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The models walk the runway at the Alexander Wang Spring 2011 fashion show. Slaven Vlasic/Getty Images

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Alexander McQueen’s 2011 Savage Beauty show galvanized and highlighted the often forgotten conception of fashion as legitimate art. McQueen was an artist and an icon in every sense of the word. His works touched parts of the human soul only previously reached by master painters. He integrated spirit and energy in his creations in such a way that the persons wearing his pieces became living expressions of art.

Vogue editor in chief and fashion icon Anna Wintour has also blended art and fashion in recent years. She helped integrate costume design as part of the permanent art collection at the Metropolitan Museum of Art. Through her involvement at the museum, Wintour is contributing to the legitimization of fashion as fine art—museum quality art.

Historically, fashion has rarely been elevated to the same stature as painting, music, sculpture or architecture. But fashion is one of the purest expressions of art because it is art lived on a daily basis. One needs only to think about pioneer performer Marina Abramović and the way in which she engages the viewer to become part of her work to realize the connection. In her 2010 The Artist is Present MoMa exhibit, Abramović asked the viewer to sit silently across from her and stare at each other for as long as the viewer wanted to look and be looked at.

Just like in Abramović’s performance art, the fashion designer creates artwork that needs another person for its completion. Fashion only exists as long as there is an actor to incarnate it. In that way, it is performance art. The person wearing the designed piece is having a conversation with the designer and an audience. He or she becomes an artist and a full participant. Fashion is a manifestation of human art and communication. It helps us artistically communicate who we are, who we want to be, where we are going, and where we have been.

The convergence of art and fashion is symbiotic. Everything that exists and surrounds us is a product of the society we live in. Who we are, what we see, and what we experience is interconnected and interrelated. There is no place we can point to and say that this or that object does not belong to the sphere of art. One can tell as much about a culture by the paintings it produces as by the dresses and articles of clothing it uses for individual and collective expression. We now buy canvases and textiles to paint and create. By combining different mediums to make art, we are better able to transcend our lives and in the process connect to the essence and universality of who we are.

Art should not be seen as a luxury. It is an essential element to a fulfilling life. When any of my collectors goes through a major life change, such as a divorce or embarking on a new career, I often suggest changing their art and clothing. Oftentimes we overlook this critical piece in our own self-development. The art we choose for ourselves and our physical living environment can serve as an important tool to re-imagine and rebuild our sense of being.

All art is imbued with the energy and passion an artist breathes into it. A painting has power. A properly-made tweed jacket has power. Their energy can help us realize our physical and emotional goals and desires. Many of my collectors have found that the art they wear and surround themselves with affects not just their bottom line in business or work but also their own sense of wellness and happiness.

The art we wear and live with is the art we become. Art—fashion and otherwise—reflects who we are and who we aspire to be.

Georges Berges is the owner of Georges Berges Gallery in SoHo, NYC and of Berges Creative Group, an art advising firm dealing primarily with the secondary market. Follow him on Twitter @georgesberges and Instagram @georgesbergesgallery.

Art and fashion, intrinsically linked and more so than ever. From clothing design to catwalk show art direction, major labels to boutique houses, the word of fashion is falling over itself to involve important names from a diverse range of the visual arts. It’s hardy surprising — after all what is fashion if not wearable art — and these collaborations between the disciplines are certainly mutually beneficial. Fashion, often unfairly judged as one of the more frivolous applied arts, gains serious cachet by association, while the artist reaches a wider, more populist audience.

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Just as art and fashion so regularly collide, we bashed our heads together with online fashion destination Lyst (whose brilliant editorial arm The Long Lyst has quickly become one of the web’s go-to spots for well-considered fashion news; ideas; stories; opinion), digging up the history of this long-standing relationship. We talked art, they talked fashion, and the result was almost a century of boundary-pushing innovation, provocation and revolution. Let We Heart and Lyst walk you through the unbreakable bond between art and fashion…

Schiaparelli x Dalí, 1937 Lobster dress

Shoe Hat, 1937, modelled by Dalí’s wife Gala

If the collaboration between fashion and art is currently at a peak, it’s by no means a new phenomenon. Elsa Schiaparelli was one of the most imaginative and prominent fashion figures working between the two world wars. Her whimsical nature was perfectly suited to the genius of Salvador Dalí who inspired some of her best-known works. It could only have been the meeting of such minds that would create pieces such as the 1937 Lobster dress.

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Fashion Art Portraits

The simple white silk piece featured a giant lobster painted by Dalí and was a playful homage to his 1934 creation New York Dream-Man Finds Lobster in Place of Phone. Equally celebrated in Schiaparelli’s impressive catalogue is the wonderfully surreal Shoe Hat, made by Schiaparelli and designed by Dalí. The hat, fashioned into a woman’s high-heeled shoe, was modelled by Dalí’s wife Gala, and featured in Schiaparelli’s Fall-Winter 1937-38 collection.

Yves Saint Laurent, Fall Mondrian Collection 1965

Another early example of the fashion-art crossover stemmed from the bold geometry of Dutch painter Piet Mondrian, whose “neoplasticism” style was itself informed by cubism. In the 1930s, Hermès designer Lola Prusac looked to Mondrian’s famous works — featuring white backgrounds, grids of thick black lines and blocks of primary colours — for inspiration, producing a range of luggage and bags with square inlays of red, yellow and blue leather.

Mondrian’s work continued to exert a powerful influence on fashion long after his death in 1944. Legendary French designer Yves Saint Laurent enjoyed one of his most important successes when, in 1965, he unveiled his Fall Mondrian Collection. Although other designers had previously experimented with a similar design, it was Saint Lauren’s six A-line cocktail dresses that really captured the public’s imagination and broke new ground for the future role of art in fashion.

Paco Rabanne, ‘Unwearable Dress’

It’s not just painters who have sparked inspiration for leading fashion designers. Architects and their designs have also been cited as creative muses. Coco Chanel summed up the importance of this relationship when she said: “Fashion is architecture. It is a matter of proportion.”

Building some of the most iconic architecturally-inspired clothing has to be couturier Paco Rabanne. His first runway show in 1966 was titled 12 Unwearable Dresses in Contemporary Materials and featured pieces made out of sheet metal and rubber. Despite the unconventional materials, Rabanne skilfully structured his dresses to his models’ exact proportions.

Perhaps this is because Rabanne always had his mother’s advice in the back of his head: “In fashion you have every liberty except one, don’t ever undermine a woman’s beauty.” Rabanne was certainly true to these words, no matter what materials he was using.

The amalgamation of art and fashion is so successful that Alexander McQueen’s team decided to announce an exclusive collaboration with Damien Hirst in 2013. The work reflects a meeting of two of the darkest minds in contemporary design. Ethereal and haunting, McQueen takes inspiration from Hirst’s Entomology series.

Damien Hirst x Alexander McQueen

Butterflies, spiders and other insects crawl across McQueen’s collection of 30 chiffon scarfs, forming geometric patterns across the fabric. This collaboration was celebrated equally across both the art and fashion world, suggesting an interdependence that will long continue.

Fashion Art Photography

Rodarte Spring 2012

Looking at big name designers today, it’s clear they are continuing to follow suit by moulding all manner of art and design into their collections. Fashion’s favourite sisters, Kate and Laura Mulleavy, who have worked with high-street giants such as Gap and Target, are among those who have turned to the artistic canon for inspiration.

The sisters were celebrated for incorporating Vincent Van Gogh’s work in Rodarte’s 2012 collection, from subtle references to the impressionist painter’s thick brush strokes within their light fabrics and colour palette, to their bold tribute to Van Gogh’s Sunflowers in their iconic flower print chiffon dress.

But leave it to Marc Jacobs to take artistic inspiration to the next level. Unsurprisingly the conceptual artist Daniel Buren described their 2013 Louis Vuitton collaboration as a “totally crazy experience”. Not content with incorporating Buren’s check canvas designs into his clothes, Jacobs drafted the artist in to design the staging for his catwalk show.

Buren had complete artistic freedom when designing his monolithic set, complete with moving escalators. The breathtaking spectacle was installed in the central courtyard of the Louvre, creating an unforgettable collaboration of art and fashion.

Daniel Buren x Louis Vuitton Spring Summer 2013

We’ve seen how readily fashion has embraced the ideas of art, from the historical absorption of influences to the present day in which fashion collections are conceived and marketed using, and in part creating, the new-found celebrity of artists. But if the relationship is a two-way street, what of the art world’s engagement with fashion? Here too we find significant collaborations which challenge the notion of any perceived snobbery on the part of art towards fashion.

Takashi Murakami

Japanese contemporary artist Takashi Murakami Valencia osceola campus map. can rightly be considered a pioneer of multi-disciplinary crossovers, working in both the fine art fields of painting and sculpture while at the same time enjoying success in the areas of animation and merchandise. His holistic, commercially-savvy approach makes fashion a natural arena for Murakami to express himself, and the artist recognised early in his career how increased exposure from mainstream collaborations could develop his overall practice.

It was that man Marc Jacobs again who got the ball rolling for Murakami, inviting him to work on a now-famous range of handbags for Luis Vuitton which re-invented the company’s signature LV emblem. Following the huge success of the project, Murakami has struck up a long-lasting creative partnership with the brand, and enjoyed further commercial and critical success with the likes of shoemaker Vans.

Tom Sachs, Chanel Chain Saw, 1996
cardboard, thermal adhesive
12 x 27 x 37 inches

Tom Sachs, Hermés Value Meal, 1997
cardboard, thermal adhesive
15.35″ x 7.87″ x 7.87″

On the topic of footwear, no discussion of the art-fashion symbiosis can pass without considering Tom Sachs and his work with sports mega-brand Nike. The American sculptor has something of a love-hate relationship with fashion and commercialism in general, having produced several high-profile works critiquing the fundamental ideas of luxury brands such as Chanel.

However, the more accessible field of sportswear gave Sachs a platform to explore issues of mass-production, economy of scale and environmental impact. The artist’s NIKEcraft collaboration centred around an imaginary, lo-fi mission to Mars, and pushed the boundaries of materiality by repurposing car airbags, boats’ sails and even an actual spacesuit to construct his near-future designs.

Contemporary artist Vanessa Beecroft has long incorporated fashion into her multi-disciplinary practice, with the Italian’s performance pieces making extensive use of models in haute couture loaned from big name labels. This interest in the performance aspect of fashion has led to some notable collaborations, especially centred around live shows and the theatricality of the catwalk.

Vanessa Beecroft, VB55, 2005, video
© Vanessa Beecroft, courtesy of the artist

When Kanye West launched his Adidas collection earlier this year, it was Beecroft’s influence that made the show stand out; referencing her 2005 performance work VB55 Refx nexus dance orchestra expansion pack. , the models didn’t parade up and down a catwalk at all, instead occupying a space in unmoving, hypnotised ranks as they wore a collection of utlitarian, quasi-military urban casualwear.

Fashion Art Lake Elsinore

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Fashion Art Happy Andrada

Finally, we wind the clock back to the ever-innovative master of multi-displinary art, Andy Warhol. The Pop Art genius had a long-standing fascination with fashion dating back long before the days of fame and The Factory. Warhol had started out in fashion illustration, working for glossy magazines designing for advertisements for products such as Schiaparelli’s gloves.

Advertisement by Andy Warhol for Schiaparelli gloves. Printed ink on paper. 12 3/4 x 9 1/4 in. (32.4 x 23.5 cm.) The Andy Warhol Museum, Pittsburgh; Founding Collection, Contribution The Andy Warhol Foundation for the Visual Arts, Inc.

Fashion Art Projects

Gianni Versace, 1991 Pop Art collection

His breakout artwork, the infamous Campbell’s soup cans, quickly crossed over from wall art to wearables, with New York society girls among the first to wear dresses printed with can designs in response to his show (Campbell’s themselves later produced a paper version of the dress for the princely sum of $1 and two cans of soup). Once an employee of tastemakers such as Harper’s Bazaar, Warhol became a tastemaker himself. He launched his own magazine, Interview, in which fashion figures — designers, models, and fashionistas alike — played a starring role, and there was never a demarcation between his professional and personal relationship with fashion.

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Fashion Artwork

Posthumously, Warhol’s position in the fashion Hall of Fame was cemented by Gianni Versace‘s 1991 Pop Art collection, which included a jewel-encrusted version of the artist’s lurid Marilyn Monroe prints.

It may be true that for every meaningful collaboration between art and fashion, there are ten creatively empty exercises in marketing. Putting cynicism aside, however, and there’s no disputing the symbiotic relationship that has always existed between the two – a relationship which only looks to be growing stronger as more of the contemporary art world’s top talents step over into the glamorous world of fashion.