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Special Edition:

When ART meets FASHION From collections inspired by art to collaborations with artists, branded exhibits to installations, fashion houses are on an accelerated quest to connect to the international art scene. In these conspicuous displays of cross-branding,

with Richard Prince – it was able to subvert itself, and the meaning of luxury in quite a clever way, and promote itself at the same time. When done well, it can be greatƁÓ

FASHION LOOKS TO ART FOR GRAVITAS WHILE FASHION OFFERS ART THE COOL FACTOR. AtFriezeNewYorkƂwhichkickedoȔon Friday and runs until Monday, retailer Gap has put its name to a tent, housing shops and a café, overlooking the East River. Gucci is an associate sponsor of Frieze Masters and a supporter of its talks programme, which this year included a conversation between artist Ed Ruscha and Ian Wardropper, director of the Frick collection in New York. Design house Alexander McQueen will also be taking part once more in Frieze London in October. “The fairs are the ultimate market because they attract wealthy collectors withaÞnelytunedaestheticsenseƂÓsays Andrew Renton, a collector and director of Marlborough Contemporary. “Dover Street Market is busiest during Frieze. The same people shopping for art also like luxury fashion ... At their best, the two entities can really elevate each other. Look at Louis Vuitton’s collaboration

Europe

Céline and Chanel, both spring/summer 2014; Thomas Tait autumn/winter 2014

Renton says that once upon a time the thinkingwastoÒpickthemostboringcityÓ to host art fairs so there were no distractionsƁÒThatÕstotallybeenßippedonits head. People are coming for the whole scene:thepartiesƂthelifestyleƂthedesignƂÓ he says.

edge items, including a collaboration with the art and fashion publisher Visionaire, in a temporary social space and café. Among the pieces for sale will be 11 T-shirt designs, by Alex Katz, Yoko Ono, Peter Lindbergh and others, that change colour when exposed to direct sunlight.

Frieze follows the brand-celebrity-fashion fest that was Design Miami in December, which featured collaborations including a Swarovski-sponsored installation inspired by mangroves by Brazilian architect Guilherme Torres; a mirrored installation by Maria Pergay for Fendi; and Dom Pérignon champagnebottleholdersfromJeȔKoonsƁ

Away from the art fairs, Commes des Garçons has released a fragrance called Serpentine in partnership with the eponymous LONDON gallery, in a bottle designed by Tracey Emin.

WmagazinescreenedaÞlmbyTimWalker to mark the opening of the Pérez Art Museum Miami, designed by Herzog & de Meuron; Louis Vuitton commissioned a replica of a 1930s prefab home designed by Charlotte Perriand, as a backdrop for clothing andaccessoriesfromitsÒIconsÓcollection; and Colette, the hip Paris boutique, collaborated with Miami concept store Alchemist tostageanÒartdriveőinÓatœœœœLincoln Road, an open-sided multistorey car park, also by Herzog & de Meuron. Women on rollerskatesoȔereddriveőincustomers books, jewellery, beauty products and accessories by artists, designers and celebrities, including Zaha Hadid, Thom Browne and James Franco. For Frieze New York, Gap’s riverside pop-up will showcase the retailer’s most cutting-

Comme des Garçons for Serpentine perfume

For fashion designers, artists can provide an avenue of creative inspiration. As the number of collections has increased annually from two to four or more, tapping talents from outside the fashion sphere can help to fuel ideas.


Accordingly, there was a strong art theme running through the spring collections. Chanel’s colour chart-like prints were shown in the Grand Palais (made over as a whitegallery)ƁCŽlinedaubedgraȗtibrushstrokes across skirts and tops, and Prada’s spring collection featured women’s faces created by six street artists. Miuccia Prada, a longtime supporter of contemporary art, is reportedly opening a museum of modern art in Milan in 2015 and the Pradasphere exhibition at Harrods in London opened this month. Recent collections from Saint Laurent, Thomas Tait, Hugo Boss and Acne have also referenced the Bauhaus movement, with Tory Burch’s collection inspired by Bauhaus photographer Gertrud Arndt. “Artist collaboration collections can be highlycollectableƂÓsaysCameronSilverƂ founder of Los Angeles vintage store Decades, who is staging an exhibit for Art Basel Miami in December exploring fashion as art. “Original Stephen Sprouse Louis Vuitton bags are still very attractive to my clientsƁÓ However, the boom in cross-branding is also partly the result of fashion’s insatiable social media machine, according to Ilaria Alber-Glanstaetten, founder of luxury consultancy Provenance. “Brands are hungry for content and things to fuel that content to feed the social me-

dia beast. Artist tie-ups give them somethingtotalkaboutƂÓshesaysƁ Does it work? “The links to sales are not clearbutitÕsabrandőbuildingexerciseƂÓ says Alber-Glanstaetten. “These collaborations imbue the brands with a sense of heritage and cultural relevance.

ART IS STILL SEEN AS QUITE A PURE UNCOMMERCIAL WORLD. IT ALIGNS BRANDS WITH A HIGHER COMMERCIALPURPOSEƁÓ by Lucia Greene


20 BEST ARTIST COLLABORATIONS IN EUROPEAN FASHION

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In a list of art and fashion collaborations there is a bit of blurring that happens. There are moments when designers becomes artists, artists become designers, or bothentitiesbecomessomethingdiȔerententirelyƁBoththegenreofÞneartsand fashiondesignnotonlybaretheaȔectoftrendandsocialtemperatureƂbuttheir changingrelationshiptooneanotherisalsoreßectiveofsocietyasawholeƁPerhaps some interventions and collaborations are more successful than others, but what is primarily important is the dabbling, the mixing, and fantastic results that come from the fanciful play of the privileged creatives.

GIANNI PIACENTINO Label: ALEXANDER WANG Year: 2014 This 2014 collaboration between sculptor, Gianni Piacentino, and luxury designer, Alexander Wang, produced photographs and artifacts expected of such an auspicious pairing. Gianni Piacentino produces minimalist vehicles, in their formal variations refer to an aesthetic that ranges from the earliest racing cars of the last centurytomodernƂfromthefuselagesoftheÞrstairplanestoscootersƂmotorcycles from the tanks of the twenties and thirties up to the most recent. The sleek lines and smooth cyclical forms of Piacentino’s sculptures parallel Alexander Wang’s clean cut and angular chic designs. This season, Alexander Wang worked closely withGianniPiacentinotoÞndinspirationandcreateabusinesscasuallookfor women that merges the tough and sexy appeal of a motorcyclist, yet maintaining feminity by using angular cut-outs to accentuate the curves of the body. by Jasmine Oh


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Francesco Vezzoli Label: Prada

Anselm Reyle Label: Christian Dior

Year: 2012

Year: 2012

Why try to make an object to put in a museum, when you could make a museum of yourown?ItalianÒsuperteamƂÓartistƂFrancescoVezzoliƂandfashiondesignerƂMiuccia Prada, decided that perhaps an entire museum was too extreme, but maybe a 24-hour occupation of the Palais d’lena in Paris was enough. The museum opened onJanuaryŔŖƂŔŒœŔtomuchpublicexcitementƁThedaywasÞlledwithstudent tours, press conferences and eventually, a celebratory dinner. The halls were lit bygarishpinkneonƂandthegallerieswereÞlledwithneoőclassicalsculpturesand light-up busts of recognizable celebrities. Vezzoli and Prada are no strangers to sensationalism;VezzolihascreatedfauxÞlmtrailerswithbignamessuchasRoman Polanski, and commercials for non-existent designer products with the likes of NataliePortmanƁAHuȗngtonPostarticleabouttheŔŖHourMuseumcollaborationspokeofVezzoliÕsabilitytoÒcreateunabashedkitschmonsterpiecesƂÓwhichon ÞrstglancesoundsharshƂbutperhapsitisbothVezzoliandPradaÕsuniqueability to create playful, seductive, kitschy and wholly-consuming commercial monsters that makes their collaboration all the more undeniably wonderful.

In the tradition of the designer Christian Dior, a professed art-lover and the founding father of the iconic fashion label, the brand sought out Berlin painter and sculptor, Anselm Reyle, in hopes of a collaboration for the 2012 Spring/Summer seasonƁWhatcameasaresultwereßatsƂwedgesƂclutchesandclassicDiorhandbagsemblazonedinmetalliclambskinandombrŽneoncamoußageƂthatdoanything but blend in. The jewelry wore the same boldness in cobalt and hot pink. The chunky leather and metal detailing of the jewelry created a quirky tension with the pearlescent baubles that hung between them. As the New York Times review of the collectionputit:ReyleÒdidnÕtturnthehouseonitsheadsomuchasonitssideƁÓ The article refers to Reyle’s 45-degree tilt to the classic Dior quilting that is featured on a number of the totes and handbags in the limited-edition collection. The ReylexDioreȔortdebutedatDiorÕspopőupshopatArtBaselMiamionNovember 28 and remained open until mid-December. The collection was also released to six boutiques around the globe including Los Angeles, Tokyo, London and Paris, until the end of March.


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Liam Gillick Label: Pringle of Scotland Year: 2011 British artist, Liam Gillick, and Pringle of Scotland design director, Alistair Carr, came together and created an accessories and knitwear capsule collection aptly named ‘liamgillickforpringleofscotland’. The collection’s aesthetic inspiration began with Gillick’s paintings; his tendency towards color blocking of bold and often unusual chromatic pairings rings clear throughout the line. As a part of a preview for the collaboration, Gillick also created runway benches for Pringle’s women’s show at London Fashion Week in September 2011. The benches were inscribed with text fragments from his then unpublished book titled Construction of One. Gillick describedthecollaborationwithCarrasagameofÒPingőPongÓÑasGillickgenerated the color palette, Carr created the silhouettes. In a Dazed Digital interview regarding the collaboration, Gillick said, “I have always been interested in Pringle making wearablethingsthatcrossőoverclassstructuresƁÓAndwhenaskedwhatexactlythe fashionőcollaborationqualiÞedasƂGillicksimplyrepliedƂÒitisintendedtooperate asanintegratedaspectofmyworkforPringleÑmeaningthatitisnotentirelyone thingoranotherƁÓ

Liam Gillick David Lynch Label: Christian Louboutin Year: 2007 ThisŔŒŒřcollaborationbetweenÞlmmakerƂDavidLynchƂandFrenchfootwear designer, Christian Louboutin, produced photographs and artifacts expected of such an auspicious pairing. The designs produced by Louboutin go beyond footwearÑmostbrinkoncompletedysfunctionintermsoftheirwalkabilityÑand take on a more sculptural aura. The tallest heel among the bunch measures at 26 centimeters, but Louboutin’s noted favorite in the collection was the pair of fused SiameseheelsƁButsculpturewasnotenoughforLouboutin;ÒIÞndthereÕsmore emotion with cinematic images. I wanted Lynch’ style...it was natural for me to ask himƁÓThephotographsdirectedandshotbyLynchreinforcetherelicőlikequalityof theÞvepairsofshoesondisplayƂandelicitthesamedarktheatricsofLynchÕsÞlmic work.


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Liu Bolin Label: Missoni, Lanvin, Jean Paul Gaultier and Valentino Year: 2012 Liu Bolin may be painting every fashionista’s favorite designer, but the origins of his art are by no means glamorous. Up until the demolition in 2005, Bolin worked in an artists’ village in Beijing; he was forced to stand helpless as his studio was leveled by a decision of the Chinese government. In reaction, he created the work HidingintheCityƂwhichshowedÑorobscuredshowingÑBolininaseriesofportraits that begin at the rubble of the artists’ village. In an interview with Harper’s Bazaar heremindsreadersƂÒItisverydiȗcultforChineseartiststoearntheirliving;we areallmartyrsofartƁÓAlthoughtheinitialintentionsofhisworkareintheveinof protest, Bolin’s latest works with fashion designers: Angela Missoni (of knitwear label Missoni), Jean Paul Gaultier, Alber Elbaz (of Lanvin) and Maria Grazia Chiuri and Pierpaolo Piccioli (of Valentino), take on a more lighthearted tone. In the same Harper’s Bazaar article Bolin explains that it takes hours to stage one photograph andinnumerableadditionalhourstopaintthesubjectintoplaceÑsometimesallegedlyuptoÞvedaysƁInagestureofbridgingChinesecultureÕsinfatuationwith ‘Western brands’ he “hid each designer in his or her own designs. You think about

Keith Haring Label: Nicholas Kirkwood Year: 2011 FormenƂwomenandeveryoneinbetweenthereareshoesÑandthenthereare ÒshoesƁÓThelatteriscappedinquotationmarkstoimplythatallfootwearis(and was) not created equal. And footwear designer Nicholas Kirkwood is on-trend with high quality shoes as usual; this time with his collaboration with the Keith Haring Foundation. While the collection was only available exclusive to the Joyce boutique in Hong Kong, the full collection was released at Mr. Kirkwood’s newly opened retail space on Mount Street in London beginning in July of 2011. Kirkwood has used Haring’s classics like Safe Sex and Radiant Baby in a bold and playful way that not only points to Haring’s genius as a legible illustrator but also to Kirkwood’s clever and elegant appropriation of Haring’s imagery.


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Andy Warhol Label: Yves Saint Laurent

Liam Gillick David Lynch Label: Christian Louboutin

Year: 1974 Year: 2007 The ongoing trend seems to be that fashion appropriates art. Most recently, fashion labels have become the patrons of major artworks like Francesco Vezzoli’s 24 Hour Museum or the Prada Transformer Building in Seoul, South Korea. As often as contemporary fashion houses patronize work, they also appropriate it; Marni’s use of Rop van Mierlo and Brian Rea are easy examples. However, in the particular case of Yves Saint Laurent and Andy Warhol (two men who need no introduction), Saint Laurent is the subject, and the product is a silkscreen image of a youthful Yves by Warhol himself. The 1974 work is done in a style similar to Warhol’s other works-an even square divided into four equal quadrants. The portraits are paired diagonally, but the paired images are painted in decidedlydiȔerentandfancifulwaysƁThepaintingstandstodayasacommemorative gesture to the great fashion designer. Although the painting itself is not a garment oraccessoryperseƂtheobjectstandsareßectionoftheintimatetiesbetweenthe culture of fashion and art.

ThisŔŒŒřcollaborationbetweenÞlmmakerƂDavidLynchƂandFrenchfootwear designer, Christian Louboutin, produced photographs and artifacts expected of such an auspicious pairing. The designs produced by Louboutin go beyond footwearÑmostbrinkoncompletedysfunctionintermsoftheirwalkabilityÑand take on a more sculptural aura. The tallest heel among the bunch measures at 26 centimeters, but Louboutin’s noted favorite in the collection was the pair of fused SiameseheelsƁButsculpturewasnotenoughforLouboutin;ÒIÞndthereÕsmore emotion with cinematic images. I wanted Lynch’ style...it was natural for me to ask himƁÓThephotographsdirectedandshotbyLynchreinforcetherelicőlikequalityof theÞvepairsofshoesondisplayƂandelicitthesamedarktheatricsofLynchÕsÞlmic work.


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Dinos and Jake Chapman Louis Vuitton Year: 2013 The handsomely utilitarian Autumn/Winter 2013 menswear collection for Louis Vuitton was designed by Kim Jones. Jones’ inspiration led him to the Himalayas for researchƂandhecamebackwithaparticularaȔectionforthemysteriousKingdom of Bhutan. It is from Jones’ sights and travels that the snow leopard and the tigers paths, both in the mountains of the Himalayas as well as the collection. Jones went out on another limb and commissioned the notorious Anglo-Greek Chapman Brothers(JakeandDinos)todesignaprintforthecollectionÑoneÞttinglybasedonthe ‘Garden in Hell.’ In an interview Jones’ said “This was the phrase Diana Vreeland famously used to describe her apartment. It was something we both responded to, thatandalloftheunusualanimalstobefoundintheHimalayasƁÓTheirillustrious printwastheChapmanBrothersÕtakeontheFrenchbaroqueßoralprintƂandfeaturesÒsurprisingelementstothecreepingßoraldesignÓlikehybridizedcreatures like oversized bloodshot eyeballs, feathered with bird’s feet, strange looking owls andmŽlangeofoȔbeatblossomsƁThetextilemadeitsdebut(inredandblueƂrespectively)intheeveningwearportionoftheshowƂÞrstasablazerƂthenasacoatƂ pantsƂandbagƂthenculminatinginaheadőtoőtoeprintÞnaleƁ

Cindy Sherman Label: Comme des Garcons Year: 1994 This 1994 collaboration with internationally acclaimed photographer, Cindy Sherman, and avant-garde Japanese fashion designer, Rei Kawakubo, still holds an edge over a lot of the more recent fashion photography campaigns. Sherman is best known for her self-portrait series Untitled Film Stills that feature a number of typiÞedfemininecharactersƁShermanƂinspiredbyKawakuboÕsalreadypointedly unconventional fashion sense is driven to create a campaign equally unique. The coquettish personalities of her Film Stills are replaced by the slumped, unhappy and imperfect female persona. These photographs confront the consumer with a model thatisnÕtparticularlyidealatall;sheßoatsinisolatedcontemplationƂcaughtforever pensive in the frame of Sherman’s photograph. Cindy Sherman would go on to a number of other fashion-related collaborations moving forward with names like Marc Jacobs and Balenciaga.


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Zaha Hadid Label: Chanel

Björk Label: Alexander McQueen

Year: 2008 Year: 1997 - 2010 The London-based architect, Zaha Hadid, designed the mobile Chanel Pavilion gallery that spent the bulk of 2008 traveling the world. It bega n its journey in Hong Kong in February, and then spent time in Tokyo until the end of July. After the PavilionÕscloseinJapanƂitarrivedinNewYorkCityÕsCentralParkÑandtomuchcriticism. Amidst the grip of the recession, Chanel paid a fee of $400,000 to rent the space in the park and the additional donation to the Central Park Conservancy felt frivolousƁAndaccordingtoNewYorkTimesÕNicolaiOuroussoȔthewholething isaÒblackholeofbadartandsuperÞcialtemptationsƁÓButcriticismasideƂHadidÕs homagetoChanelÕsiconicquiltedpurseÞndsthegracefulshapeofthenautilusőlike form that coils around a central courtyard. Despite the exhibition featuring internationally renowned artists such as Sophie Calle, Nobuyoshi Araki, Daniel Buren and Subodh Gupta, the structure holding the artwork steals the show with its seamlessbeautyƁThehundredsofÞberglasspanelsandsteelskeletonpieceswere designed build the structure in less than a week; a turnover time that gives Fashion a run for its money.

This epic relationship began when Icelandic native Björk released her fourth record, Homogenic in 1997 – and the image that held the album cover got nearly as muchpressasthemusicƁTheÒelÞnchanteuseÓherfanshadcometolovehadtransformedintoadiȔerentalmostunrecognizablecreature;acreaturethatƂtodaywe know was borne from her collaborative conversations with then, 26-year old Alexander McQueen. “When I went to Alexander McQueen, I explained to him the personwhowrotethesesongsÑsomeonewhowasputintoanimpossiblesituationƂ soimpossiblethatshehadtobecomeawarriorƁƁƁawarriorwhohadtoÞghtnot withweaponsbutwithloveƁÓTherespectiveworkofthesetwocreativegeniuses seemed to discuss similar themes of man, nature and machine. The two went on tocollaborateseveraltimes:McQueendirectedBjšrkÕsvideoforÒAlarmCallƂÓand in 2003, the pair reunited for a Fashion Rocks! performance, where she sported a McQueengownandcrystalmaskfortheÞnaleofherperformanceƁMcQueenwas also responsible for Björk’s fantastical bell-covered dress worn in the 2004 video ÒWhoIsIt?ÓAndinaŔŒŒŕconversationbetweenBjšrkandMcQueenwithIndex


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Lucio Fontana Givenchy Year: 2013 The Summer 2013 shoewear collection for Givenchy was designed by Jasmine Oh. Designer Oh, an avid fan of the Italian artist, Lucio Fontana, wished to remember the artist by dedicating her designs to his renown slash paintings on the 40th anniversary of his death. This summer’s Givenchy shoe collection correspond to the cutout clothing line. The wedge heels and sandals features multiple straps unveilingtheßeshinbetweenthestrapsasifinthenegativespacesinaLucioFontana painting. This limited shoe collection made its debut at a special exhibition in theMACRO Museum in Rome, Italy when it was displayed in front of its repectively related Fontana painting.

Ed Ruscha Label: Stella McCartney Year: Hopefully 2013 Successful fashion designer, Stella McCartney, and legendary artist, Ed Ruscha, participated in a recorded conversation for the Sundance Channel program “IconoclastsÓandpitchedeachotherideasforapotentialcollaborationƁSoƂthisentryis here because perhaps if we all wish hard enough, this seductive and timely pairing will materialize sooner.


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Takashi Murakami Label: Louis Vuitton Year: 2007 AmidstthemillionsofanimeeyesandsmilingßowersofTokyoőbornpopőartist TakashiMurakamiÕsŔŒŒřexhibitionÒSuperßatƂÓwastheworldÕsmostindulgent museum shop. Monographs, posters, and key chains were reserved for MOCA’s actual in-house store, a Louis Vuitton pop-up establishment with thousand-dollar totes. The monogrammed merchandise featured familiar characters and motifs of Murakami’s and was specially designed for the in-situ boutique. The gesture was an unprecedented one for any American art museum, and in an interview at the opening of the exhibition, supermodel Linda Evangelista was asked by a reporter, “What doyouthinkofthissynergyofartandfashion?ÓHerresponseƂÒWellƂitcertainly makesfashionmoreinterestingƁÓThecollaborationthatbeganinŔŒŒŕasmulticolored L’s and V’s had evolved into so much more. The cultural titans of ‘high art’ and ÔhighfashionÕcollidedƂandfoundtheirclashtobemutuallybeneÞcial;althoughit seemsthattherehasyettobeasconÞdentamovesinceƁ

Juergen Teller Label: Marc Jacobs Year: 1998 - Present It all began in 1998, and many of us can’t even remember what Marc Jacobs (the brand) looked like before Juergen Teller. Teller’s overexposed and slightly rosy tint make his photographs feel more like adventurous polaroids between friends than esoteric fashion photography. His imagery is playful but always with a little tinge ofdeßationƂgrungeorraunchinessÑlikeJacobsÕclothingƁSincetheauspicious beginnings of the Teller-Jacobs collaboration in 1998, Marc Jacobs’ ads have becomeacelebrityfashionyearbookwithnotablesubjectslikeWinonaRyderƂSoÞa Coppola, Helen Bonham Cater, Dakota Fanning and photographer Cindy Sherman. magazine, he said of his own designs that sound like it could have come from either virtuoso, “my work is always in some way directed by nature. It needs to connect withtheearthƁThingsthatareprocessedandreprocessedlosetheirsubstanceƁÓ


SEPTEMBER 23 -足 OCTOBER 1, 2014


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Hugo Guiness Label: Coach Year: 2012 Leather goods brand, Coach, has a knack for picking artist-collaborators. Continuing their trendy trajectory, they tapped New York-based printmaker and illustrator, Hugo Guinness, to design a line of limited edition leather totes, laptop cases, wallets and other satchels embossed with his simple and charming illustrations. There are few critiques, and seeing as any of the Coach x Guinness merchandise would instantly up the fashion quotient for any man, woman or child, others probably don’t have any either.

Meret Probst Label: Fendi Year: 2011 ThestudentsofBritainÕsRoyalCollegeofArtwereoȔeredtheopportunitytocreate installations in the recently opened Sloane Street Fendi boutique. The young artistswereencouragedtoincorporatesurplusmaterials(likedyeƂandoȔcuts ofleather)fortheirinstallationsƁFendiÕsopennesstothestudentspaidoȔ;particularly in the case of Meret Probst’s Starting with a Blank Canvas that resided in the front window the Fendi shop was inspired by the colored leather goods of the legendary label. Probst’s display begins in stark white canvas, with Fendi purses hanging from the bottom. Then, slowly, a stream of dye is released into a winding polygonal tour down the canvas and subsequently drips onto the canvas, the bags and the display, and transforms this peculiar intervention into a ‘decorative and ever-changing picture.’


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Trevi Fountain, Rome, Italy Label: Fendi Year: 2013 - 2014 Admittedly, this pairing is not such a clear relationship as others on the list, but culturally, it is incontrovertible that this collaboration deserves a spot on the list. Italian luxury fashion label Fendi is the latest to foot the bill for the restoration of Rome’s famed Trevi Fountain. The treasured fountain passed its 250th anniversary last year, but because of consistently poor management due to lack of funding, the façade has fallen into disrepair. Creative head of Fendi, Karl Lagerfeld, made a public statement promising €2.18 million (US$2.93 million) to the restoration of the Trevi Fountain. Fendi follows the 2012 announcement from Tod’s (also an Italian fashionhouse)promisetoÞnancetherestorationeȔortstoRomeÕsmonumental Coliseum. Fendi’s CEO said the “deal was about reinforcing the brand’s historic links with Rome, where it started as a modest handbag and fur shop and ‘giving back to the city that has hosted us since 1925.’


ART WORLDWIDE  

PROFESSOR SHARA WASSERMAN'S CLASS