Profit: Art and Commerce

The crossroads of art and commerce have been integral to the fashion industry’s evolution, with profit emerging as a vital pillar in this dynamic relationship. In the 1960s, the worlds of art and fashion truly began to converge, giving birth to a cultural phenomenon. Fashion, long perceived as a realm of commerce, and art, a realm of personal expression, collided, blurring the lines between the two. The 1960s marked a turning point when art and fashion started to collaborate (Entwistle, 2015). One notable example is Yves Saint Laurent’s iconic Mondrian dress, inspired by Piet Mondrian’s abstract paintings. This fusion of art and fashion gained momentum, reflecting a post-World War II economic boom, which led to the rise of youth culture and the bold marketing of consumer goods (Alvarez, 2008).

Artification is a transformative process that elevates non-art into art, increasing its prestige. Fashion brands have increasingly embraced this concept by exhibiting their clothing in museums (Becker, H., 1982). This practice blurs the line between commercial products and art, as brands classify their creations as art, not just products for sale. For instance, Selfridges promotes its stores as spaces for cultural exploration and thought-provoking ideas, championing art within the realm of commerce. The persona of an artist has always appealed to fashion designers. Early accounts, like Giorgio Vasari’s “The Lives of the Artists” from 1550, contributed to the idea of artists as mythical geniuses. Artists were separated from mere artisans, and their work was considered highly prestigious. This notion persists in modern society, where artists are seen as interpreters of the world from an outsider’s perspective. Alexander McQueen’s work, such as “The Bridegroom Stripped Bare,” demonstrates how fashion designers’ reference and draw inspiration from the art world, imbuing their creations with depth and meaning.

Sociologist Pierre Bourdieu’s theory of capital provides a valuable framework for understanding the intersection of art and commerce in fashion. Bourdieu identified three main types of capital: cultural, social, and economic capital (Bourdieu, 1986). In the context of fashion, cultural capital encompasses knowledge and expertise about the industry, which is often acquired through personal experiences and connections. which are essential for bringing fashion creations to life. The intersection of art and commerce in the fashion industry is a complex and fascinating phenomenon. Profit plays a vital role in this dynamic relationship, with fashion brands artifying their products and designers adopting the persona of artists. The blurring of lines between art and commerce has brought new depth and prestige to the fashion world, allowing it to be both a commercial enterprise and a creative force. In this ever-evolving landscape, the fusion of art and commerce continues to shape the fashion industry, demonstrating that both profit and art can coexist harmoniously

References:

Entwistle, J. (2015) The Fashioned Body: fashion, dress and modern social theory. (2nd Edn.) Cambridge: Polity.

Alvarez, L. (2008). The Power of the Zoot: Youth Culture and Resistance during World War Two. University of California Press.

Becker, H.S. (1982). Art Worlds. University of California Press.

Bourdieu P.. (1986). “The Forms of Capital.” p. 241-258 in Handbook of Theory and Research for the Sociology of Education, edited by J. G. Richardson. New York: Greenwood Press