaries by displaying garments that looked incomplete, abstract, or worn backward, turning clothing into art objects meant to provoke thought rather than serve as mere wearables. His work highlights the capacity for fashion to serve as artistic critique, questioning identity and consumption.
Appreciation.
With the theory of Danto mentioned above, context also plays an important role. Nowadays, there are many museums and galleries built for Fashion. For example, Gucci Garden is created to present the history of the brand and also its archived, including a store for business. McQueen’s Savage Beauty exhibition marked a milestone in the treatment of Fashion as Art. Pieces were showcased with an intensity and reverence often reserved for fine art. McQueen’s collections transcended mere garment design, often incorporating political, social, and existential themes. His designs brought concepts like life, death, beauty, and decay into the realm of wearable Art, challenging viewers to view Fashion beyond its functional use.
Fashion show is also a place to showcase in an artistic way. In 2000, Hussein Chalayan brought a blend of fashion and furniture as Chalayan took a piece of wooden furniture and turned it into a wooden skirt. The designer transformed four chair covers and a coffee table into four dresses to go along with that wooden skirt leaving the London Fashion Week attendees speechless.
Not everyone has the background or understanding needed to fully appreciate Fashion, which often results in a lack of recognition for its artistic side. It is common for people to feel confused by collections like Viktor & Rolf's upside-down dresses, questioning their purpose, wearability, and labeling them as strange. But we cannot fault anyone for this; after all, knowledge of high fashion is not important in daily life. For the general public, Fashion is meant to be worn, not necessarily admired as art. Ahis is why it is essential for fashion publications, curators, and critics to evaluate and interpret Fashion, turning garments into a form of Art.
Conclusion
The distinctions between Art, Craft, and Fashion are fluid and often contextual. Through the lenses of theory and history, we see how each discipline can adopt aspects of the other, creating new forms of expression. The relationship between Art and Fashion must be ambiguous; in fact, research has often been characterized by this ambiguity.
When I say Fashion is not Art, I want to emphasize that Art is not something pure that can be elevated above Fashion. It must be pointed out that Fashion is a separate category with its own philosophy and aesthetics that deserves to be recognized, rather than just a part of the Art world. "Art is art. Fashion is fashion.” — Karl Lagerfeld.
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