According to the dictionary, art is defined as “a work produced in this way, usually constructed by imagination and ingenuity, or made into a dominant style. In recent years, fashion has been seen as an ordinary functional quality of clothing, not an art form. But fashion is an art form in itself and not just a fashion style. It gives form and form by changing and transforming; it is the art of fashion, not only in the fashion industry, but in all aspects of life and society.

    When we look at fashion as something different from clothing, costume or dress, it is a socially divided concept of what is to be worn at a given time.

    Fashion emerged in the second half of the 19th century, when the bourgeois public began to demand constant change. This is no coincidence, as it is linked to the idea that clothing follows a particular mode of production, representation and consumption.

    In order to design and produce works that sometimes cannot be worn but can be considered work, attention must be paid to the theme of clothing. In addition to discussions about the history of fashion, its key moments and the contamination that architecture, fashion design and the visual arts entail, this very rich and much discussed history goes back to its origins in the 19th century. How can we tell the story of the evolution of the art style and its relationship to fashion and design using these 10 important examples?

    The Brazilian company Archistar designed plastic shoes in different colors, but they were not as comfortable to wear. This procedural similarity does not exclusively determine the character of modern painting and contemporary couture. In a way, it explains the strong kinship that fashion designers have with painters and sculptors. The challenge becomes a challenge, as the proposal of Maison Martin Margiela shows, to wear a paper template as a real dress.

    From subjectivism to alleged decadence, the abundance of decoration in fin de siecle is shared with works of art and garments. This expressive exaggeration is present in fashion as Jacques Doucet and the Callot Sisters saw it, but is also evident in the common patterns, methods and styles adopted by artists such as Henri Cartier-Bresson, Jean-Paul Gaultier or Henri Matisse. While fashion has used painterly tradition from the beginning as a culturally established frame of reference and stylistic source book, art regards fashion as a source of a style that has been repeatedly shaped and reshaped.

    At the turn of the century we see the influence of artists such as Henri Cartier-Bresson, Jean-Paul Gaultier and Henri Matisse on the style of fashion.

    Other couturiers established economic independence from the fashion industry, such as Jeanne Lanvin and Jeanne Paquin. This was reflected in the overall cultural climate, but also in her artistic style.

    The importance of an artist’s work in the course of history can be transferred to fashion design if it contains open references to painterly styles and motifs or quotes a particular work of art. For example, a recent study of the work of Henri Cartier-Bresson and his works shows how the extravagant forms and colors in the designer’s creations guide the pictorial representations of these painters. Conversely, the fashion designs of artists, especially portraits, served as a source of inspiration for these artists and especially for Porta pots.

    Here, for example, fashion, which stimulates the body through constricting and revealing fabrics and padded hips, inspired artists to take a new look at physical representations.

    Artistic clothes became popular in the late 16th and early 17th centuries, especially in France and Germany. These dresses were made of fabric in muted colors that came from natural dyes and could be embellished with embroidery, artistic embroidery or style. They were often loosely cut and comparatively simple, with long, puffed-up sleeves, but they were a far cry from the lavish ornaments seen in mainstream fashion of the time. Artistic clothing also reinforced the notion of a woman’s body as an art object and not as a means of expression.

    Ball gowns were designed by Jacques Doucet (1898 – 1900) using materials such as cotton, silk, wool, cotton wool and silk.

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