History of Fashion Installations as Art Exhibitions and
Their Impact on the Public’s Perspective on Culture and
Community
Fashion Installations as Art Exhibitions and Their Impact
Introduction
The development of society is highly dependent on the prevalent character of the
culture that governs the actions and decisions of humans and communities. While cultural
norms and beliefs determine a major part of actions taken by individuals, the factors of art
and fashion could have a substantial impact on the development of culture. The role of art
in human society was described by an Italian scholar Camilla Pagani, who analyzed the
relationship between the aesthetic experience of human beings, their attitudes, and
behavior. Pagani recognized art as an intrinsic and inalienable component of human life,
which should serve the objective of aesthetic self-perfection of human beings, reduction of
violence in the modern world, and development of human society. The development of arts
in modern society, according to psychologists Sherman and Morrissey, could make a
significant contribution to improved self-understanding and understanding of others, also
minimizing risks of conflicts and violence. While art can greatly contribute to both positive
and negative transformation of human society, it is important to study the existing
connection between art and culture.
A brief presentation of the research background aims to demonstrate the
determining role of art and fashion in the development of modern human culture. If
practitioners wish to understand the ruling powers that impact the existing attitudes and
behaviors in contemporary society, these factors should not be removed from the analysis
process. Together with the impacts of fashion and art on culture, these factors demonstrate
the strong interconnection that should also be considered. In the presented study, the paper
has an objective of exploring the relationship between art and fashion as the defining
characteristics of the human culture, both in their current format and historical evolution.
The significance of the current study is explained by the impacts the fashion
industry has on the development of modern society, the issues that can be provoked by poor
understanding of the relationship between art, fashion, and culture, and the existing
innovative trends that change the image of contemporary fashion. Regarding the influence
of fashion on modern society, fashion bloggers Vilaca and Lopez demonstrated in their
brief blog report that modern fashion trends can impact the major cultural stereotypes and
attitudes of individuals. Among the key ideas promoted by the modern fashion industry, the
experts highlight the following: eco-consciousness and sustainability; rejection of any
forms and types of discrimination. While a rising part of the global population shares
similar values, certain contradictions still exist. It is sensible to understand how fashion and
art instruments can be used for improved self-expression of individual values and removal
of communication problems.
Another fact that explains the significance of the given research is that the study
includes the reflection on issues that could be caused by mistakes in the perception of the
role of fashion and art in modern society. The study by psychologists Gupta et al.
highlighted the issues of overconsumption and aggressive consumerism as sparked by the
current fashion trends. The risk of excessive natural resource exploitation is regarded as the
main type of challenges resulting from aggressive and insensible consumerism supported
by contemporary fashion trends. The modern fashion trend for sustainability and eco-
friendliness aims to overcome the negative impacts of the overconsumption trend.
Nevertheless, it is important to understand how to avoid similar issues in the future.
The presentation of the research background and the purpose of the study has led to
the justification of the specific research questions that should be targeted. In particular, the
following research questions have been considered critical for analysis:
▪How do the notions of fashion and art represent and impact the changes in
diverse aspects of culture?
▪What was the format of the evolution of the practices of collaboration
between art and fashion alongside their diverse social contexts?
▪How can modern experts and practitioners estimate the commercial value of
collaborative products of fashion and art?
▪What were the key pillars of the fashion installations' format evolution into
exhibitions of art?
Based on the determined list of research questions, the study set certain research
objectives that should be reached during the study. The research aims to analyze the history
of the art-fashion collaboration and its impacts on modern culture. To achieve the given
aim, the following objectives need to be fulfilled:
▪To define how the notions of fashion and art represent and impact the
changes in diverse aspects of culture;
▪To determine the format of evolution as regards the practices of
collaboration between art and fashion alongside their diverse social contexts;
▪To identify the ways for modern experts and practitioners to estimate the
commercial value of collaborative products of fashion and art;
▪To highlight the key pillars of fashion installations format evolution into the
exhibitions of art.
The thesis has arranged the structure of the thesis in a way to addresses all the
research questions and objectives. The Introduction section of the study discusses the
background of the research problem, its purpose, significance, research questions, and
objectives. The Theoretical Framework chapter of the thesis described the key The
Methodology chapter describes the research design, sample characteristics, and materials of
the study, together with the applied methods of data collection and analysis. The Results
chapter of the thesis presents the main outcomes of data collection and analysis, while the
Discussion section structures the key findings and implications of the research as well as its
limitations and opportunities for further study. The Conclusion chapter provides a summary
of the main research outcomes and answers to the key research questions.
The results of the current study led to improved recognition of specific aspects of
the fashion-art collaboration mechanisms that are being implemented in modern reality.
From one side, artists become capable of using collaboration resources for the promotion of
traditional arts among the general audience. As for the fashion designers and brands, the
benefit is due to the rising opportunities for new images and design solutions development.
Cooperation between both spheres leads to a substantial synergetic effect in the form of
socio-cultural norms rethinking and transformation. Nevertheless, the current study also
justified the need for a more careful review of the specific questions. Following questions
were raised as opportunities for further research: the need for human respondents'
engagement for the aims of the study; the need for analysis of alternative art spheres
analysis from the point of collaboration with fashion brands; opportunities for comparison
of Western and non-Western approaches to the organization of fashion-arts collaboration.
Discussion of these issues should lead to the formation of more interesting and useful
knowledge for future practice.
1. Theoretical Framework
The discussion of the study questions should start from the analysis of the main
theoretical concepts and arguments stated in the prior academic publications. A critical
review of the available knowledge on the studied problem should form a strong knowledge
basis and theoretical framework for further research. The discussion of the theoretical basis
for the current study included an evaluation of available knowledge about the role of
fashion and art in the development of the modern culture, the analysis of collaboration
forms between fashion and art, the means of such collaboration’s commercialization, and
general conceptual framework for the study. The outcomes of the current knowledge base
review should form a reliable basis for further research on the study questions.
1.1. Roles of Fashion and Art in Modern Culture
The first question raised in this chapter includes the critical analysis of the role of
fashion and arts in the development of modern culture. Prior studies paid close attention to
the analysis of the influence of cultural factors on the development of fashion and arts,
while the opposite direction of relationship and effects was analyzed with a lower level of
interest. An example of successful research into this question was the publication by
fashion historians Kim and Kang, which analyzed the role of social and cultural
background factors in the professional development of Alexander McQueen as a fashion
designer. The study by scholars Hassen and Tremblay demonstrated the role of local
culture, knowledge exchanges, and lifestyle shifts in the development of fashion designs in
Beirut. While the cultural environment and heritage of fashion designers could have a
substantial impact on their designs and products of art, it is also sensible to understand
whether fashion designers can contribute to the development of the cultural environment,
enriching future fashion trends.
Another interesting study contributing to the understanding of this question was
provided by psychologist Delgado, who analyzed the role of fashion and arts in the
expression and modification of particular cultural norms and beliefs. Culture scholar
Neumann looked into the role of fashion and art in the development of modern culture from
the perspective of the feminist discourse, and described the notion of “fashion agency”,
defining the agency as “the socially determined capability to act and make a difference”.8
Psychologist Williams demonstrated the role of fashion as an instrument of communitiesin-
place formation for communication among individuals and shifting of social norms.
Williams intended to present a fashion designer as a host – a person capable to unite
communities around new ideas and concepts, leading to changes in cultural beliefs and
norms. Fashion scholars Fu and Yuan expressed the position that “merchants sell more than
merchandise, but also their cultural concepts”. Contemporary consumers are highly
concerned with the cultural contents of the fashion designs.
Overall, the discussion of the first research question has demonstrated the
substantial role of fashion design elements in the transformation of modern public culture.
Fashion designers recognize the role of their creative work in the expression of new cultural
norms and transformation of the contemporary society. To understand the perspectives of
future social shifts caused by changes in fashion, the relationship between fashion and art
should be reviewed.
1.2. Evolution of Collaboration between Fashion and Art
A review of the current trends in the field of fashion-art collaboration required a
detailed understanding of the collaboration process’s history, together with the brightest
examples of successful collaboration in the past. The thesis aims to understand the
evolution of the connections between art and fashion from the perspective of social and
cultural changes in modern society. This theme is especially relevant in the context of the
rising collaboration among artists and fashion designers. Fashion scholars McCarthey and
Tynan argued that the evolution of collaboration between art and fashion took place in the
20th-21st century.
The evolution of the fashion-art collaboration passed a way of mutual
nonrecognition and ignorance. McCarthey and Tynan stated that the art specialists had not
been motivated to collaborate with fashion experts for centuries before the 20th century due
to fears and uncertainty about the potential role of the integration of fashion into the
traditional sphere of arts. British scholar Benton contributed to the recognition of existing
connections between fashion and art. Fashion was recognized as an art field for decades,
and it was inappropriate to undervalue it compared to other forms of artistic selfexpression.
Arts analyst Killion also presented bright cases of successful collaboration between classic
artists and fashion designers that led to the maximization of benefits for both parties. The
performance of the fashion designer Cristobal Balenciaga should be mentioned as an
example of the successful integration of art and fashion. According to Killion, Cristobal
Balenciaga was inspired by the following Spanish artists: “the Romantic painter Francisco
de Goya (1746-1828), the Mannerist, El Greco (1541-1614), the Baroque painters: Diego
Velázquez (1599-1660) and Francisco de Zurbarán (1598-1664), the Cubist painter Pablo
Picasso (1881-1973), and the Surrealist painter Joan Miró (1893-1983)”.
The format of collaboration between fashion and art might include not only the
search for inspiration from classic and modern art products. Contemporary fashion brands
can form strategic alliances with modern artists, inviting them to participate in the creative
rethinking of the extant fashion brands. As an example, it is worth paying attention to the
collaboration between the Louis Vuitton fashion design house and Stephen Sprouse, an
artist who created the graffiti-style design of its new collection. The study of the Louis
Vuitton case led to the justification of the following formats of collaboration between
fashion designers and artists: “the limited edition collection of Louis Vuitton merchandise
designed by an artist; the independent work of art of an established artist displayed in close
connection to the brand, e.g. at various Louis Vuitton stores; works of art by young artists
put on display at Louis Vuitton’s own art space; and finally, the brand’s sponsorship of the
arts”. From this perspective, the alliance of fashion brands and artists could result in a more
effective sharing of perspective art elements and ideas.
The findings of the analysis point to substantial opportunities existing in the sphere
of collaboration between contemporary art and fashion brands. Both parties can acquire
significant advantages using such a format of cooperation. It is sensible to review the
current opportunities for the commercialization of such alliances. Such an analysis should
demonstrate the relevance of further studies related to fashion and art collaboration.
1.3. Means of Commercial Value Estimation for Fashion and Art Projects
The third question of the study targets the problem of commercial benefits
potentially generated by projects oriented towards collaboration between fashion and art.
The first discussion of the potential commercial benefits generated by such a collaboration
format was provided in the study by fashion scholar Jelinek. The scholar considered the
integration of art elements by fashion brands as a significant source of brand equity
generation. Depending on the level of art elements integration into different parts of the
fashion industry value chain, the potential brand equity benefits could be increased.
Additionally, the publication by art scholar Yuli summarized the potential
commercial benefits of collaboration in the following way: brand promotion and building;
innovation development; boosting sales volumes for different product categories; high
differentiation of the fashion brand in the existing market21. From this perspective, the
integration of art exhibition elements could guarantee the development of new competitive
advantages for the existing fashion brands, allowing them to enter new market niches and
increase market shares in the current markets. Moreover, innovative development of
specific fashion design features through cooperation with qualified and popular artists could
help businesses to diversify their product lines, leading to increased income inflow for all
business segments. The modern management of fashion brands and famous houses should
clearly understand the perspectives of productive collaboration with artists and be able to
manage this format of relationship.
British scholar Walsh carried out a study that demonstrated the commercial
advantages of effective collaboration between art and fashion brands. According to the
study, modern fashion brands should become more flexible to survive in the conditions of
rising competition22. A strong argument for the commercial value of such collaboration was
the following: it allows fashion brands to “reconnect with their time and to continually
recreate the idea of newness”23. The need to integrate innovations becomes a serious source
of barriers for fashion brands, and here, classic, and modern artists can provide valuable
support and inspiration. Furthermore, the scholar claimed that the integration of art
elements into fashion brands provides customers with the feeling of connection to the best
aesthetic images and ideas. While customers wish to experience a strong connection with
aesthetically beautiful and innovative images, fashion brands can satisfy this demand.
1.4. Conceptual Framework
The results of the analysis have led to the definition of the key ideas and concepts
that can contribute to a better understanding of the relationship between art, fashion, and
culture. Based on the analysis outcomes, the project has formed the conceptual framework
of the study that should be considered (Figure 1). The conceptual model includes three
major variables of the study: fashion-culture-art. Concerning each variable, specific
categories of benefits that could be generated via the mechanism of the fashion-art
collaboration in the modern environment have been determined.
Figure 1: Conceptual Framework
The objective of the following sections of the paper is the analysis of the real-life
cases describing the collaboration between fashion and art. The study aims to determine
whether the identified conceptual model is relevant and describes a full variety of positive
impacts generated by fashion-art collaboration formats. The analysis of the modern
collaboration projects has to justify the relevance of basic assumptions and contribute to the
improved understanding of the role of collaboration in the development of fashion and art.
2. Methodology
2.1. Research Design
When choosing the research design, the paper reviewed the application of the
quantitative and qualitative research formats. The quantitative research format is applicable
to study the large target population of research participants that should be capable to
provide reliable and relevant data to fulfill the objectives of the study. In the context of the
formulated research questions, the reliance on primary sources of data with a substantial
Fashion
Innovative development
of brands
Diversification of product
line
Generation of new
income sources
Increased competitive
power of brands
Culture
Generation of new
cultural meanings and
concepts
Change of individual and
public identity and
cultural beliefs
Art
Popularization of
modern art objects
Definition of new
directions for evolution
of art
sample size was not an optimal strategy. First, the specific character of the questions made
it very difficult to find a sufficient number of experts that could form a large sample for
quantitative research. Second, due to the novelty of the research problem, it was hard to
determine specific questions that the paper could deliver to the potential respondents to
collect quantitative data. Even if the thesis project united a sufficient number of fashion and
art specialists obtaining sufficient knowledge in the target field of study, it is difficult to
distinguish the questions that should be asked to collect the most useful data.
Because of the limitations of the quantitative research design as regards dealing with
the selected research problem, the study focused on application of the qualitative research
format. The advantage of qualitative research is that it allows gaining a deeper
understanding of the research object based on a narrow sample of cases.26 The advantage of
the qualitative research format included the availability of a high variety of data collection
and analysis methods. The thesis was able to determine the optimal set of methods
applicable to the selected research questions.
Among the specific methods of qualitative research, the study relied on the case
study analysis. This type of qualitative research format supposes the detailed analysis of a
selected case, identification of its characteristics related to the research problem, review,
and comparison of the target case with other similar cases in the sphere of the scholar’s
interest. For the presented thesis, the study decided to analyze the relevant art exhibition
formats to understand the mechanism of their evolution and impacts on the public culture.
The concentration of attention on a single art exhibition and fashion industry case was
supposed to minimize the study expenses for the thesis. Nevertheless, the selection of an
interesting and promising project could provide sufficient details about the overall situation
in the fashion industry concerning modern art trends. That is why the success of the case
study methodology application heavily relied on the proper choice of the sample fashion
and art project.
2.2. Study Sample
The sample of the research was limited by a shortlist of art exhibitions held globally.
A thesis decided to avoid analysis of minor and local fashion exhibition projects due to the
limited scale of such initiatives and low opportunities for the generation of useful
knowledge based on them. Analysis of the local fashion exhibition events was considered a
sensible and effective option for further research when it should be possible to distinguish
specific traits of the fashion and art collaboration benefits for the concrete country or
region. The current study aimed to form the basis of useful knowledge for the analysis of
such matters, so the most ambitious and large fashion industry projects had to be reviewed.
The primary object of the study was the Costume Institute Gala (MET Gala) – one
of the leading global art exhibitions taking place regularly. A study selected this fashion
event due to its global status, total number and characteristics of the participants, and
overall popularity of this fashion event. MET Gala is fairly considered one of the most
resonant exhibition events in contemporary fashion history. Considering the popularity of
this platform and the level of interest it generates among professional fashion designers and
artists, a thesis considered this even as an optimal case for review of the fashion-art
collaboration question.
The objective of the case study analysis of the MET Gala was to collect in-depth
descriptive information concerning the target aspects of the exhibition. Together with a
narrow concentration on the study of the MET Gala format, the scholar considered an
opportunity for intentional enlargement of the study sample via the inclusion of other art
exhibition formats. The objective of the potential sample enlargement was to compare and
contrast the key characteristics of the MET Gala exhibition with other formats of global
exhibitions. The decision about the enlargement of the sample could be made by the scholar
based on the outcomes of the MET Gala case review. If the study had found that the case
had not provided a sufficient amount of valuable data to address the research question,
alternative cases could have been applied.
2.3. Materials of the Study
The materials of the study included all types of secondary data sources that could
serve for the review of the MET Gala exhibition format history. The main types of data
sources comprised secondary publications: releases in media, expert reports, reports by the
management, and employees engaged in the organization of the MET Gala. Together with
the collection of all available amounts of data from the secondary sources, it was important
to guarantee a sufficient level of data reliability and relevance. To guarantee the high
quality of the study outcomes, a thesis decided to rely mainly on the publications released
by the respected fashion experts and bloggers, including official Vogue publications,
because Vogue is one of the main event-holders.
The study did not orient on a collection of qualitative data from the human
participants who could be involved in the organization of the MET Gala or similar art
exhibitions due to the higher complexity of the data collection procedure. The research was
limited in resources and time available for the completion of the study. In addition to this,
the decision to cooperate with human respondents during the study could raise specific
ethical constraints that would raise the level of the overall study complexity. Therefore, the
study relied solely on the materials available from open sources. The perspectives of human
respondents' engagement in the study of this question were considered as opportunities for
further research.
2.4. Data Collection Methods
The methodology of data collection refers to a set of procedures applied by the
study to collect information about the object of the study. The specific characteristic of the
current research was that it aimed to compare the current and historical experience of art
exhibitions arrangement based on the MET Gala case. To fulfill the objective, the paper
compared the data for the MET Gala exhibitions held during the last five years (2017-2021)
and within the last five years of the 20th century. The collection of data for more relevant
and older exhibition formats of the case object had to contribute to the effective analysis of
the historical background.
The period of 2017-2021 was selected for the current study since it guaranteed the
collection of reliable information about the most recent trends in the field of fashion-art
collaboration for the fashion exhibitions. Based on the findings of the MET Gala events
review for the period of 2017-2021, a study hoped to provide a realistic and relevant image
of collaboration trends and perspectives. The analysis of the most recent period was vital
for further research since the scholars had to rely on the best available knowledge about the
field of study. As for the choice of the period of 1995-1999, the study reviewed this period
due to the fact it demonstrated the key characteristics of the fashion-art collaboration at the
end of the 20th century. While fashion is a highly dynamic sphere of human life and culture,
where prevailing trends do not usually last for long period, it was interesting to review the
main fashion industry trends that impacted fashion-art collaboration at the end of the 20th
century. Comparison of this period with the findings of the MET Gala performance in
2017-2021 had to show whether the fashion exhibition format became more or less
dynamic during the last three decades and what other important changes took place
recently. It is sensible to compare MET Gala performance for the modern period and the
ending of the 20th century, since comparison of the modern phase with the middle of the
20th century, when the MET Gala format was established, might not have brought
interesting insights. The fashion industry was not as dynamic in the middle of the past
century, so the usefulness of the study insights could be lower.
To collect data, the Google search engine as the main instrument was applied. To
gather all the relevant information related to the MET Gala exhibitions held in 1995-1999
and 2017-2021, the research utilized a set of keywords. The following types of keywords
served for the identification of the promising secondary data sources: MET Gala, art
exhibition, mentioning of the appropriate period for the exhibition held, title, participants,
fashion concept, public perception, and fashion show. These keywords correlated with the
specific elements of fashion and art notions that were analyzed during the study. A more
detailed discussion of these characteristics is provided in the following sub-section of the
Methodology chapter.
Based on the selected list of keywords, the research was observing several Google
search engine results with links to web resources discussing the MET Gala exhibitions. The
primary objects of the study included the official web sources of the MET Gala events. The
research aimed to collect all the available data about the exhibitions from the management
and official representatives of the target organizations. Nevertheless, in case no reliable
data on particular aspects of interest could be collected from the official sources, the paper
relied on independent sources: media and blog releases, expert opinions, and academic
publications. Concerning this type of source, a set of criteria for inclusion in the study was
developed: high relevance of publication; high reliability of the source and author. Only the
most reliable and respected sources served as a basis for the case study of the MET Gala art
exhibitions.
2.5. Data Analysis Methods
The procedure of data analysis for the study was based on the thematic analysis of
the selected data sources. The objective of the thematic analysis was the critical assessment
of the materials provided in the data sources to define the main themes and ideas shared by
the authors of the publications. The analysis of the major themes and ideas allowed the
research to identify the key characteristics of art exhibitions as fashion instruments, the
relationship between art and fashion, and the influence of these notions on modern culture.
The summary of the thematic analysis outcomes helped to address the identified research
questions, offering reliable knowledge for the future practice of fashion and art studies.
The procedure of data review based on the thematic analysis instrument included a
set of basic steps. First, the study considered and selected the target data sources for review
of the chosen art exhibitions – official media publications, experts’ reports, and academic
papers. A careful analysis procedure was performed as regards every source, highlighting
the key themes and issues raised by the scholars. Based on the findings of the thematic
analysis and definition of the most substantial themes raised in the selected sources, the
research performed the mind-mapping procedure to determine the specific connections
among the identified themes. The results of the mind-mapping procedure had to contribute
to a complex understanding and presentation of the research problem.
2.6. Research Methodology Limitations
The selected research methodology is characterized by specific limitations that
could impact the overall findings and outcomes of the study. The key limitations of the
qualitative methodology included the following: selection and subjective bias. The selection
bias is associated with the potential risk of mistakes made when choosing data sources for
the thematic analysis procedure. The research had to remove the open sources of data to
identify publications that would provide an optimal description of the target art exhibitions.
Nevertheless, there was a risk that the study would not be able to form a reliable list of
publications, and certain valuable sources of information could be lost. As an outcome, the
overall quality of the research and its outcomes could be potentially reduced.
The subjective bias is explained by the study’s intention to orient on the qualitative
research design model. The subjective opinion and beliefs of the study could significantly
impact different aspects of the research procedure and the end outcome of the study. The
specific elements of the research process that could be affected included the following:
interpretation of literary sources during the theoretical framework review process;
subjective selection of data sources in the data collection phase; assessment and
interpretation of the key themes in the data analysis process; estimation of thematic analysis
outcomes and presentation of the study findings. The objective of the research was to
critically review all the actions and decisions made during each of these steps of the
research to minimize the subjective impacts. The instrument of reflective analysis served
for critical estimation of each step taken during the study. In case the scholar observed the
negative influence of personal beliefs and opinions on the research outcomes, all possible
actions were taken to reduce the probability of failures and mistakes in the research
findings.
3. Results
3.1. Description of the MET Gala
As stated earlier, the research applied the case study method to analyze the MET
Gala event held each year starting from 1948. This event is formally called the Costume
Institute Gala or the Costume Institute Benefit. This is the annual fundraising fashion
exhibition held each Monday of May, which collects funds for the benefit of the
Metropolitan Museum of Art's Costume Institute in New York City. One of the main
managers of the event is the Vogue fashion journal. Each year a specific theme is
determined for the MET Gala so that the guests could know the tone of the exhibition and
the fashion direction that shall be represented.
In 1948, the fashion exhibition was founded solely as a means of fundraising for a
fashion publicist Eleanor Lambert, who wanted to support the newly founded Costume
Institute at the New York Metropolitan Museum of Art. The history of the fashion
exhibition founding has revealed long-lasting roots connecting modern fashion and art.
Every year, the organizers of the fashion exhibition determine a concrete fashion theme and
direction that should be represented, which informs the cultural evolution and development
of the fashion-art relationship.
3.2. Recent History of the MET Gala
To address the research questions and reach the aim of the study, the research
decided to compare the main themes and images from the MET Gala events held during the
periods of 1995-1999 and 2017-2021. A more recent period was targeted to deliver insights
associated with the current development of the fashion-art collaboration formats. The
period of the 20th-century ending, it was targeted to demonstrate the main characteristics of
the fashion-art collaboration at the end of the past century and compare them with the
recent trends. To start the comparison of these historical periods, it was sensible to
summarize the major themes and titles of the MET Gala fashion exhibitions held within
each of the target periods. As stated earlier, every year, the organizers of the MET Gala
events selected a concrete theme and title for the exhibition, which signified the specific
direction for the fashion industry development. A summary of the themes for the MET Gala
events during the selected periods is presented in Table 1.
Table 1: List of Themes for the MET Gala Fashion Exhibitions
1995-1999 2017-2021
1995 “Haute Couture” 2017 “Rei Kawakubo/Comme des
Garçons: Art of the In-Between”
1996 “Christian Dior” 2018 “Heavenly Bodies: Fashion and
the Catholic Imagination”
1997 “Gianni Versace” 2019 “Camp: Notes on Fashion”
1998 “Cubism and Fashion” 2020 “About Time: Fashion and
Duration”
1999 “Rock Style” 2021 In America: A Lexicon of
Fashion
The analysis of the MET Gala history and ideological concepts behind the fashion
exhibition demonstrated that it should not be considered solely a fundraising activity that
unites the local elites in New York. Fashion blogger Elyssa Goodman argued that the
organization of the annual MET Gala exhibitions allows fashion designers to form bridges
with the world of art, reaching mutual understanding and allowing each party to track its
partner’s annual progress. According to the publication by fashion journalist Shweta Singh,
while the first MET Gala exhibitions were small events held only for the most respected
participants, the development of the fashion exhibition format led to the enlargement of its
potential audience. The format of the experienced the transformation from an exhibition for
a limited number of celebrities and elite representatives into a large socio-cultural
phenomenon that determines the direction of modern art and fashion development globally.
3.3. MET Gala 1995-1999: Fashion Development Trend
The period of 1995-1999 in the development of the MET Gala fashion exhibition
was characterized mainly by orientation on the search for new fashion development designs
and formats. The exhibition itself was not characterized by substantial cultural or artistic
subtext, focusing mainly on the demonstration of the latest achievements in the sphere of
fashion. This argument can be supported using two sources: original theme titles provided
in Table 1 and sample images from each year’s fashion exhibition (Fig.1-4). All the figures
related to the presented research can be found in the Appendix chapter.
The comparison of the images delivered in Fig. 1-4 revealed the absence of specific
cultural or social background or subtext behind the fashion elements presented by the
exhibition’s participants and designers. Specifically, the organizers aimed to support and
popularize a specific direction in fashion design or concepts. The organizers kept seeking
new meanings and forms of fashion design ideas and explanations. The research decided to
summarize the description of this historical period in the development of the MET Gala as
“fashion for the fashion”.
The analysis of the key themes raised at the MET Gala exhibitions during the period
1995-to 1999 did not demonstrate a substantial level of collaboration between art and
fashion. Fashion themes were mainly associated with specific designers or fashion brands,
especially for the period 1995-to 1997. The critical shift took place in 1998 when the main
theme of the exhibition shifted to cubism, which can be considered a step toward artfashion
collaboration. Considering one of the classic approaches in arts, the designers aimed to
determine new insights for clothes and accessories design. The sample of the cubism’
approach utilization in the fashion segment was demonstrated in Figure 3. In 1999, the
founders of the MET Gala returned to a more classic formal approach to fashion inspiration
generation – cooperation with popular culture instead of classic arts. The decision to orient
on the modern rock style culture could not be considered as similar to the samples of classic
arts and fashion collaboration expressed earlier in this thesis.
Nevertheless, the choice of the 1995-1999 period led to an interesting and important
result for the study. It demonstrated the period of the critical shift when classic arts became
an essential element of the MET Gala fashion exhibitions. Starting from 2003, the founders
of the MET Gala annual events shifted to the search for inspiration for fashion in traditional
art symbols and historical events. The products of such collaboration shall be seen based on
the outcomes of the analysis performed in the following sub-section of the study.
Nevertheless, it is interesting to show how the model of fashion-art collaboration emerged
and was developed in the example of a large fashion exhibition.
3.4. MET Gala 2017-2021: Fashion and Culture
The analysis of recent exhibitions from the perspective of the stated themes and
images indicated significant changes that took place in the development of the MET Gala
format. The brightest fashion design images from the MET Gala exhibitions held in
20172021 are included in Fig. 5-9. The comparison of the themes and images for two
historical periods demonstrated the considerably higher significance of the socio-cultural
context for the MET Gala exhibitions held in 2017-2021.
In 2017, the events at the MET Gala were dedicated to the legendary Japanese
designer Rei Kawakubo. Celebrities and guests presented elements of her fashion designs.
As regards the period 2017-2021, this was the last fashion exhibition that addressed the
theme of specific fashion designers. In the following years, the exhibitions targeted larger
social or cultural problems. In 2018, the exhibition aimed to unite fashion and religion,
demonstrating opportunities for the creative rethinking of the basic religious concepts and
ideas. The theme raised significant resonance in society, leading to the need for the
organizers to seek approval for its realization from the Pope. Compared to the exhibitions
held in previous years, this was one of the first tries for the organizers and guests to touch
upon a substantial cultural issue.
In 2019, the organizers of the MET Gala targeted a concrete cultural and artistic
piece - Susan Sontag’s seminal 1964 essay, “Notes on ‘Camp’ ”. This essay raised a
question of sensibility expressed through “performance, excess, and a kind of winking bad
taste”. The realization of the fashion exhibition in 2019 demonstrated opportunities for the
development of interconnections between modern fashion and classic literature. In 2020,
the organizers focused on the theme of the 150-year history of fashion, aiming to
demonstrate and summarize the key achievements of fashion during the period.
In 2021, the MET Gala oriented on the largest socio-political and cultural problems
existing in the US. The organizers described the main theme of the 2021 exhibition as “who
gets to be American?”. Scholars specifically drew attention to the following problems and
cultural phenomena existing in the US: “diversity, inclusivity, sustainability, gender
fluidity, and body positivity”39. The important message sent by the MET Gala event in 2021
was the following: “the only fashion of the future worth discussing is a fashion that
embraces socially progressive issues without addressing political-economic concerns, civil
rights, and equal rights issues, or global ecological crises”.
The given message demonstrated the rapid transition as regards the nature and role
of the MET Gala fashion exhibition. In 2021, the experts and general community observed
the realization of the alternative image of famous fashion exhibitions. It raised social and
cultural problems of substantial significance for a high share of American society and
demonstrated the closeness of modern fashion to culture and community. This act
contributed to the removal of previously existing barriers among different social groups,
demonstrating their similarity and intentions to form a more just and equal society. The
mentioned transformation determined closer ties between fashion and art as a format of
basic and most popular ideas represented using different visual and material objects.
Nevertheless, the overall evolution of the MET Gala themes, and the process of
fashion-art collaboration should be reviewed from a larger historical perspective. The
analysis of the MET Gala themes starting from 1973 demonstrated the cyclical nature of the
fashion-art collaboration process. Here, the exhibition dedicated certain periods to the
search for inspiration in historical art objects, and then referred to the modern fashion
brands and images. The examples of bright fashion-art collaboration seeking new fashion
images could be seen based on the names of the following MET Gala themes: The Glory of
Russian Costume (1976); Diaghilev: Costumes and Designs of the Ballets Russes (1978);
Fashions of the Habsburg Era: Austria-Hungary (1979); The Manchu Dragon: Costumes of
China, the Chi'ng Dynasty (1980).
The overall analysis of the themes’ history at the MET Gala allows the research to
argue about the presence of the undulating principle of fashion-art collaboration activation.
During the periods of ideas deficit in the fashion industry, the founders of the MET Gala
apply to the images of classic art, concentrating on a certain style of art or historical period.
Visiting the annual MET Gala exhibition that demonstrated the appropriate artistic
elements, the fashion designers were capable to generate inspiration for the transformation
of their visions of the fashion trends and images. Altogether, the organization of the MET
Gala exhibitions can be considered as the mechanism of fashion-art communication and
collaboration, which allows fashion designers to unite their efforts in the rethinking of the
classic art images for their transformation into contemporary fashion. This idea might be
considered one of the key results and insights of the study.
4. Discussion
4.1. Findings of the Study
The research findings should be presented in the context of the earlier determined
research questions. Concerning question 1, the research aimed to demonstrate the impacts
of art and fashion on modern culture development. The findings of the theoretical
framework analysis and case study for the MET Gala exhibition have revealed that fashion
trends can have a significant influence on the transformation of cultural norms and beliefs.
The mechanism of the realization of the given process is explained by the interconnections
that emerge between the specific cultural concepts and elements of fashion design.
For example, concrete elements of fashionable clothing can serve as a representation
of certain cultural beliefs. When a person selects a particular fashion brand or separate
element for his/her clothing, customer becomes self-associated with a specific cultural
belief or idea. Altogether, fashion design elements can help people to gain a higher level of
self-association with specific cultural norms. Fashion can in such a way contribute to the
promotion of new cultural norms in contemporary society. This effect was brightly
expressed during the MET Gala 2021 fashion exhibition which targeted concrete cultural
norms and beliefs common to the American society.
In the context of the MET Gala events case study, it was found that the fashion
trends and collaboration between artists and fashion designers could lead to the
development of new forms for socio-cultural questions presentation, and resolution. From
one side, MET Gala exhibitions served for the fashion designers to seek new means of
inspiration generation from the productive dialogue with the representatives of the classic
arts. Also, fashion designers accumulated inspiration from the process of the historical and
cultural standards rethinking. At the same time, the analysis of the MET Gala 2021 events
demonstrated that the fashion-art collaboration format can serve for creating new forms of
socio-cultural issues discussion, and expression. From this perspective, the study argued
that fashion exhibitions can be a useful instrument for cultural questions and resolutions.
The second research question was related to the analysis of the history and evolution
of collaboration between fashion and art alongside diverse social contexts of the
cooperation process. During the theoretical framework analysis, the study considered a
diverse set of cases that described the evolution of collaboration between art and fashion in
the 20th century. Before the 20th century, two notions used to develop independently since
the representatives of arts considered the fashion design sphere underprivileged.
Nevertheless, rising social influence and recognition of fashion in the 20th century led to the
shifts in mutual assessment and increasing collaboration between two spheres of creative
thinking and activity.
An important characteristic of modern collaboration between fashion and art is that
the representatives of arts use modern fashion designers and brands to promote their
concepts and images. As for fashion brands, these objects have learned to generate
inspiration for new designs and fashion solutions from the works of classic and
contemporary artists. Collaboration between artists and fashion designers has generated a
high number of mutual benefits and increased recognition of arts in modern society. A great
number of relevant cases analyzed by the study point to the opportunity to increase
collaboration in the future.
The experience of the MET Gala events analysis contributed to the presentation of
specific examples of productive fashion-art collaboration. An important finding for the
second question included the fact that the fashion-art collaboration dynamics during the
MET Gala were characterized by the undulating principle. When the fashion designers
faced the problem of insights and ideas deficit for the products’ design, the studies relied on
the classic artistic and historical images, analyzing, and rethinking them. When the problem
of conceptual and ideas deficit was not relevant, the fashion designers could arrange the
MET Gala exhibition in the format of the fellow designers’ achievements review and
recognition. Another important trend demonstrated for the recent MET Gala events was the
shift toward a more active review of the existing socio-cultural problems in the way of
traditional fashion tools and methods application.
The third question of the study was connected with the assessment of the
commercial value of collaboration between the fashion and art spheres. As for the field of
art, it has benefited from cooperation with fashion mainly through the identification of new
directions for arts development and promotion of current ideas and images among the
general public. Unfortunately, the level of interest in classic arts, including museums, has
been reducing during the last decades. Popular fashion brands have contributed to the rising
recognition of classic and modern arts among the general public.
As regards the commercial benefits of the fashion-art collaboration for fashion
brands, the analysis of literature and the MET Gala case has led to the recognition of the
following factors of commercial value generation: innovative development of brands; rising
diversification of product lines; creation of new income sources; increasing competitive
power of fashion brands. In the conditions of high competition in the modern fashion
industry, specific brands should be able to find inspiration in classic and modern arts to
remain attractive and interesting to the potential audience. The instrument of fashion-art
collaboration can generate a new wave of interest in the traditional culture and community
themes. For example, in 2018, the MET Gala relied on the theme of Christianity which
caused high public resonance and interest in the participating brands and celebrities.
Another important insight of the MET Gala events review in the context of the third
research question included the recognition of the significant role played by the celebrities
taking part in the fashion exhibition events. Together with the earlier mentioned benefits for
the fashion brands collaborating with the traditional artists, the practice of recent fashion
trends demonstration involving celebrities could contribute to a substantial wave of fashion
designers and brands popularization. All the figures in the appendix demonstrated the
images of the celebrities wearing new fashion design products. Demonstration of these
photos is a powerful instrument of promotion and advertising serving the interests of the
fashion brands.
The final question of the study aimed to determine the key pillars of the fashion
installations' transformation into the art exhibition format. The research has addressed the
given question using the case study of the MET Gala exhibition and relevant findings of the
literature review. It has been revealed that the first wave of the fashion installation format
development had a low level of connection with classic and modern arts. Even at the end of
the 20th century, the organizers of the MET Gala exhibitions were mainly oriented on the
review of fashion as an independent creative field without its connections with arts and
culture. A more detailed review of the MET Gala's historical background led to the
recognition of the fact of undulating principle’ realization in the evolution of this format of
the fashion exhibition. The analysis of the cyclical dynamics for fashion-art collaboration
processes is important to understand the internal mechanisms that impact fashion-art
cooperation.
Nevertheless, recent decades have seen rising interest in the transformation of
fashion into an instrument of social and cultural change promotion. Fashion installations
have been transformed from small exhibitions targeting representatives of the limited social
class of local elites into the influential instrument of large social group transformation. The
MET Gala events in 2021 delivered a message that was relevant not solely for a limited
social group in the US, but for the whole American society. The shift toward the discussion
of large socio-cultural problems can be considered a substantial step in the progress of the
fashion-art collaboration mechanism. It will be interesting to study the dynamics of this
process in the future.
4.2. Importance of the Findings
The importance of the research findings lies in the fact that the study has
demonstrated the mechanisms that could contribute to collaboration between modern art
and fashion. The study has identified potential opportunities for the generation of both
commercial and cultural value as a result of art-fashion collaboration. The representatives
of both directions in creative work can apply the findings of the study to develop new forms
of cooperation.
The MET Gala fashion exhibitions case points to the potential role of fashion
exhibition events in the promotion and transformation of modern art. Initially, this format
of fashion installations served solely for the accumulation of charitable funds in support of
the museum’s operations. Later, the experts recognized the fact that such a format of
fashion-art collaboration contributed to the new forms and meanings in both the engaged
spheres. First, this fashion exhibition format contributed to the generation of new
inspirations for fashion designers studying classic arts and different historical periods. In
the latest period, the MET Gala exhibitions became the platform for discussion and
rethinking of the most resonant socio-cultural problems, demonstrating the impacts of the
fashion-art collaboration on modern culture. The given study has determined alternative
forms of collaboration in real life that contribute to the generation of mutual benefits.
The findings of the study have also demonstrated the irrelevance of the earlier
expressed argument about the lower significance of fashion in modern society compared to
classic arts. According to the findings of the review of the academic literature sources and
the MET Gala case, contemporary fashion installations gain a higher level of public interest
in comparison with the traditional forms of self-expression common to the majority of arts.
In this way, modern artists should be able to express and deliver their ideas and concepts
using fashion industry methods and tools. Prevalence of the modern fashion trends in
society is demonstrated in the fact that artists and management of the museums are forced
to orient on collaboration with the fashion brands and designers to raise their recognition’
level in society. Part of modern artists has succeeded in the application of this method,
while some artists who have failed to apply similar practices have lost their competitive
positions.
The theoretical value of the presented study is associated with the fact that it has
outlined the significance of the research problem. The study has provided strong arguments
in favor of the idea that the existing and potential connections between fashion and art as
the spheres of creative work should not be weakened. Specialists in the sphere of modern
arts should be able to recognize the value and role of fashion in the development of their
professional field. A similar argument is relevant for professional fashion experts and
practicing designers. Lack of literacy and competencies in this sphere could worsen the
competitive positions of concrete specialists. In modern conditions, a decision to ignore
either of the elements will lead to serious conceptual and practical mistakes for a scholar.
Also, the study found that the effective collaboration between fashion and arts could
contribute to the productive discussion of the relevant socio-cultural issues, contributing to
the critical review of the existing cultural norms in the society.
4.3. Implications of the Findings
The research implications can be divided into theoretical and practical contributions.
From the perspective of theory and current knowledge base, the research has summarized
earlier available sources and supported the basic ideas with the results of the case study
analysis. The review of the collected data using the chosen analysis methods has led to the
recognition of the significant impacts of fashion-art collaboration on the culture and
community development. Modern research cannot ignore the factors of fashion and art as
the incentives for cultural norms transformation, especially in the format of collaboration.
4.3.1. Theoretical Contributions
In the context of the research problem, it is sensible to consider the duality of the
identified research findings. On the one hand, the study has highlighted the substantial role
of fashion-art collaboration in modern culture and public beliefs. On the other hand, it has
been found that the changes in culture lead to the development of new self-expression and
creativity forms in the fields of fashion and arts. The relationship between fashion-arts and
modern culture should not be considered focusing on a single direction. Opposite to this,
both spheres can gain substantial advantages as a result of mutual influence.
From the point of collaboration’s benefits for the fashion sphere, it was found based
on the MET Gala exhibitions case study that the fashion designers actively referred to the
classic images of history and arts to gain insights and inspiration for their design strategies.
Without the active exchange of knowledge between modern fashion and the arts, part of the
most interesting fashion brands and images might not have ever emerged. As for the
theoretical value of fashion for the modern art sphere, the study found that the promotion of
arts is possible through the integration of specific artistic elements into modern fashion.
The contemporary society is highly attentive to the fashion trends, while the interest in the
art sphere is lower.
4.3.2. Practical Contributions
Concerning the practical implications of the study, the specific ways for fashion-art
collaboration that could create opportunities for commercial and cultural value creation
have been identified. Concerning the commercialization of fashion-art collaboration
processes, the research has determined specific cases and principles of fashion-art
integration that can guarantee the highest mutual profits. As to the development of the arts,
orientation on the mechanisms of modern fashion can contribute to the promotion of arts
and the accumulation of resources for their development. As for the means of fashion
designers and brands strengthening through arts, the study has found specific ways that can
serve the objective of fashion brands’ diversification and innovative development.
Both directions should serve as mutual sources of inspiration and resources for long-
term expansion. Without productive fashion-art collaboration, the sphere of arts will face a
lasting reduction in popularity and public interest. At the same time, the sphere of fashion
design might lose sources for creative inspiration and new designs delivered to the market
without strong connections with contemporary arts. Both spheres of creative thinking
should provide each other with insights into the changes in public and consumer
expectations and needs, transforming them into practical decisions. The analysis of the
MET Gala exhibitions history demonstrated that modern fashion designers and artists have
recognized the significance of productive collaboration. This fact was recognized
considerably earlier compared to the end of the 20th century. At the end of the 1970s, the
founders and participants of the MET Gala annual exhibitions referred to the classic images
of history and arts to seek inspiration for new fashion designs. The certain deficit in
fashion-art collaboration could be explained by the periods when the fashion industry did
not experience a deficit in new ideas and meanings for its design products.
4.4. Limitations of the Study
The presented research is associated with certain limitations that should be
discussed to objectively assess the study outcomes. The first important limitation of the
research is related to the scarcity of reliable data about the case study fashion exhibition in
open secondary sources. Based on the Google search for information about the MET Gala
exhibition, the research managed to identify only a little amount of useful data. The
available materials mainly included press releases with photos of the exhibited fashion
designs and small comments from the experts in the field of fashion. Therefore, it has to be
noted that there was not enough knowledge related to the case study fashion exhibition in
academic literature. It was not possible to determine a sufficient number of academic
publications considering the phenomenon of the MET Gala exhibition. Other fashion
exhibitions uniting the benefits of fashion and art creativity spheres were explored in
academic writings, but the discussion was too general and limited. This result shows the
existing knowledge gap that will have to be filled in the future.
Another limitation of the research findings is connected with the fact that the scholar
intentionally excluded the primary qualitative data sources from the discussion. Due to the
limited amount of reliable secondary data, cooperation with respected experts in the fields
of modern arts and fashion could become a source of advantage. Future research should
address this limitation, offering opportunities for the expression of experts’ opinions on the
research problem.
The final limitation of the study is associated with the limited scope of fashion-art
collaboration problem discussion. The critical analysis of specific cases has demonstrated
that the research has mainly identified opportunities for collaboration between fashion
brands and visual arts. Nevertheless, different forms of arts, including music and dance
cultures, could also serve as a source of inspiration for modern fashion. This area of
knowledge is considered innovative and characterized by a significant knowledge gap.
Nevertheless, this fact does not mean that it should be excluded from further discussion.
4.5. Opportunities for Further Research
The final element of the discussion of the research findings should include the
presentation of key opportunities for further research. Part of the significant opportunities
has been determined based on the analysis of the research limitations. It is important to
show that a small share of scholars and fashion bloggers considered the question about
fashion-art collaboration on the example of the MET Gala and other large fashion
exhibitions in the past. Mainly, the experts relied on the analysis of the fashion side of the
events, demonstrating the most resonant fashion trends and new design images. The
weakness of such an approach was that the experts did not recognize the substantial cultural
value of fashion-art collaboration, which was demonstrated during the most recent MET
Gala exhibitions. Further research should address the existing knowledge gap, offering
reliable insights for the future.
As for the specific recommendations for further research, the first one is that the
research should orient on the collection of data from primary qualitative sources to address
the existing knowledge gaps. Cooperation with the experts in the field of fashion design
brand development should provide the scholar with useful insights into the specific
methods of the art application for inspiration development. A similar discussion of the
problems with the representatives of arts should demonstrate whether these subjects rely on
traditional forms of collaboration with fashion brands, or whether specific innovative
solutions have already emerged. Collaboration with human respondents for further research
should also help the study to determine the fact of the issue’s relevance recognition among
the potential respondents. It is sensible to define whether the modern artists recognize the
fact of high value generated by fashion-art collaboration and the significant socio-cultural
role played by this process, or develop specific collaboration formats based solely on their
current demands and benefits. Understanding this question should allow the research to
predict the future perspectives of conscious fashion-art collaboration formats development.
The following opportunity for further research is related to the development of
knowledge about the innovative spheres of fashion-arts collaboration. The review of the
relevant cases has revealed that fashion brands mainly find inspiration for new product
development through observation of visual art objects. Key types of artists engaged in
fashion-art collaboration include painters whose visual images and concepts form the basis
of new fashion design solutions. However, different forms of art, which are not directly
related to the development and promotion of a visual image, might also be of high practical
value for the fashion brands industry. This problem was not addressed in the prior academic
studies or publications by the fashion and arts experts. While arts can offer a wide range of
expression opportunities for fashion brands, it is sensible to determine whether the fashion
designers and other industry players are capable of productive integrating new approaches
into the current practice.
The analysis of the academic literature sources has pointed to the fact that the
perspectives of fashion-arts collaboration and its impacts on culture and community are
relevant not only to the Western societies. Different cultural groups have demonstrated
similar levels of dependency on fashion and arts in the development of their cultural beliefs
and norms. Despite cultural and religious differences, all types of human communities aim
to express certain cultural norms and beliefs in the elements of fashion design and arts. The
nature of clothing, specific elements of home interior, and other fashion traits serve for the
expression of the cultural norms common to specific societies. It is sensible to analyze
differences in the format of fashion-art collaboration practices realization and their impacts
on local cultures in different parts of the planet.
From this perspective, the presented study mainly delivers the Western-centric view
of the research problem. The MET Gala fashion exhibition that was selected as a case study
object is an example of the modern Western globalist culture expression. This format of
fashion-art collaboration might not be supported by certain local communities on the planet.
The interpretation of the Western fashion and art brands could even lead to reactions that
will be opposite to the original intentions of the concrete brands’ founders. Therefore, there
is a need to review potential differences in the interpretation of fashion-art collaboration
outcomes depending on the cultural background of communities. Furthermore, it is
interesting to find out whether all global communities and cultures are flexible and adaptive
to the changes in public fashion and arts. It is possible to assume that certain conservative
cultures and communities might consider changes in fashion as a source of risks and
problems, rejecting any type of inventions in this sphere.
Altogether, despite the detailed review of the selected research problem, the larger
theme is characterized by a significant number of knowledge gaps. The main objective of
further studies should be related to addressing the identified gaps to define the optimal
fashion-art collaboration format that will meet the needs and expectations of communities
and cultures with different backgrounds. A modern scholar in the target field should not fall
a victim to the globalized vision of human culture and community values. Certain parts of
the planet remain loyal to their traditional cultural beliefs, and the role of fashion in these
regions can be considerably different compared to the Western perspective. To form an
inclusive and equal society using universal fashion and art concepts, the research should
first recognize the existing variety of meanings and interpretations.
5. Conclusion
The current research targeted the problem of existing connections among the
following notions: fashion-art-culture. The analysis of these notions from the perspective of
their interconnections had to demonstrate the potential role of fashion and art in the
development of modern culture and community. While the role of culture in the
development and transformation of arts and fashion is well known, the opposite
relationship is not properly discussed both in academic and expert literature sources. The
significance of this theme was associated with the need to search for new means of cultural
development in the modern environment.
Together with the review of the fashion and arts impacts on the culture, it was
sensible to understand what formats of collaboration between fashion and arts are currently
available, together with the commercial value of these contacts. The analysis of the first
research question has demonstrated that the spheres of fashion and art can have a
substantial impact on the evolution of modern culture. Due to the rising influence of
fashion in the public culture sphere, specific beliefs and individual concepts could be highly
dependent on the fashion norms existing in society. As soon as a person reaches a sufficient
level of self-association and self-recognition with a concrete fashion brand or image, a
cultural background of a brand also becomes a cultural background of an individual.
The given study has analyzed the specific formats of fashion and art collaboration.
Based on the result of the review of the academic literature and relevant cases, both the
fashion and art spheres of creative work could obtain substantial benefits from productive
mutual collaboration. As for the field of modern arts, collaboration with specific fashion
brands and popular designers could serve as a source of inspiration for new designs and
means of art images and concepts promotion. Unfortunately, modern society, in general, is
more interested in fashion brands compared to traditional arts, and collaboration with
fashion brands can become the main instrument of communication between the arts and
potential audiences.
As regards the benefits for the sphere of fashion, more significant advantages have
been determined. Compared to the arts sphere, the field of fashion brands is characterized
by a high level of competition. Artists mainly face lower competition for the attention and
financial support of their audience. As for fashion designers, the survival of their business
is highly dependent on the capability to generate interesting and distinguishing fashion
designs that will attract the highest variety of potential clients.
Fashion-arts collaboration opportunities allow fashion brands to find new sources
for inspiration among classic and modern art images. The research has revealed a set of
artistic elements that were successfully integrated by the popular luxury brands in the 20th
and 21st centuries. The fact of collaboration between fashion designers and classic artists
can also generate an additional luxury image for a brand. As an outcome, the level of
capitalization for fashion designers in the modern market might be increased.
In addition to the introduction of new design ideas, the fashion-arts collaboration
model can help designers to determine new ideas and meanings that should be promoted
among the audience. Similarly, fashion and arts can impact changes in public culture. This
effect has been identified as a result of the review of the MET Gala exhibition held in 2021.
The exhibition targeted the existing social and cultural issues of American society,
promoting the principles of a just, equal, and inclusive society. In 2021, the organizers of
the event declared the role of fashion as a tool of cultural norms transformation in modern
society. This argument highly correlates with the position promoted in the current study.
The development of the fashion exhibitions as a new format of the fashion-art collaboration
demonstrated substantial opportunities for transformation and critical rethinking of the
previously existing socio-cultural norms.
Overall, the research has demonstrated opportunities for collaboration between the
fashion and art spheres in the contemporary world. Nevertheless, the research should not
fall victim to false impressions about the dominance of the Western globalized cultural
codes and fashion brands. A high number of communities in different parts of the world
might represent alternative and highly conservative cultures with a lower level of
dependence on general fashion trends and ideas. The research should obtain a full
understanding of local differences when addressing the research problem to form reliable
recommendations for fashion brands and artists.
The results of the study also highlighted the existing knowledge gaps that should
still be addressed in further research. First, it is sensible to analyze the findings of the
current study in the format of primary qualitative data collection involving experts in the
fields of fashion and arts. The engagement of qualified experts should demonstrate whether
recognize the value of fashion-art collaboration for mutual development of both spheres,
including a clear vision of the main formats of collaboration existing in the modern
practice. The second question that requires further discussion included the assessment of
opportunities for the development of the fashion industry through collaboration with art
spheres outside the visual arts segment. The current study demonstrated the value of visual
arts as a source of inspiration for fashion designers. Nevertheless, alternative spheres of arts
performance could also provide useful ideas for the fashion sector.
The final aspect of the further discussion that should be considered in future studies
includes the need for recognition of the fashion-art collaboration specifics depending on the
cultural background of the fashion and art experts. The current study was performed based
on the case study of the MET Gala exhibitions, which is the form of the Western-centric
fashion and art norms’ expression. To gain a full vision of the problem under study, it is
sensible to determine whether similar processes take form in societies with different
cultural and historical backgrounds. Altogether, the target theme is full of questions that
have to be further analyzed to gain a full vision of the fashion-art collaboration
phenomenon and its impacts on modern culture.
