THE

Harper’s Bazaar (Malaysia) - - Harper's Bazaar Art -

en­tire idea of fash­ion be­ing art or art be­ing fash­ion has been the sub­ject of de­bate for decades. And the way both fields come to­gether to pro­duce some­thing new can find its roots in the days of Sal­vador Dalí and Elsa Schi­a­par­elli’s nu­mer­ous col­lab­o­ra­tions. Both mem­bers of the Sur­re­al­ism move­ment, they of­ten came to­gether to cre­ate. Of course, both of them may have felt that fash­ion merely served as an­other medium to phys­i­cally man­i­fest their ideas. It can be ar­gued that back then, the bound­aries be­tween cre­ative spheres were more blurred and less rigid than they are to­day.

In the con­text of the pre­sent, fine art is gen­er­ally more re­moved from the main­stream con­scious­ness and fash­ion of­fers a way of ac­ces­si­bil­ity to the masses. Art serves as a com­mon­place source of in­spi­ra­tion for de­sign­ers, but more of­ten than not, the re­sult of that in­spi­ra­tion is a printed tex­tile. The in­ten­tion and mes­sage be­hind the art be­comes lost in­stead. By invit­ing the artists into the fold to col­lab­o­rate, the fi­nalised prod­uct can be a more co­he­sive mar­riage of ideas, cel­e­brat­ing dif­fer­ences and com­mon val­ues.

Marc Ja­cobs, in his time at Louis Vuit­ton, was a cham­pion of this. He brought mod­ern artists to the fore­front, from Stephen Sprouse to Ja­panese pow­er­houses Takashi Mu­rakami and Yayoi Kusama.

Col­lab­o­ra­tions are a good idea, and both in­dus­tries have caught on very quickly. Fash­ion brands take the op­por­tu­nity to pro­duce lim­ited edition goods, while artists are able to not only in­tro­duce their work to a wider au­di­ence, but to work in a dif­fer­ent medium and for­mat. The rules vary in both fields and com­ing to­gether to over­come

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