Arts, Marketing and Fashion

And ‘now a fact – favored magnificently both from Art Nouveau, aided by the Arts and Crafts Movement, both by the atmosphere of the Belle Epoque, and accelerated thanks to Futurism and the Bauhaus – the successful linguistic contamination between knowledge and disciplines that visual art has, over time, more and more clearly embodied.

In this practice of mixing, Fashion has a prominent place having made the quote, of the reinterpretation, the crossover and the real mixture its strength.

Many are the artists who have inspired the world of haute couture and ready-to-wear, from that of the pioneering British Charles Frederick Worth; or the brilliant Rosa Genoni with its models stimulated by the works of artists of the Italian Renaissance and celebrated, for his dress-Spring by Botticelli, the Grand Prix for the section Decorative Arts International Exhibition of Milan in 1907. Today those ties it is increasingly clear so that, in turn, also the artists, if not watched, certainly collaborated with the golden world of a huge industry that is also cultural.

Just to give a few examples in the history of art, consider the rich depictions of the sixteenth century and the great Venetian colorists – the fabrics and jewels so magnificently rendered in large canvases and boards, often portraits of nobility and clergy – to jump immediately ahead, at that supreme painter Giovanni Boldini female sensuality that goes (goes) a lot from silks, brocades, feathers and wonderful clothes.

We think of destination convergences: the elaborate of artists, great graphics and designers for cloth decorations for clothes, their designs for posters of industry, in their projects for fashion magazine covers, “Vogue” and “Vanity Fair” among others, for which he worked very Fortunato Depero; to remain within the Vanguards, here is Sonia Delaunay (which Missoni can not but be taken as a model), and Ernesto Michahelles that, as of Thayaht, invented the unisex futuristic suit and also collaborated with Madeleine Vionnet and her house; and, again: Giacomo Balla with its multicolored vests, the Manifesto of Futurist men’s fashion (20 May 1914), followed a few months later by the antineutrale Dress Manifesto. Forcing a bit ‘list, here is also the eccentric masked Dali who played a lot with the Fashion and the glittering world of fashion and his muses.

The strong influence on fashion was also exerted by the Ballets Russes of Sergei Diaghilev – in Paris in 1909 – who collaborated elite of artists (including Picasso) but also Madame Coco Chanel and which was implemented by designers including the great Paul Poiret …

How to skirt the issue on the attention of Palma Bucarelli, historical director of the Gnam, the National Gallery of Modern Art in Rome that in 2009 he dedicated an anthology including it works, books, exhibitions of posters and photographs from her own vintage clothes evening that she gave in 1996 at the Museo Boncompagni Ludovisi?

Arriving to the ’50s in Italy, here Germana Marucelli and collaboration with the artists Paul Scheggi and Getulio Alviani; and this is also the project of a tie Space Lucio Fontana (1957) or its women’s clothing Space (1965), some with cuts and holes, made by Ellen Moberg, professor in the Minneapolis School of Art, and exhibited in the Walker Art Center.

Clothing, rags, used and stacked (Gianfranco Notargiacomo and his installation and performance of used ribrandizzati clothes and sold as works of art in the gallery Mara Coccia, 1969, Pistoletto de The Venus of the Rags, 1967, in a more recent installation of Finnish Kaarina Kaikkonen) …: huge is the contribution of the artists on this issue, and otherwise freely declined (Fashion, anti-Fashion, Dresses, Dresses and Body etc.), sometimes only touched, inevitably, while proposing other insights … Domenico Gnoli it is one example among many possible.

As also identify, in the counter-cultural phenomena of youthful rebellion, concentrated in the cellars, in the basement, in-Swinging London, Portobello Road, Carnaby Street, in the studio of Mary Quant, also attended by Twiggy, and Biba flea markets and a concentration of Sixties knotted creativity to artistic research as an alternative? How not to see the connection between production psychedelic (the posters of concerts in various Victor Moscoso 3d, Ric Griffin, Wes Wilson, Martin Sharp but also T-shirts and other hippie clothing) and the Art Nouveau – Mucha more all – and the Eastern art? O raids in the fashion world of Street Art and Graffiti? In this context, Keith Haring will design fabrics for the fashion designer Vivienne Westwood, colored t-shirts and watches for Swatch, will decorate the store Fiorucci in Milan in the eighties and in 1986 will open its New York Pop Shop selling printed graffiti on gadgets , watches, sweatshirts and clothing of all kinds. It soon became trendy … with all due respect to those who wanted to keep longer their profile off. Still speaking of Elio Fiorucci and his love for art, was he involved Colette Justine in his shop in New York, on 59 Road, in 1978. The multimedia artist and visionary character of performance art, investigating the relationship between the body, gender identity, and the line between fine and commercial art and fashion, as he sentenced Jeffrey Deitch in 1981. [1]

Proceeding connection in connection, in the Pop Art sisterhood with the world of Fashion and Communication associated with it is obvious. We do not underestimate the fact that Andy Warhol was a draftsman and advertising magazine as “Vogue”, “Harper’s Bazaar” and “Glamour” in addition to having started off drawing shoes and related complaints, creating a series of works, in the eighties, titled Diamond Dust Shoes: Carrie before Sex and the City, Andy understood that colorful and expensive cleavage signed appagavano fetishism not only female and were coveted status symbol. But not the shoes you live alone or you enter in the trendy mood: his sketch, in the nineties, he decorated a fabulous dressed by the fashion house Iceberg evening, and many designers and brand that Warhol and Pop Art have watched: Yves Saint Laurent in 1965, produces a jersey dress with typical color structure Pop (a great success as it was his Mondrian dress-squared, essential, colored with an abstract grid like that of Dutch paintings), while the celebrated Campbells soups reappeared on the scene through a suit of America in 1966 reproduces the Warhol prints with that person giving the body – it is appropriate to say – in an interesting meta-linguistic phenomenon. Others recover Warhol’s depictions of his Marilyn to Mao (Gianni Versace, Agatha Ruiz De La Prada, Vivienne Tam and lots of self-produced Fashion). After, will be the Punk to subvert the rules of bon-ton and Costume becoming suffered by anti-trend in style too: the inevitable fate of a bad-revolution that saw Vivienne Westwood – Today acclaimed designer of the most irregular and original – and partner Malcolm McLaren – even the Sex Pistols manager – a point of union with fashion: it was 1971 and at 430 King’s Road in London the two open Let it Rock, shop, with some variation of the name, was symbol of British punk.

Are, these, only hints of enormous synergies between art and fashion, not to speak of the countless exhibitions on the theme. Among the various, those curated by Maria Campitelli in Trieste: Imagerie Art Fashion, almost a interweaving of art and fashion event held in 2003 in eleven different public and private locations with the two Revoltella museum and the Grand Canal and sort of expansion of a research started in 2001 with Garden Fashion and continued in 2002 with Other Fashion.

There are also many large exhibitions or minimum only focused on one type of production and head of fashion and its relationship with painting, sculpture, installation, video, photography, etc .: Art and shoes, shirts, bags, gloves … artist; and denim, as in Art and Jeans; the latter is the title of a series of event desired by the late Hassan Vichy Sixty and Energie (and to which the first edition, the French, Le Passage de Retz in Paris and titled Art & jeans. Relief minimaux matière, mémoire, ideas, yours truly collaborated in 1994 with Federica Di Castro, involving Luigi Alders, Mario Schifano, Luca Maria Patella, Giacinto Cerone, Sandro Chia, Giosetta Fioroni, Enzo Cucchi, Mimmo Paladino, Achille Perilli, etc.) in which national artists and International were called to paint on or interpret the historic fabric produced in Nimes in France which will become blue in Genoa and universal thanks to the Americans …

There are also many collectors designers of artwork: almost everyone. It ranges from Versace, Armani, Laura Biagiotti, which collects, restores and pays for major exhibitions his Futurist works at Fendi with whom he collaborated Matteo Basile digital artist, photographer and fashion-addict.

Curiously, among the artists of the Basilè generation, many have had (have?) Played precisely with Fashion (Alessandro Gianvenuti, Chiara etc.), turning towards his Queer dinghies and trash (Francesco Impellizzeri), interagendovi and attending it (Diamond Faraldo ); Maurizio Finotto, with its Gunther Only, he did it more provocatively than others because interested to analyze the mechanisms of its communication. The haker-artist hidden under nik-name Giuseppe Tubi, however, originated linguistic contaminations recovering, between photography and digital, stereotyped poses of the models and fashion shows. More recently, Alecci and Di Paola overlap Fashion, Crafts, Design and Art and Family status, a duo of artists, flirting with the Fashion and perhaps not surprisingly, is formed by Raffaele Granato and that Sylvio Giardina already the fashion house Grimaldi & Giardina .

How many, then, of the brand Art Foundations? From pioneering Benetton, Fendi, Trussardi, Prada, Zegna, Buziol, not forgetting the active Maramotti.

Are almost rhizomatic, varied, mutual ad hoc support: Fiorucci and Benetton, now in liaison with the Visual Arts (including Photography), and then Nicoletta Fiorucci Fiorucci Art Trust (founded in 2010); in particular, among the newest brands: Nike connected to creativity streetartistica (much abused, even in the titration); F-wibe, the Fornari maison brand with which cooperates the young Pop Surrealist and French graffiti artist Miss Van; Zegna Baruffa Lane Borgosesia, who produced the works in Zurich artist Nic Hess: three-dimensional installations that relate to embroidery; Louis Vuitton, which has sponsored the exhibition at the Whitney Museum of Yayoi Kusama; and “Tim Hawkinson, Cai Guo-Qiang together with the photographer Nobuyoshi Araki for the magician formal dell’arditezza pleated Issey Miyake (Pleats Please line).” [2]

Among the museums dedicated worth mentioning the anomalous structure of the spouses Vreelann Swenters and Pierre Bogards, Belgian shoemakers who have collected more than 1,200 pairs of shoes worn by artists like Erro, Claes Oldenburg, Gerard Richter, Merce Cunningham, Arman, Richard Long , Bill Viola, Nicole Tran Ba Vang, Michelangelo Pistoletto, Maurizio Cattelan, Aldo Mondino.

art system and entrepreneurship come together in hugs where the side Glamour overflows in the purest art practice in the party at the Venice Biennale of the 10 years of the Trussardi Foundation, Anri Sala distributes a scarf similar to those of the fans but with the inscription Maria Maria; in the decorations of the facades of the Louis Vuitton boutique chain, made by Kusama who also signed a clothes collection …

In this context, multilevel deliberately silent experiences of Art and texture, but also embroidery – of all types (from Maria Lai, in Mezzaqui, Claudia Losi, Elena Nonnis, from Alice in Schivardi Vezzoli), also called up graphically as does Susan Harbage Page – though attributable to un’ambito linked to fashion, and it fits the dress as prostheses and interface of the Body: futuristic and antineutrale, such as that shown by Marinetti and cited Tayat and Balla; Political: almost always! Among the many examples, that of Costa Vece with its flags of poor clothing stapled to one another and, earlier, Frida Kahlo for which the clothes were clearly socialist and feminist expression devices starting with the choice of tailoring Tehuana: see the exhibition Appearances Can Be Deceiving: the Dresses of Frida Kahlo, Frida Kahlo Museum, Mexico City, 2013; reuse (echo?) as in the dresses of recycled plastic bottles and Enrica Borghi; and continuing: pictorial (intense Marisa Busanel, and a man: Piero Pizzi Cannella, with her clothes like women’s ghosts – because the objects we survive – in large paintings); two-dimensional, with effect from mapping (Elisabeth Lecourt); bright (Antonella Cinelli); traveling (the South Korean Kimsooja); apparently more poetic (Caroline Broadhead, Silvia Levenson) and very social (many examples, one among many: Shirin Neshat) and gradually more and more dramatically symbolic (in many works by Carol Rama, Louise Bourgeois, in some works of Méret Oppenheim and harnesses Rebecca Horn), allusive with panache (in breast-bra and sculptures in terracotta shoes Fiorella Corsi) or change artist: Claude Cahun to Luigi Alders Cindy Sherman, the aforementioned Impellizzeri, them more than others, for such as the dress is not the Monaco …; again, exhausted, as in the first performances of Vanessa Beecroft, those with models made between ordinary women, dressed minimally and uniformly, to declare an abuse of the female and her contemporary social approval in the apparatus body; Finally: mutant and extreme, as in meat Jana Sterbac clothes worn by her until they rot and organic transformation (freely recorded by Robert Gligorov in a performance nineties) and copied from the most recent, lackluster retelling of Lady Gaga.

Two different worlds and constantly contamination, since these treaties here: it is interesting to note that if the figure of the artist sloppy, disinterested in the good life and dress and fast tailoring has gradually become a stereotype and has flourished for a long time in ‘ collective imagination, well: things, we know, are very different; also knew Honore de Balzac, among others, which put the dots on the “i”: