The book Cultural History of Fashion announced, Conceptual art movement was developed approximately 1967 to 1978 on page 94. The movement acknowledges the process of ideas rather than the end result of the product. This perspective allows fashion to be accepted as art. Author Bonnie English writes in her book that the art crowd labeled fashion as Neo-Dadaism, which renews the concept of idea over object that was initiated by Duchamp’s ready-made sculpture ‘Fountain’. This became a primary concern to the Fine Art world in postmodernity notion. Bonnie English stated, ‘fashion challenges the concept of permanence, classic styling and practicality.’ (English, 2007: p93), which develops questions about whether the nature of art is a product itself.
YSL Co-Founder Pierre Berge quoted, ‘Fashion exists only when it’s worn by women.’ Fashion has a functional purpose; it provides primary protection from the environment’s natural elements, while art has no function. Fashion comes with a commercial price and brand perception, while Fine Art comes with a value. The ever-evolving industry frequently changes due to seasonal trends, which keeps it distinct from art. The economic system might regard this as less important. Fine Art is produced regardless of economic value. The nonutility of an art object’s value increases over time. This is the key difference between Fine Art and Fashion.
Fashion designer Elsa Schiaparelli and Alexander McQueen have adopted artistic methods, while Fashion designer Comme des Garçons’s Rei Kawakubo rebelled against the format of the human body, producing garments with unnatural protrusions. McQueen has dominated Fine Art museums: the Metropolitan Museum of Art’s 2011 ‘Alexander McQueen: Savage Beauty’ and currently presented at the Victoria and Albert Museum, 2015 left a result of being the most popular and widely visited exhibition in history. Significant and Haute Couture designer, Elsa Schiaparelli, has proven the value of clothes can increase over time. A 1939 black velvet evening jacket by Schiaparelli fetched $117,200 in 2013 November’s Vintage Couture sale at Christie’s London.
The Fine Art system has steadily captured the fashion system characteristics. Author and art economist Claire McAndrew noted in her book (The Art Economy), ‘no matter how highly valued art is in society, there is no escaping the fact that it is produced, bought, and sold by individuals and institutions working within an economic framework inescapable from material and market constraints,’ showing artists have now become brands. Investors examine the artist’s sale history and ‘brand value’ rather than the aesthetic and formal quality of the artwork. Contemporary Fine Artists Damien Hirst and Takashi Murakami have developed artwork for the global market commodity as a core aspect of their artwork. The motive maximizes their advantage on brand identity and often invites them to partner with Fashion houses. The impact created the traditional sense of Fine Art and Fashion nonexistence.
Expanding the Argument
Conceptual Art and Fashion: Parallel Movements
The conceptual art movement, characterized by its emphasis on ideas over objects, parallels the evolution of fashion into a form of conceptual artwork. Conceptual artists like Sol LeWitt and Joseph Kosuth focused on the idea as the primary component of their works. Similarly, fashion designers such as Vivienne Westwood and John Galliano have pushed the boundaries of fashion, transforming garments into statements that challenge societal norms and expectations. These designers employ fashion as a medium to communicate complex ideas about identity, politics, and culture, much like conceptual artists use their mediums to convey philosophical inquiries.
The Role of Performance and Wearability
The notion that ‘Fashion exists only when it’s worn by women’ highlights the performative aspect of fashion, distinguishing it from traditional static forms of art. Performance art, a significant component of the conceptual art movement, shares this characteristic. Artists like Marina Abramović have used their bodies as canvases to explore themes of endurance, pain, and human interaction. Similarly, fashion designers create garments that come to life only when worn, making the wearer an integral part of the artwork. This performative element blurs the lines between fashion and conceptual art, as both require participation and interaction to be fully realized.
Economic Value and Market Dynamics
The commercialization of art and fashion reveals another layer of complexity in their relationship. The concept of commodification, explored by Marxist theory, applies to both fields. Art and fashion objects become commodities with exchange value, influenced by market dynamics and branding. ‘The nonutility of an art object’s value increases over time,’ reflecting the speculative nature of art investments. Fashion, though often seen as ephemeral, can also accrue value, as demonstrated by the rising prices of vintage couture. The interplay between use value and exchange value in both art and fashion challenges traditional distinctions between the two.
Fashion as a Cultural Artifact
Fashion, like art, serves as a cultural artifact, reflecting and shaping societal values and trends. The study of fashion within the context of cultural history reveals its role in expressing identity, status, and resistance. Sociologist Pierre Bourdieu’s theory of cultural capital can be applied to understand how fashion operates within social hierarchies. High fashion, or haute couture, functions as a form of cultural capital, conferring status and prestige upon its wearers. This socio-cultural function aligns fashion with art, as both are deeply embedded in the social fabric and contribute to the construction of cultural meaning.
Intersection with Postmodernism
Postmodernism, with its emphasis on pastiche, parody, and the deconstruction of grand narratives, provides a theoretical framework for understanding the convergence of fashion and conceptual art. Postmodern theorists like Jean Baudrillard and Fredric Jameson discuss the blurring of boundaries between high and low culture, a phenomenon evident in the fashion industry. Designers like Jeremy Scott and brands like Moschino have embraced postmodern aesthetics, incorporating pop culture references and irony into their collections. This postmodern sensibility challenges the hierarchy between fine art and fashion, suggesting that both can be sites of critical engagement and innovation.
Conclusion
In conclusion, the question of whether fashion garments can be considered conceptual artwork invites a multifaceted exploration of their intersections and distinctions. Fashion’s functional purpose, commercial nature, and ever-evolving trends contrast with the perceived permanence and intrinsic value of fine art. However, the adoption of artistic methods by designers, the performative aspect of wearing garments, and the cultural significance of fashion argue for its recognition as a form of conceptual art.
The impact of market dynamics, the role of fashion as cultural capital, and the influence of postmodernism further complicate the relationship between fashion and art. By examining these elements through various academic theories, we gain a deeper understanding of how fashion and conceptual art intersect and influence each other. Ultimately, fashion’s capacity to challenge norms, convey complex ideas, and reflect cultural values positions it as a legitimate and significant form of conceptual artwork.