Art covers exhibitions, commissions and the artists whose vocabulary keeps turning up in collections. Coverage names movements, materials and editions, and separates genuine collaboration from a licensing deal with a signature attached. Written for readers who move between galleries and fashion with equal fluency.
Exhibitions, commissions and artists whose work migrates into clothing, with honest reporting on when a collaboration is real and when it is licensing.
The Met's Costume Institute holds more than 33,000 garments and accessories, and its fifty-year project of exhibiting dress as art history changed how both museums and fashion houses understand the garment.
Grayson Perry accepted the 2003 Turner Prize in a dress as his alter ego Claire, and has spent four decades making ceramics and tapestries that read British class through what people wear.
In August 1965 a Paris couture show sent out a handful of shift dresses built to hide their seams inside a painter's grid — and made a career-long argument about where fashion ends and art begins.
Keith Haring opened the Pop Shop on Lafayette Street in April 1986 and sold his imagery as T-shirts and posters — the blueprint for every artist-fashion collaboration since.
Color-field painting — Mark Rothko's stacked rectangles and Barnett Newman's zips — changed how a single surface could hold attention, and monochrome dressing borrowed the lesson whole.
William Morris designed Strawberry Thief in 1883, and fashion has been borrowing the Victorian archive ever since — indigo birds, willow boughs and trellises that refuse to date.
Commissioned by Interview in 1983–84 and again in 1993–94, Cindy Sherman used fashion's own formats to expose how artificial the fashion image really is.
The polka dot carried Yayoi Kusama from 1960s New York provocations to a 2012 collaboration with Louis Vuitton — a fifty-year argument for pattern as a worldview.
Anni Albers treated weaving as an engineering discipline, from the Bauhaus workshop to her 1949 MoMA exhibition and the 1965 book On Weaving — a reading of cloth that fashion still borrows without fully crediting.
Diaghilev's Ballets Russes gave the century's painters a stage — Picasso's Parade of 1917 and Matisse's Le Chant du rossignol of 1920 remain the sharpest proof that a costume can carry a movement.