Exploring Art and Fashion Convergence: Impact on Collaborations

Last week, the WWD Global Impact Council convened to welcome new members and look ahead to council plans for 2025. The meeting also included a discussion about the dynamic relationship between art and fashion, and how it continues to deepen and evolve. During that session, James Fallon, editorial director of WWD and Fairchild Media Group, interviewed Katherine E. Fleming, president and chief executive officer of the J. Paul Getty Trust.

The interview centered on the increasing convergence of art and fashion with luxury brands emphasizing their cultural history and participating in artistic endeavors such as exhibitions. Fleming explained that while the art world is more passive in seeking this connection, it finds value in the relationship. Fleming also expressed skepticism about brands labeling themselves as “cultural,” pointing out the ambiguity in defining what culture refers to in this context.

“I think people are increasingly interested in cultural depth and in storytelling and in moving beyond from the luxury brand end of things, consumerism or pure consumerism — as the narrative that is driving things,” Fleming said. “So, you see all sorts of luxury brands that are really emphasizing their own histories, their own origins, telling their stories. They’re very interested in having exhibitions and publications talk about them as cultural histories, frankly. The art world is less of a pusher towards having this joining of the two, but is very happy — in certain circumstances — to comply. [It also finds] certain things about the relationship between the two to be really beneficial.”

When asked if art and fashion both move culture forward, Fleming said, “Absolutely. You could very convincingly make an argument that one of the defining features of Western consumer culture right now is the sort of apotheosis of luxury brands and the increasing connection of luxury brands with what we used to think of as the world of art,” she said. “With all of these collaborations that we see between artists and luxury brands cosponsoring events, with luxury brands supporting various art events, it’s very, very clear that we are at a moment in the zeitgeist when these two things want to be very close together in a very specific way. And I would argue that that is defining our current culture rather than reflective of it.”

Fleming discussed how luxury products are increasingly being treated as collectible items, similar to limited-edition art pieces, further blurring the lines between art and commercial fashion. She also noted Getty’s experience hosting exhibitions that blend fashion and art, such as a fashion photography exhibition by Tim Walker that paralleled classical artworks, which expanded their audience reach and engaged curators in new ways. Fleming also addressed potential conflicts, such as the art world’s discomfort with commercialism as well as the importance of maintaining clear distinctions between art exhibits and commercial promotions.

The discussion then pivoted to highlighting the difference between European and American support for the arts. Fleming underscored the significant role of private philanthropy in the U.S., citing luxury brands’ contributions and her own institution’s foundation based on J. Paul Getty’s legacy. She also said for collaborations between the art and fashion industries to be successful, both parties need to deeply understand each other’s values, principles and backgrounds to ensure meaningful and respectful partnerships.