Collaborations Between Luxury Fashion Br

Collaborations between Luxury Fashion Brands and Contemporary Artists:
Value Creation for Both Sides
By
Shimin (Fiona) Fei
Advisor: Sandra Lang M.A. Final Project

Department of Art and Art Professions Visual Arts Administration
Steinhardt School of Culture, Education and Human Development Spring 2019
New York University
ABSTRACT
Collaborations between Luxury Fashion Brands and Contemporary Artists:

Value Creation for Both Sides
Shimin (Fiona) Fei
Visual Arts Administration
Spring 2019
This research aims to understand the increased collaborative activities between luxury fashion
brands and contemporary artists. A history of intersections between fashion and art is explored in
order to illustrate how it paves the way for the current proliferation of collaborations between
contemporary artists and luxury fashion brands. Through analyzing and evaluating numerous
case studies, this paper argues that the collaboration between luxury fashion brands and
contemporary artists is an example of brand alliance that generates material and immaterial value
for both entities. Both partners contribute their ideas, knowledge, expertise and resources in
order to work collaboratively to complete a project. The investigation of several recent
collaborations between luxury fashions and artists supports the argument that the outcome of a
successful alliance is mutually beneficial. The benefits associated with collaborative activity
enable both luxury fashion brands and artists to present their works in a unique way, developing
their brand images, gaining more recognition, reaching a broader audience, and spreading their
messages to the public.
TABLE OF CONTENTS
INTRODUCTION .............................................................................…………………… 1
CHAPTER
I. A History of the Relationship between Fashion and Art .................. 3
Debate on whether fashion is art ................................................ 3
Historical basis of collaboration ................................................ 7
Significance of the relationship between fashion and art ........... 12
II. Contemporary Collaborations between

Luxury Fashion Brands and Artists ....................................... 15
Louis Vuitton collaborations ....................................................... 15
John Yuyi x Gucci: #TFWGucci ............................................... 34
Off-White c/o Virgil Abloh Collaborations ................................ 39
III. Brand Alliance: Luxury Fashion Brands and Artist Brands ……… 48
Artists as brands ......................................................................... 48
A luxury fashion brand and contemporary art

collaboration as a brand alliance strategy .......................... 51
The benefits of brand alliance for both sides .............................. 54
V. Conclusion .............................................................................................. 59
BIBLIOGRAPHY ............................................................................................................... 61
1
Introduction
The overlap between the fields of luxury fashion and art is a trendy phenomenon in today’s
society. There is an expansive history about the relationship between fashion and art. The
interactions between luxury fashion designers and artists began centuries ago. One of the early
examples of luxury fashion brands and art collaborations is Elsa Schiaparelli’s collaboration with
the Surrealist artist Salavdor Dali. This collaboration originated from the close relationship
between the designer and the artist as well as their mutual appreciation for each other’s work.1
Although their co-designed Shoe Hat and Lobster Evening Dress have received many good
reviews and loosened the boundary between art and fashion in the 20 th century, the opposing
nature of the art and fashion industry spurs the debate about whether fashion can be considered
as art. The on-going debate over fashion vs. art does not diminish the interaction between the two
industries; instead, it stimulates the creative collaborations between artists and brands/designers.
Since the turn of the millennium, the fashion industry has increasingly incorporated the fine arts
into its business activities. The fashion-art crossover can be seen in many forms including the co-
design of wearable goods, visual design for the retail store, co-directing for an advertising
campaign, and the presentation of fashion exhibitions in art organizations. Today, luxury fashion
brands and designers see opportunities spring from the application of contemporary art/artists in
luxury fashion design. Alliance with artists helps brands enhance and reinvigorate brand image.
For artists, partnering with big luxury brands not only stimulates inspiration but also advances
their careers and brings a larger audience to come to know their names and works of art. This
paper explores the increased collaborative activity between luxury fashion brands/designers and
contemporary art/artists that evolves from the extensive history of intersections between fashion
and art.
In today’s cultural and economic environment, collaborations between luxury fashion brands and
contemporary artists are primary exemplifications of brand alliances. Although there is sufficient
literature on the topic of brand alliance, current marketing literature fails to pay enough attention
1
Alice Mackrell, Art and Fashion: The Impact of Art on Fashion and Fashion on Art (London:
Batsford, 2005), 141.
2
to the case of the collaboration between luxury fashion brands and contemporary art/artists.
Further research is needed to develop this topic and contribute new knowledge to current fashion
theory and marketing theory. In addition, new forms of collaborations between luxury fashion
brands and artists are continuously evolving. Taking the notion that there have been over 250
fashion and art collaborations launched in the past decade, these creative collaborations need
more scholarly attention. Current studies focus on the commercial impact of such collaborations
on luxury fashion brands/retailers. Limited research has been conducted to investigate the values
for the artists side and the contemporary art market. This research project investigates several
recent collaborations between luxury fashion brands and artists, with the intention to analyze the
benefits each participant receives through an alliance with one another.
This paper argues that the collaboration between luxury fashion brands and contemporary artists
create value for both entities within the brand alliance. According to the marketing expert
Rosabeth Kanter, business alliances/collaborations enable both parties to create new value
together and seize unexpected opportunities.2 The proliferation of luxury fashion brands and
contemporary art collaborations may indicate the benefits of entering into such collaborative
activity. For luxury fashion brands, collaborative partnerships satisfy the market’s demand for
continuous newness, create a unique selling point, drive brand awareness, enhance the brand
image and widen the market segments.3 For artists, the collaborative alliance with well-
established luxury fashion brands increases media exposure about their works and helps them
with branding4 and essentially benefits the artist’s market. The benefits associated with this
collaborative activity enable both the brands/designers and the artists to present their work in a
unique way, gaining more awareness and becoming more recognizable. Even more, the
experience of collaborating with another industry’s professionals may create more value than a
final product would receive. By observing, analyzing and evaluating the collaborations of luxury
fashion brands and contemporary artists historically and currently, this paper identifies the
commercial, cultural and educational benefits of such collaborations for both participants.
2 "Collaborative Advantage: The Art Of Alliances". Harvard Business Review, 2018,

https://hbr.org/1994/07/collaborative-advantage-the-art-of-alliances.
3
Florine Beauloye, "Marketing To Millennials: How Luxury Brands Build Hype". Luxe Digital, 2018,
https://luxe.digital/digital-luxury-trends/marketing-hype-millennials
4
Schroeder, Jonathan E. “The Artist and the Brand.” European Journal of Marketing 39, no.11 (2005):
1291-3.
3
Chapter 1 A History of the Relationship between Fashion and Art
1.1. Debate on whether fashion is art
The fashion industry today has increasingly incorporated the fine arts into its business activities.
The fashion-art crossover can be seen in the forms of product design, retail store design, fashion
exhibition, advertising campaigns and so on. As the distinctions between art and fashion become
more and more obscure, the partnership between art and fashion spurs the debate about whether
fashion can be considered as art.
Historical oppositions focus on the contrasting nature of fashion and art and then argue the
supreme status of fine art over fashion. Immanuel Kant’s argument of aesthetic judgments can be
used to describe the philosophical attributers of art and fashion. Kant proposes a distinction
between a posteriori (empirical) and a priori (pure) aesthetic judgement, which are determined
by one’s feelings of pleasure or displeasure.5 Since clothing indicates one’s social status, fashion
links to vanity and the human nature of imitation. Humans tend to imitate others who seem to be
socially superior. “Fashion belongs under the heading of vanity for its intent is no inner value;
and also under the heading of folly, for it is folly to be compelled by mere example into
following slavishly the conduct shown by many in society” (Kant, 1892). Within this framework,
fashion is relegated to social custom rather than aesthetics.
Critics see art and fashion as two separate realms. Art critic Michael Boodro’s article “Art and
Fashion: A Fine Romance”, published in ArtNews in 1990, examines the intersection between art
and fashion. Although he mentions some commonalities between the two fields, he rejects
fashion as art. He writes, “There is a longstanding, genteel tradition – an ideal, at least – that art
is the creation of individuals burning bright with lofty inspiration, that art is above commerce,
that art, for its own sake or for any other reason, is the big, important thing… Fashion is not art.
Fashion is frivolous and unimportant…” (Boodro 1990: 121-3). He argues that there is an
5
Miller, Sandra. “Fashion as Art; is Fashion Art?” Fashion Theory, 11:1 (2007): 25-40
4
inevitable distinction between art and fashion.6 The commercial nature of the fashion industry is
essentially different from the intentions of artistic creation. As art is created for its own sake and
regardless of any utility value, fashion is seen as a commodity and utility that is influenced by
consumer culture and economic value.
Walter Benjamin’ essay, The work of art in the age of mechanical reproduction, discusses the
value of art and the supremacy of originality over reproduction. The process of reproducing
works of art sacrifices the value of art and its presence in time and space. He argues that the
ritualistic meaning and aesthetic value of a work of art will be lost with the act of reproduction.
Benjamin introduces the term “aura” to illustrate the value of works of art. The aura includes the
transcendent beauty and the legitimacy given to the object by its existence.7 With mechanical
reproduction, images of an original are circulated and the aura of an original work of art
diminishes. As some fashion brands reproduce the images of a work of art on accessories and
apparel, and sell the products to their customers, the originality and authenticity of the work of
art disappears. The intangible quality that makes something art is replaced by the image’s
ubiquity in mass produced products. Then, some people believe that art becomes a commodity
that is consumed by the mass market. By the same logic, mass produced fashion garments and
accessories should not be considered as art.
Contrary to the above insights that separate fashion from the realm of art, some literature has
argued that fashion is a form of art.
The art historian Anne Hollander conducts a study on fashion from a different perspective than
Kantian tradition. She views fashion as a form of visual art and modernity that is embodied in
fashion. She writes that “Fashion is a modern art, because its formal changes illustrate the idea
of process at a remove, as other modern art has done; it is always a representation. Fashion
makes its own sequence of imaginative pictures in its own formal medium, which has its own
6
Boodro, Michael. “Art and Fashion: A Fine Romance.” ARTnews 89.no.7 (1990) : 120-27
7
Walter Benjamin. “The Work of Art in the Age of its Technological Reproducibility”. In The work of art in the age
of its technological reproducibility, and other writings on media, edited M. W.Jennings, B. Doherty, & T. Y. Levin,
(Cambridge, MA: Belknap Press of Harvard University Press, 1936) :19–55
5
history; it doesn’t simply create a direct visual mirror of cultural facts.” 8 Although fashion
embodies social meaning, according to Hollander, the evolution of fashion is determined by
aesthetic considerations rather than by external factors such as social, political or economic
imperatives. Through examination of the clothes depicted in works of art and clothes from real
life in the West, Hollander discovers the changes in fashion are related to the pictorial
representations of the ideal body.9 In her view, the changing styles in fashion, inspired from
artistic representations of the body, are primarily the result of aesthetic experimentation that
responds to visual needs. Briefly, Holland relates fashion to art and argues that fashion is just
another form of visual art similar to paintings and sculptures.
The birth of Haute Couture10 in the 1850s represents a similar performance between fashion
design and art practice. Unlike ready-to-wear or other mainstream fashion, haute couture
garments are not restrained to serve a practical purpose or gain approval by mass audience.
Haute couture combines the highest form of craftsmanship and outstanding artisanship.11 Like
art, couture garments are one-of-kind unique pieces. Charles Frederick Worth, the founding
father of Haute Couture, is a critical figure in advancing couture fashion as an art form.
According to Geczy and Karaminas’s article “Fashion and Art: Critical Crossovers”, the two
authors claim that Worth promotes the notion of creation into fashion and leverages the status of
the designer.12 Worth sees himself as an artist and presents his couture garments in a similar way
to art. He establishes the image as creator instead of a dressmaker who sews on demand. He
enjoys the freedom of creating couture garments. his design is an artistic expression of his
imagination and creativity. He believed that the making of a couture garment is similar to artistic
process. Couture presents more than just luxurious clothing that elevates the wearer’s status; it
embodies the designer’s creative depth and his or her unique self. Worth suggests that the
difference between his garments and an artist’s canvas is just a technicality.13
8
Anne Hollander, Sex and Suits: The Evolution of Modern Dress (New York: Alfred & Knopf, 1994), 15.
9
Anne Hollander, Seeing through Clothes (Berkeley University of California Press, 1993), 314
10
Haute couture is the creation of exclusive custom-fitted clothing that is constructed by hand from start to finish,
made from high-quality, expensive, often unusual fabric and sewn with extreme attention to detail and finished by
the most experienced and capable sewers.
11
Smith and Kubler, Art/fashion in the 21st Century (London: Thames and Hudson, 2013), 13.
12
Geczy and Karaminas, “Fashion and Art: Critical Crossovers,” 15.
13
6
In Geczy and Karmamina’s view, both fashion and art are aspects of visual culture, involving
form, color, and texture.14 Regardless of whether fashion is art or not, there is a close relationship
between art and fashion. In the late 20th century, the interaction between artists and fashion
designers/brands reached its peak and further blurred the boundary between the two realms. The
cover of the February 1982 issue of Artforum features an Issey Miyake outfit. This gesture is
dedicated to bridge the gap between art and fashion and also address the affinity between them.
While fashion designers often gain inspiration from works of art, fashion also influences art by
providing subjects for artists as well as sources of inspiration. The Canadian artist Jana
Sterback’s Flesh Dress (1987) uses fashion and dress as a vehicle to communicate concerns and
raise issues of the female body. To photographer Cindy Sherman, fashion is an important
ingredient in the creation of her work. She’s known for her Fashion Series photography, a
perfect example of art meets fashion. She explores the concept of construction of identity and
challenges the conventions of beauty through styling herself with fashion imagery. In the 1990s,
the trend of fashion entering into museum shows became a hit. In 1996, the Florence Biennale
presented a series of exhibitions with the theme Il tempo e le moda (Looking at fashion) that
drew extensive attention to the synergies and the complexity between the two universes of
fashion and art.15 In 1997, the Guggenheim Museum SoHo further held the Art/Fashion
exhibition as an extended version of the original Italian exhibit.
14
15
Ena Szkoda. “Exhibition Review: Art/Fashion. Guggenheim Museum SoHo.” Fashion Theory 1, no. 3 (1997):
321
7
1.2. Historical basis of collaboration
Collaboration between art and fashion is hardly a new phenomenon. Since the early twentieth
century, the interaction between the worlds of art and fashion has increasingly been intertwined,
especially with the birth of haute couture. As many fashion designers have been recognized for
their affinity to art, the evolution of art and fashion collaborations has conferred the boundaries
between the two fields. Fashion designers Elsa Schiaparelli and Yves Saint Laurent are the two
primary early examples of artist-and-designer collaborations that lay the foundation for the
proliferation of creative collaboration between the two industries seen in today’s marketplace.
Elsa Schiaparelli & the Surrealists

Elsa Schiaparelli is an Italian designer who specialized in designing eveningwear. During the
1920s and 1930s, Schiaparelli collaborated with a group of Surrealists including Jean Cocteau,
Christian Berard, Jean-Michel Frank, and most remarkably, Salvador Dali.16 Associating with
Surrealists gave her a sense of theatricality in her designs, which challenged traditional aesthetic
norms of clothing design.17
In Elsa Schiaparelli’s Fall 1937 collection, she took inspiration from Surrealist artist Jean
Cocteau’s art. Based on two drawings Cocteau made for her in her 1937 collection, Schiaparelli
designed an embroidered evening coat (figure 1) that was embroidered in a pattern that suggests
the illusion of a vase.18 Schiaparelli translated trompe-l’oeil profiles of two confronting faces
drawn by Cocteau in her design. She also chose linen as the main fabric in order to contrast with
the gold embroidery of Cocteau’s imagery. Through her interaction with Jean Cocteau, the
collaboration generated creativity and theatrical expression in Schiaparelli’s designs.
Compared to Schiaparelli and Cocteau’s collaboration, her collaboration with Dali went a step
further, blurring the distinctions of the role of artist and designer. Indeed, Dali contributed at
16
Crane, D. Fashion design and social change: Women designers and stylistic innovation. The Journal of American
Culture 22, no.1 (1999): 65
17
Lehnert, G. A history of fashion in the 20th century (Cologne: Konemann, 2000)
18
Martin, R. Fashion and surrealism ( New York: Rizzoli, 1987)
8
great length to Schiaparelli’s designs which resulted in three of Schiaparelli’s most iconic
garments: the Tear Dress (1938), the Shoe Hat (1937), and the Organza Dress with Painted
Lobster (1937).19 The design of the Shoe Hat was initiated by Salvador Dali in a sketch and then
confirmed by Schiaparelli’s own illustration (figure 2).20 The Shoe Hat brought the shape of
women’s high-heeled shoe to the head, which highlighted the characteristics of Surrealist
absurdity.21 Throughout Dali’s collaboration with Schiaparelli, Dali contributed more than
generated innovation for Schiaparelli’s design. Actually, He participated in the process of dress-
making. For example, Dali was in charge of the textile design for the creation of the notable
Lobster Evening Dress and the Tear Dress (figure 3,4). The Lobster dress is a white silk evening
dress with an a gigantic red lobster amid springs of parsley painted by Dali on the front of the
dress. The surrealist theme of illusion is evident in the collaboration between Schiaparelli and
Dali. With Dali’s help, the evening gown became alive as if the lobster was climbing out of the
cooking pan.
The partnership between Schiaparelli and Dali was noted as the first true hybrid of fashion
design and art in a collaborative manner.22 In her autobiography, Schiaparelli declared dress
design “not as a profession, but an art.” 23 She saw herself as an artist and expressed her artistic
sensibility through clothing design. Influenced by the Surrealism movement, Schiaparelli sought
to collaborate with her close friends (surrealists) and interpreted the surrealist themes in her
fashion designs. Through various collaborations with surrealists, Schiaparelli was able to gain
inspirations for her designs and elevate the status of fashion/clothing.
19
Geczy, Adam and Vicki Karaminas, “Fashion and Art: Critical Crossovers,” in Fashion and Art, ed. by
Adam Geczy and Vicki Karaminas (New York: Berg Publishers, 2012), 1.
20
Yuli Bai, “Fashion Design and Art Collaborations: An Investigation of the Collaborations Between Fashion
Designers/Brands and Artists” (PhD diss., The Hong Kong Polytechnic University Institute of Textiles and Clothing,
2010), 19.
21
Met collection. Accessed February 19, 2019. https://www.metmuseum.org/art/collection/search/83437
22
Blechman, Meredith “A History of Art & Fashion Collaborations,” Accessed March 3, 2019
https://www.artspace.com/magazine/art_101/art_market/art_101_art_and_fashion_collaborations-5804
23
Steele, Valerie. “Fashion.” In Fashion and Art, edited by Adam Geczy and Vicki Karaminas, (New York: Berg
Publishers, 2012): 18
9
Figure 1(left): Embroidered Evening Jacket by Schiaparelli & Cocteau, 1937

© 2019 Artists Rights Society (ARS), New York
Figure 2 (right): Shoe Hat by Schiaparelli & Dali, 1937

Courtesy Metropolitan Museum of Art
Figure 3 (left): The Lobster Dress by Schiaparelli & Dali, 1937

Courtesy Philadelphia Museum of Art
Figure 4 (right):The Tear Dress by Schiaparelli & Dali, 1938

Courtesy Victoria and Albert Museum
10
Yves Saint Laurent & Piet Mondrian

Continuing on to the 1960s, fashion designers were constantly finding inspiration in popular
culture. Yves Saint Laurent took inspiration from artists such as Andy Warhol, Pablo Picasso,
and Piet Mondrian for pattern design. His designs were exquisite and of high quality that shared
the same appreciation as art. Saint Laurent was notably recognized for his Mondrian dress from
1965 (fig 5). The Museum of Modern Art in New York City held a memorial exhibition for Piet
Mondrian in 1945; Two decades later, Saint Laurent adapted Mondrian’s art and style to his
fashion design. Embracing Mondrian’s geometric pattern, Saint Laurent “employed the then-
radical shift dress, largely a flat, square surface, as a canvas for Piet Mondrian’s famous color-
blocked works.”24 While the designer took the practice of “treating dress like canvases” 25, he
diminished the sense of commodity in the nature of fashion. In addition, Yves Saint Laurent
introduced Piet Mondrian and his artwork to a wider audience by transforming the work of art
into walkable and wearable dress.26 Then, Piet Mondrian’s artwork received much public
recognition and media exposure through the circulation of fashion magazines and fashion
advertisements. The synergy of art and fashion became more and more obvious and common in
the 1960s, especially with the development of the Pop Art movement. After the Mondrian dress,
Saint Laurent continued his reference to contemporary art and Pop artists. In the autumn/winter
1966 runway show, Saint Laurent introduced the Pop Art collection that further paid tribute to
art. The collection included two dresses that were reminiscence of Tom Wesselman’s paintings.
Yves Saint Laurent is indeed an significant figure who promotes art and makes art as his ally. In
1980, he designed dresses that were inspired by Matisse; In 1988, he incorporated Vincent Van
Gogh’s famous Iris and Sunflowers into his collection. 27 His designs demonstrated that fashion
could proceed in step with art and share the same status as art. In 1983, Yves Saint Laurent held
a retrospective exhibition in the Metropolitan Museum of Art. It was the first time for museums
to exhibit current fashion. Before this exhibition, museums only exhibited costumes that had a
24
Smith, Michell Oakley and Alison Kubler. Art/Fashion in the 21st Century. (London: Thames and Hudson,
2013),16
25
Mackrell, Dr. Alice. Art and Fashion: The Impact of Art on Fashion and Fashion on Art.(London: Batsford,
2005),148.
26
Geczy, Adam and Vicki Karaminas, ed. Fashion and Art. (London: Berg, 2012), 31
27
“Yves Saint Laurent: Couture Pop,” Accessed January 15, 2019. https://www.carredartistes.com/us/en/blog/yves-
saint-laurent-couture-pop-n116
11
historical significance. 28 As current fashion enters into distinguished museums, the status of
fashion has been elevated and received “official recognition as a worthy form of cultural
expression.”29
Figure 5
Left: The Mondrian Dress by Yves Saint Laurent
© Musée Yves Saint Laurent Paris / Alexandre Guirkinger
Right: Composition with Red, Blue, and Yellow, 1930
Piet Mondrian
Oil on Canvas
20 x 20 in
Image retrieved from website https://www.carredartistes.com/us/en/blog/yves-saint-laurent-couture-pop-
n116
28
Mackrell, Dr. Alice. Art and Fashion: The Impact of Art on Fashion and Fashion on Art.
(London: Batsford, 2005), 153.
29
Mackrell, Dr. Alice. Art and Fashion: The Impact of Art on Fashion and Fashion on Art.
(London: Batsford, 2005), 153.
12
1.3. Significance of the relationship between fashion and art
(1) Inspiration; Innovation; Creative Expression

The interactions between the two genres (Fashion and Art) can be a source of creativity and
inspiration for both participants. Muller suggests that fashion designers can find stimulus in art,
including the rethinking of – the structure of clothing, its relationship with the body and its social
impact.30 Art’s influence on fashion design can be as straightforward as transforming the art
from canvas to the fabric. Versace’s 1991 collection was inspired by Andy Warhol’s Pop art.
The evening dress was emblazoned with Warhol’s silk-screened portraits of Marilyn Monroe.
Art’s influence on fashion design can also be subtle yet sublime. Given the example of
Alexander McQueen’s 1999 Spring/Summer show, the designer took inspiration from Jackson
Pollock’s drip paintings and transformed the art experience onto the runway. The model was
dressed in a strapless white cotton full dress, accompanied by two robots that sprayed paint on
the dress. Audiences were allowed to witness the ‘process’ of making the dress and enjoy this
spectacular show that infused art and technology into fashion design.31 Artists can also observe
and absorb ideas from fashion designers; the examples of Cindy Sherman’s fashion photography
series and Jana Sterback’s Flesh dress illustrate the benefits of the interactions between the two
genres. Sometimes, designers and artists collaborate together to create a capsule collection out of
their mutual fascination. The mutual appreciation between Elsa Schiaparelli and surrealist
Salvador Dali stimulated their creative expression and made their renowned 1937 Lobster Dress,
Shoe Hat, and Tears Dress. More details about fashion designer and artist collaborations will be
analyzed in a later chapter. Overall, the interactions between fashion and art provide
opportunities for both participants to engage with inspiration and innovation. They can learn
from each other and gain insights about their designs and art practice.
30
Muller Florence, Art & Fashion (London: Thames & Hudson, 2000), 16
31
Winser, Kim. “The Love Fair between Fashion and Art,” Accessed December 20, 2018
https://artsandculture.google.com/theme/XgKyfdx7wqN8KA
13
(2) Popularization of Art

Scholars suggest that the 1960s is an turning point in the relationship between art and fashion.
With the evolution of Pop Art, this art movement led the prosperous interaction between art and
fashion. According to Geczy and Karaminas, the interaction between fashion and art helps
disseminate artistic motifs among the public who have had little contact with art or who feel
uncomfortable dealing with it.32 By collaborating with artists, adopting images and inspiration
from art and artists, fashion designers incorporate art into their designs and allow more people to
see the art and get to know the artist. Yves Saint Laurent’s adoption of Piet Mondrian’s color-
blocked paintings has turned a relatively specialized artist into a household name. The fashion
advertisements of Mondrian’s paintings on YSL’s shift dresses have been heavily circulated. The
artist and his artworks then became more recognizable by the public. Even now, although more
and more people have become aware of fine art, there are still a lot of artists who are
unrecognized. The collaboration between the art and fashion industries today can also be seen as
a way to popularize art, support artists and make an artist’s work visible to diverse audiences.
(3) Aestheticization of everyday life

Fashion historian Joanne Entwistle examines fashion as something that is both produced and
consumed. In her book The Fashioned Body, she writes “dress in everyday life cannot be
separated from the living breathing body that it adorns.” 33 Within this context, the democratic
circumstances of contemporary art break down the traditional role in high culture and begins to
infuse in everyday and infuses the interchange between high and low culture. Pop artists in the
1960s appropriated images from billboards, advertisements, product packaging and comic strips
to embrace consumer culture in their art as a way to democratize art.34 Pop artists’ active
rebellion against the elitist concept of art further loosens the distinction between high and low
culture. Everyday objects become Pop artists’ inspiration; consumer culture is their canvas.
Dress and fashion become another canvas for art. Pop artists’ art practice explored and reflected
the idea that art can be anywhere and anything. In Mike Featherstone’s book Consumer Culture
32
Geczy and Karaminas, Fashion and Art, 31.
33
Joanne Entwistle, The Fashion and Body (London: Sage, 2000), 1.
34
Barbara Heinemann, “Curating an Exhibition: Fashion and Art,” In Fashion and Art , ed. by Adam Geczy
and Vicki Karaminas (New York: Berg Publishers, 2012), 205.
14
and Postmodernism, the author further develops the concept of the aestheticization of everyday
life. His examination of postmodernism highlights the collapse of the boundary between art and
everyday life, high art and mass/popular culture, fulfilling a general stylistic promiscuity and
playful mixing of codes. Fashion designers in the 1960s simultaneously sought inspirations in
popular culture as a way to democratize fashion and distinguish it from its functionality and
social meaning. Richard Martin describes fashion’s marriage with art as “fashion divorced
wealth and power and married art and culture” 35. Together, fashion and art became allies to
reject traditions and make their work accessible to mass audiences.
(4) Commercial Value

The interaction between art and fashion may generate commercial value for both participants.
For luxury fashion brands, the incorporation with art enhances their brand images. Luxury
fashion brand’s association with art enables the clothes to gain the “aura” of the art36, strengthen
the value of the brand and create a unique selling point to compete with others. Probably, luxury
fashion brand’s integration of its brand with art demonstrates its intention to present its products
to be viewed as art. In this sense, the incorporation with art helps the brands to recover the loss
of the artisan craftsmanship and helps to rectify the dispersion of the concept of ‘rarity’. The
alliance with art provides the differentiating strength to fashion brands that help them to reshape
their brand images and emphasize the aesthetic value of their designs. In addition, artists’
interaction with fashion can also be beneficial. According to WSJ’s interview with Mitchell
Smith, fashion collaborations help artists expand their profiles on a global scale. With the
exposure to a varied audience, artists are able to reach a larger global audience and enhance their
reputations. To quote Smith’s worlds, “I don't think Mr. Murakami would have the reputation he
does today if it weren't for the collaboration with Louis Vuitton.” 37
35
Martin, Richard. “Beyond Appearances and beyond custom,” in Fashion and Imagination, ed. Jan Brand and Jose
Teunisse (Arnhem: d’jonge Hond and ARTez Press, 2009), 27.
36
Jelinek, Julia-Sophie “Art as strategic branding tool for luxury fashion brands”, Product & Brand Management
27, no. 3 (2018), 296.
37
Gregory, Alice. “Art and fashion:The mutual appreciation society.” The Wall Street Journal. 2014. March 28
https://www.wsj.com/articles/art-and-fashion-the-mutual-appreciation-society-1396031035
15
Chapter 2: Contemporary Collaborations between Luxury Fashion Brands and Artists
2.1. Louis Vuitton Collaborations
Luxury brand Louis Vuitton has been incorporating with arts over time. The way this global
luxury brand incorporates visual art has several variations: Louis Vuitton not only invites artists
to collaborate on projects directly and indirectly, but also sponsors artists and curates shows at
the Foundation Louis Vuitton.38 It is important to mention Marc Jacobs’s efforts in stressing the
boundary between visual art and design. As the creative director of Louis Vuitton from 1997 to
2013, Jacobs has worked with a roaster of well-established artists for the French luxury label and
envisioned the great potential brought by the critical crossover between fashion and art.
Peter Bengtsen, the author of Fashion Curates Art: Takashi Murakami for Louis Vuitton, sees the
role of Marc Jacobs as parallel with that of a curator. During Jacobs’s time at Louis Vuitton, he
initiated a series of artistic collaborations that revived the image of the Louis Vuitton brand.
In 2002, Marc Jacobs initiated his first creative collaboration. He teamed up with American
designer and artist Stephen Sprouse to design a limited edition of Vuitton bags, which feature
graffiti-style designs printed on top of the brand’s traditional monogram. As seen in figure 6,
Stephen Sprouse’s limited edition bags were quite a novelty that added subcultural style to
luxury heritage. The neon color and graffiti design transformed the signature monogram and
brought new life to the brand’s iconic monogram Keepalls and luggage bags. This collection
marked the beginning of Louis Vuitton’s mix of subcultural streetstyle and luxury attire. Since
the initial collaboration with Sprouse was so popular and the pieces sold out quickly, a second
collection was followed by a range of products in tribute to Sprouse’s death in 2004. For both the
Fall 2006 and 2008 runway shows, Marc Jacobs incorporated Sprouse’s graffiti design not only
on bags, but also on footwear, clothing and accessories. He revived and recolored two iconic
Sprouse motifs, the graffiti and the rose , and applied it over scarves, bags, wallets, shoes, ties,
dresses etc.(fig.7-8). Marc Jacobs declared that this collection was a revisit of Stephen Sprouse’s
38
Bengtsen, Peter. “Fashion Curates Art: Takashi Murakami for Louis Vuitton”, 200
16
hit collaboration in 2001 and as Louis Vuitton’s homage to the artist. “I tried to take what
Stephen had done at Vuitton and then kind of flip it in my head, and make it Vuitton’s work for
Stephen, not Stephen’s work for Vuitton……. I just felt it was a funny way to play with it, to
pretend to be Sprouse for a bit, and use the work that he did, and then bring it back to the work
that he did before I collaborated with him.” Jacobs said.39 The collaboration between Louis
Vuitton and Stephen Sprouse was not one-sided; the brand values the creative energy that the
artist brings to the brand and truly honors him. In conjunction with the release of the Sprouse
collection, Louis Vuitton fully funded a Sprouse retrospective exhibition at Deitch Projects in
2009. The exhibition, Rock on Mars, turned the gallery space into Sprouse’s futuristic rock and
roll vision.40 Louis Vuitton’s connection with Stephen Sprouse opened the door for collaborative
projects between fashion and art. Although partnering with another creative partner can be risky,
Louis Vuitton has not stopped producing artist-designed limited editions.
Figure 6 (left): Louis Vuitton Spring/Summer 2001 Runway

Courtesy Vogue.com
Figure 7-8 (middle and right): Louis Vuitton 2008 Collection

Courtesy WWD
39
Karimazadeh, Marc. “Vuitton Brings Back Stephen Sprouse.” WWD. December 1, 2008
https://wwd.com/fashion-news/designer-luxury/vuitton-brings-back-sprouse-1873077/
40
Rock on Mars press release retrieved at http://calendar.artcat.com/exhibits/8716
17
Louis Vuitton x Takashi Murakami (2003 – 2015)

In 2003, Marc Jacobs chose Takashi Murakami, a Japanese artist who’s known as the Japanese
Andy Warhol, to produce a limited edition line for the brand’s Spring/Summer 2003 accessories
collection. This collaboration paved the way for the success of the super popular multicolor bags.
This was the beginning of a twelve-year collaboration.
Takashi Murakami
Takashi Murakami is known for his iconic Superflat style. As an art practice, Murakami
constructs a painting by working numerous layers over layers. In this way, the artist is able to
create depth and perspective into a painting although the painting looks super flat in the first
instance.41 Another important feature of Murakami’s artworks is his incorporation of popular
culture into fine art, especially his use of bold graphic and colorful cartoon characters. His art
connects Japanese contemporary visual culture to Japanese traditional art. While taking
inspiration from Western art and culture, Murakami wants to establish himself in the Western art
market. In 1994, he participated in the PS1 International Studio Program in New York and
introduced Japanese culture to western audiences through his art.42 The brightened and flattened
cute anime characters, derived from Japanese anime and manga, communicate a unique visual
message with western audiences. The freshness of Murakami’s art received positive reviews and
international recognition. Murakami then started to be represented by Galerie Perrotin, a blue-
chip gallery, in 1995. He later developed his “Superflat” aesthetic theory and has been featured
in numerous solo exhibitions at prestigious galleries and institutions all over the world.
Murakami’s output varies in different media, including paintings, sculptures, drawings,
animations and also collaborations with brands.
The Collection
When Louis Vuitton and Takashi Murakami first collaborated in 2003, Murakami not only
incorporated his artistic style into the collection of handbags and accessories, but also updated
Hoogenhuyze Lisette (2017), “Third Factor”. 14

41
42
Murakami, Takashi (2001), "Life As a Creator", Summon Monsters? Open the door? Heal? Or Die?, Museum of
Contemporary Art, Tokyo
18
the traditional monogram pattern. Louis Vuitton and Murakami’s first collaborative line was
named the “Louis Vuitton Monogram Multicolore collection”. Murakami described his
monogram design as “Eye Love Monogram”. Comparing LV’s traditional monogram pattern
(figure 9) with Murakami’s Eye Love monogram (figure 10-11), Murakami’s design was so
colorful that it completely departs from the relatively conservative look of the brand’s traditional
symbol. At first, Murakami changed the “canvas” of Louis Vuitton bags, which were usually in
brown color. The artist replaced the brown canvas with either black or white. Then, Murakami
went a step further than Stephen Sprouse who added something to the existing monogram,
Murakami changed the design of the monogram pattern. On top of the brown canvas, Murakami
transformed the gold monogram pattern to multicolored logos, which featured more than 33
silkscreened colors.43 In addition to the rendition of the monogram pattern, Murakami also added
his signature characters and floral motifs for his first collaboration with Louis Vuitton.
Figure 9 (left):
Louis Vuitton iconic Speedy bag that features traditional gold-on-brown monogram pattern.
Courtesy Louis Vuitton
Figure 10-11: Louis Vuitton 2003 S/S Runway – detail

Shoot Digital for Style.com
Courtesy Vogue
43
19
Murakami created a fresh look for the luxury brand; his multicolor collection made the brand
approachable to younger generations who’d be attracted to a splash of color on the bag.
According to a LVMH’s press release in 2003, Murakami’s collection was a hit and customers
were getting in lines to sign up for the waiting lists.44 In 2004 and 2005, Murakami added cherry
blossom prints, which became the hallmark of his work. Figure 12 and figure 13 illustrate
Murakami’s cherries for the Louis Vuitton bags. In the Louis Vuitton Monogram Cereise Line,
Murakami mixed 15 different pigments to revive the bright red of the cherries. The printing
result exemplifies Murakami’s superflat style: the subject matter looks vivid but they are super
flat on the surface of the bag. Murakami later incorporated cartoon figures and colorful flowers
in his cherry blossom design (Figure 13). The subject matter of Murakami’s design for Louis
Vuitton, the cute characters and cherry blossoms, recall the artist’s Japanese heritage and also his
iconic Kawaii-pop-art style. His collaboration with Louis Vuitton closes the ties between
commerce and art; also, the artist continues exploring the limits of infusing art into mass-
produced consumerism.
Figure 12 (left): Louis Vuitton 2015 Summer/Spring Runway

The Louis Vuitton Monogram Cerises Line
Figure 13 (right): Cheery Blossom Line

44
LVMH (2003) Press release, September 12, previously available online
20
Analysis: Louis Vuitton’s curatorial choice to collaborate with Takashi Murakami

As Takashi Murakami made his fame as the Japanese Andy Warhol, Murakami’s art practice
took a similar approach to that of Warhol – appropriating mass cultural and commercial symbols
as a way to close the gap between fine art and commerce.45 Murakami also funded his business
enterprise, Kaikai Kiki, since 2001. Similar to the Warhol factory, Kaikai Kiki commercializes
Murakami’s artworks into mass-produced derivative art products such as plush toys, phone
cases, key chains and other accessories. Although these products are arguably seen as part of
Murakami’s commercial production, it is important to recognize that Murakami’s art products
integrate his artistic practice with mass culture. Indeed, Murakami’s products appeal to a diverse
group of audiences on a global scale. The reputation of Murakami’s name and the aesthetic
quality of Murakami’s art attracted Louis Vuitton and helped to foster the initial Louis Vuitton
collaboration.46 The visual language of Murakami’s art is simple yet powerful. His signature
motifs, such as flowers and anime characters, can be easily converted to patterns on the products
of Louis Vuitton.
In addition, Takashi Murakami’s Japanese heritage was beneficial for the Louis Vuitton brand
to penetrate the lucrative Japanese market and broader Asian market. According to Louis
Vuitton’s sales report in 2002, Japan alone consumed $1.4 billion of Louis Vuitton products and
accounted over one-third of the company’s overall revenue for that year. 47 As Japan is an
important market for Louis Vuitton, the brand strategically collaborated with the Japanese artist
in order to further address the brand’s relevancy and affinity in the Japanese market. On the one
hand, Murakami’s art and design is associated with the Japanese kawaii culture. For instance, his
superflat art style is based on aesthetics of kawaii that is reflected in a number of different
mediums, specifically anime and manga. Some of the artist’s most recognizable characters,
smiling flowers and eye motifs, exemplify the fundamental quality of kawaii aesthetics. As Louis
Vuitton adapted Murakami’s iconic motif on the products, this collaboration created a direct
45
Siegal, Katy, “In the Air,” In Little Boy. The arts of Japan’s Exploding Subculture. ed. Takashi Murakami (New
Haven, CTL Japan Society, Inc/Yale University Press, 2005), 273
46
47
Chandler, Clay and Kano, Cindy. “ Recession Chic.” Fortune Magazine, accessed December 20, 2018.
hppt://money.cnn.com/magazines/fortune/fortune_archive/2003/09/20/349902/index.htm
21
association between the luxury brand and Japanese contemporary culture.48 Such association
helps the brand reach out to potential customers in Japan and further enhances the company’s
leadership position while conquering new markets.
On the other hand, the kawaii aesthetic quality in Murakami’s art and design expresses a sense of
youthfulness and cheerfulness. An important aspect of the Japanese ideal of kawaii is its
association with females, especially young women and girls. The child-like, cuteness and
cheerful character of Murakami’s art certainly does not fit with typical representations of
masculinity, yet it highly appeals to women.49 Browsing the Louis Vuitton products designed by
Murakami, Murakami’s design brightens and revives the traditional gold-on-brown monogram
pattern. For instance, Murakami’s red cherries over Louis Vuitton’s classic monogram pattern
(Figure 12) indicates a visual connection between the classic luxury brand and the female ideal
of kawaii created by Murakami. The focus of femininity and kawaii/cuteness in Murakami’s
collaboration with Louis Vuitton is intended to target the female segment of the Japanese
market.50 Besides, the integration of Japanese contemporary culture (kawaii) into Murakami’s
design for Louis Vuitton also attracts wider consumer segments in addition to its established
customer base. Although the Louis Vuitton brand had a long history of signifying class, maturity
and status, Murakami’s designs for Louis Vuitton modernizes the brand image and makes it
appeal to younger generations. Therefore, Louis Vuitton’s collaboration with Murakami not only
enhances the brand’s presence in the Japanese market, but also enables the brand to expand its
existing customer profiles.
Beyond the collection

The collaboration between Louis Vuitton and Takashi Murakami brings new inspirations and
creations for both the brand and the artist. Shortly after Murakami’s first series with Louis
Vuitton, the artist had his third solo show at Marianne Boesky Gallery in New York. The
exhibition was open from April 11, 2003 to May 10, 2003. According to the gallery’s press
release, this exhibition indicated the intimate relationship between Murakami’s design for the
48
49
Matthew Burdelski and koji Mitsuhashi, “She thinks you’re kawaii,” Language in Society 39, no.1 (2010):68
50
22
Louis Vuitton collaboration and the development of his art practices.51 The artist integrated the
symbols of LV into his artworks and replaced his designs and characters in another context –
gallery art. One of Murakami’s new paintings, LV Monolith, is a good example which illustrates
the close relationship between Murakami’s collaborations and his fine art (fig 14). This painting
depicts a lot of symbols that Murakami had been using in his designs for Louis Vuitton. For
example, the visual color and tonality of this painting are reminiscent of the bright multicolor
logo that Murakami redesigned for his first series. In addition, there is the small and smiling
character with four flower petals, which refers to the flower symbol from the Louis Vuitton
monogram pattern. Bengtsen, the author of Fashion Curates Art: Takashi Murakami for Louis
Vuitton, compares LV Monolith with Murakami’s older work, Cube (2001), and views it as the
updated ‘Louis Vuitton’ version of Cube. They depict similar scenario and motifs. However, in
the new painting, Murakami added a few elements for the main subject matter (LV logo) and did
some variations on the smiling character. As the small smiling character in the Cube has 12
flower petals, the characters in LV Monolith only carry four petals that connotate LV’s flower
symbol.52 Another visual example is the multicolored LV-symbol that stands out from the
painting. The size of this symbol is the biggest in the painting; its straight lines differentiate from
other rounded motifs that dominate the painting. Bengtsen views the creation of LV Monolith as
the result of creative exchanges between the brand and the artist. As Murakami utilized stylish
elements in his gallery art (smiling flowers and cartoon characters) for LV products, he also
integrated LV’s symbols into his fine art. His collaboration with Louis Vuitton was truly a two-
way exchange of talent, heritage, knowledge and culture.
In 2007, Takashi Murakami had a retrospective show at the Museum of Contemporary Art in
Los Angeles. The exhibition combined early and recent paintings, sculptures and animations by
the artist; it also included the most recent examples of Murakami’s collaboration with Louis
Vuitton. In conjunction with an exhibition of more than 90 pieces of the artist’s works at the
MOCA, a fully functional LV pop-up store was included inside the museum. The Louis Vuitton
temporary store was initiated by Louis Vuitton for the sake of bringing culture and commerce
51
Marianne Boesky Gallery Press release. Accessed March 01, 2018
http://www.marianneboeskygallery.com/exhibitions/takashi-murakami3?view=slider#5
52 Bengtsen, Peter. “Fashion Curates Art: Takashi Murakami for Louis Vuitton”, 206
23
together.53 As seen from the image of the store (Figure 15), the store displayed a series limited
edition leather goods that were generated from the collaboration between the brand and the artist.
Visitors could also purchase editions of Murakami’s LV monogram paintings. The gesture of
integrating a boutique store in a non-profit museum received polemical reviews. While art critic
Dave Hickey said that “it has turned the museum into a sort of upscale Macy’s” 54, Louis Vuitton
and Murakami pioneered a new approach of integrating artistic practice and commodity culture.
Paul Schimmel, the museum’s chief curator, argued that the inclusion of the boutique is integral
to the artist’s approach of sending his messages to the public. Schimmel said to the New York
Times :“One of the most radical aspects of Murakami’s work is his willingness both to embrace
and exploit the idea of his brand, to mingle his identity with a corporate identity and play with
that…”.55 Along with the artist and Louis Vuitton, contemporary art museums like MOCA were
also pushing boundaries between the spheres of art and fashion.
Figure 14 (left): LV Monolith, 2003 Figure 15(right): View of Louis Vuitton’s store
Acrylic on canvas mounted on wood at MOCA Los Angeles, 2007
59 x 59 inches Courtesy Perrotin Gallery
Courtesy Marianne Boesky Gallery
53
Kyojuro, H. Louis Vuitton Japon: L’invention du luxe. (Paris: Editions Assouline, 2004)
54
Ferla, Ruth La. “The Artist’s Fall Collection.” New York Times. November 8, 2007
https://www.nytimes.com/2007/11/08/fashion/08ART.html
55
https://www.nytimes.com/2007/11/08/fashion/08ART.htmll
24
Evaluation
The intersection between the art and fashion industries has become more and more obvious in
the twenty-first century. While the collaboration between fashion brands and artists is largely
initiated by financial interests, it does not necessarily mean that the output of the collaboration
only holds monetary value.
Takashi Murakami’s collaboration with Louis Vuitton is the case on point that illustrates an
equal level of participation between the artist and the luxury fashion brand. It is a two-way
reciprocal communication between Murakami and Louis Vuitton. As for Murakami’s artistic
practice, he attempts to dissolve the rigid Western hierarchy of “high art” and break down the
boundaries between commercial production and fine art. By teaming up with a brand like Louis
Vuitton, Murakami is able to further emphasize that art and commerce can be blended together
and spread this message on a global scale.
Murakami’s collaboration with Louis Vuitton was a huge success in relation to financial gain,
cultural capital, and publicity. The release of Murakami’s Multicolor Monogram collection
created a hype all over the digital press, social media as well as in Louis Vuitton stores. Both
participants were able to get benefits from the successful collaborations. Creativity is one output
of Murakami’s collaboration with Louis Vuitton. Between the artist and the luxury brand, these
two constantly learn from each other and inspire each other. This case suggests the potential
impact of collaboration on an artist’s artworks. As Murakami created a new look for Louis
Vuitton’s motif and integrated it into various Vuitton products, this creative output was later
reflected in Murakami’s newly created artworks that referred back to essential elements from his
LV collaboration. These new artworks, combining recognizable motifs/symbols of the Louis
Vuitton brand and the artist’s iconic style, have been exhibited and traveled across major art
galleries and museums/institutions. This alliance with Louis Vuitton enabled the artist to acquire
international media exposure and exhibition opportunities. For Murakami, the success of his
collaboration with Louis Vuitton advanced his career and lifted the artist’s market and his status
25
up to celebrity.56 Takashi Murakami then became a household name and a significant player in
cultural production, not merely in the art world. For Louis Vuitton, associating with the Japanese
contemporary artist definitively benefit the brand to reach out and target a specific demographic
customer group. At the same time, Louis Vuitton was able to revive its brand image through its
merge with pop culture and contemporary art. As Murakami’s design for Louis Vuitton departed
from the brand’s traditional design, his contemporary design enabled the Louis Vuitton brand to
appear much younger than years before the collaboration. With a fresh brand image, Louis
Vuitton was able to capture a different and younger audience than before. In addition, LV’s
interaction with art allowed the brand to acquire a voice in contemporary art so that people could
see the Louis Vuitton brand in a different dimension.
The collaboration between Takashi Murakami and Louis Vuitton exemplifies the increasing
interaction between art and fashion. The creations originating from the collaboration are not only
in the collections of leather goods and accessories. The connection between the artist and the
brand works both ways and leads to the possibility of further collaborations beyond the product
design itself.
56
Ghorashi, Hannah. “Louis Vuitton Ends its 13-Year Relationship With Takashi Murakami.” ARTnews. July 21,
2015 http://www.artnews.com/2015/07/21/louis-vuitton-ends-its-13-year-relationship-with-takashi-murakami/
26
Louis Vuitton x Jeff Koons (2017)

After previous collaborations with artists such as Stephen Sprouse, Takashi Murakami, Yayoi
Kusama, Louis Vuitton called on famous contemporary artist Jeff Koons to create a new
collection in 2017. This project was initiated by the daughter of Bernard Arnault, the head of
LVMH and also a long-time supporter and collector of Koons, as an homage to the Old
Masters.57 For this project, masterpieces like Mona Lisa (by Leonardo da Vinci), Girl with Dog
(by Fragonard), Venus and Cupid (by Titian) and other images were transposed onto a new
collection of bags and accessories called The Masters Collection.
Jeff Koons
American artist Jeff Koons is known for his involvement with the readymade and American Pop
culture. Influenced by an earlier generation of Pop artists, Koons’s art is based on working with
commercial materials. He rose to prominence for his bold paintings and monumental sculptures
that hold a critical distance to contemporary culture.58 Koons has developed his own
recognizable style through his combination of art historical references and banal objects. As
Koons turns banal objects into fine art, he believes that his art communicates with the general
public, rather than a niche group of people who go to art galleries and museums. The themes of
inflatable flowers, balloon animals, and comic book characters are recurring in his 40-year-long
career. One example of Koons’s early works, Rabbit (1986), a 1-meter-tall stainless-steel
sculpture that comprises an inflatable toy shaped as a rabbit, exemplifies Koons’s signature style
( figure 15). The smooth, glossy, mirrored surfaces and saturated, vivid colors have become
significant elements in Koons art. The stainless-steel surface of the Rabbit reflects everything
surrounding the artwork and turns the attention away from the sculpture’s interior.59 Although
the kitsch quality in Koons’ art has brought critique, Jeff Koons is undoubtedly a significant
figure in the contemporary art era. It is important to mention that Jeff Koons was the most
expensive living artist until David Hockney beat Koons’s auction record this year. Koons’s
Balloon Dog (Orange) sold for $58.4 million at Christie’s post War and Contemporary Art
57
Louis Vuitton Press Release. Accessed March 8, 2018
https://www.lvmh.com/news-documents/news/louis-vuitton-unveils-masters-a-collaboration-with-artist-jeff-koons/
58
Gagosian Gallery Jeff Koons. Accessed March 8, 2018 https://gagosian.com/artists/jeff-koons/
59
The Braod Museum collection. Accessed March 8, 2018 https://www.thebroad.org/art/jeff-koons/rabbit
27
Evening Sale in New York City, and set the auction record price for a work by a living artist in
2013. In addition, Jeff Koons is also an active player in collaborations between art and
commerce. He has collaborated with musicians, fashion brands, alcoholic beverage companies,
Google and many more. His engagement with commerce is not only an important factor for his
artistic practice, but also enables Koons to achieve his goal – “I want my work to be accessible to
people”60.
Figure 15: Rabbit, 1986

Stainless-steel
41 x 19 x 12 in.
© Jeff Koons
Douglas M. Parker Studio, Los Angeles
The Collection:
The Masters Collection was born from a collaboration between Louis Vuitton and Jeff Koons
that was advertised as an homage to classical art. According to Jeff Koons’s art statement for this
project, the collection “remixes the iconic artworks of the old masters and presents them in a way
that encourages new interpretations.”61 Iconic masterpieces have been flawlessly reproduced on
the canvas of Louis Vuitton’s classic Speedy, Keepall and Neverfull bags (figure 16). On top of
each canvas, the respective artist’s name was emblazoned in shiny metallic lettering. In addition,
a biography and portrait of the Master whose work has been referenced are attached inside the
bag.62 The first chapter of the Masters Collection uses five painters’ artworks, including
Leonardo Da Vinci's Mona Lisa, Peter Paul Rubens' The Tiger Hunt, Fragonard’s Girl with Dog,
60
Ferla, Ruth La. “Art, and Handbags, for the People.” New York Times, July 23, 2014.
https://www.nytimes.com/2014/07/24/fashion/hm-and-jeff-koons-collaborate-on-a-handbag.html?_r=0
61
Jeff Koons website. Accessed March 13, 2019.
http://www.jeffkoons.com/artwork/projects/louis-vuitton-x-jeff-koons-masters
62
Louis Vuitton press release. Accessed Feb 30, 2019
https://us.louisvuitton.com/eng-us/articles/jeff-koons-x-louis-vuitton
28
Vincent Van Gogh's Wheat Field with Cypresses and Titian’s Venus and Cupid. The second
chapter of the Masters Collection, a continuation of the first collection, includes even more
masterpieces by Monet, Turner, Gauguin, Manet, Boucher, and Poussin.
Browsing the images of the Masters Collection, it is not hard to find the connection between this
collaboration and Koons’s gallery art. Specifically, the Masters Collection features imagery from
Jeff Koon’s recent Gazing Ball paintings. Each painting features a hand-painted reproduction of
an artwork by one of the Old Masters with a blue globe placed in front of the painting (figure
17). As the mirrored surface of the gazing balls reflects everything surrounding the paintings, it
also allows visitors to become part of the painting.63 Through the reflective effect of the gazing
ball, Koons fosters a linkage between the audience and artwork, which is central to his art
practice. Audiences are encouraged to walk around and have a continuing dialogue with the past.
The idea of appreciating Old Masters paintings and celebrating humanity is further applied on
the surface of Louis Vuitton’s accessories and handbags. Koons intentionally extended his
gazing ball series to his collaboration with Louis Vuitton as a way to highlight the connection
between the past and the present as well as a direct challenge to the authority of authorship.64
While Jeff Koons appropriated the Old Masters paintings in his gallery art and went further by
applying the images onto the canvases of Louis Vuitton leather goods, his goal is to democratize
artwork and then make art accessible to people.65 In the Masters Collection, Jeff Koons turns
the old masterpieces into another kind of art object that can be carried over into everyday life. He
not only makes old masters paintings more accessible to the public, but also breaks the hierarchy
attached to fine art. There is also an educative aspect in the Masters Collection: a short
biography and a portrait of the master artist is included inside of each bag (figure 18). According
to Koons, “having the names of the artists in the reflective type is in a way performing a function
like the gazing ball in the ‘Gazing Ball Paintings’ … There’s also a reflective process about the
63
Parsons, Elly. “Ready-made success: Jeff Koons reflects at Almine Rech Gallery, London.” Wallpaper. Oct 7,
2016 https://www.wallpaper.com/art/jeff-koons-at-almine-rech
64
Edwards, Stassa. “Jeff Koons’s Handbag Collaboration with Louis Vuitton is Predictably Boring.” The Muse.
November 4, 2017 https://themuse.jezebel.com/jeff-koonss-handbag-collaboration-with-louis-vuitton-is-
1794212200
65
Friedman Vanessa. “Jeff Koons’s New Line.” New York Times. April 11, 2017
https://www.nytimes.com/2017/04/11/fashion/jeff-koons-louis-vuitton-masters-collection.html
29
person being interlinked with the bag.”66 Both the brand and the artist share a similar vision in
this collaboration – to revive the Old Master paintings and promote customers’ engagement with
the arts.
Besides incorporating his gallery art (Gazing Ball paintings) into the collaboration with Louis
Vuitton, Jeff Koons also did significant innovative work to give the brand a fresh look. First, Jeff
Koons reimagined the iconic Louis Vuitton Monogram. He reduced the quantity of the brand
logo and then increased the size of the monogram pattern. In addition, he even added his own
signature in the same style of the Louis Vuitton Monogram (figure 19). It was the first time for
Louis Vuitton to include the artist’s signature along with the brand logotype. The status of the
artist is highlighted in this collaboration. Moreover, each bag also has a leather tag in the shape
of the inflatable rabbit that Koons famously executed in silver stainless steel in 1986 (figure 15
and 20).
Figure 16:
Masters
Collection
© Louis
Vuitton
66
Accessed March 20, 2019 https://www.blouinartinfo.com/news/story/2095288/louis-vuittons-stunning-new-
collaboration-with-jeff-koons
30
Figure 17:
Gazing Ball (da Vinci Mona Lisa), 2016
Archival pigment print on Innova rag paper, galss
40 7/10 x 27 4/5 in
Courtesy Jeff Koons
Figure 18: Interior of Masters Collection

31
Figure 19 (left): Figure 20 (right):

Monogram Canvas from the Masters Collection Rabbit Charm from the Masters Collection
Courtesy Louis Vuitton Courtesy Louis Vuitton
32
Evaluation:
Through the exclusive products from the Masters Collection, customers are able to purchase not
only a luxury item but also an artwork. However, there is some critical commentary regarding
the Masters Collection. According to Muse magazine, the collection is predictably boring and
looks like a museum giftshop items.67 Although Koons is known for his art appropriation and
pastiche, the practice of reproducing old masterpieces over Louis Vuitton’s monogram seems to
show a lack of artistic effort. The purses bear a resemblance to the kind of garish souvenir bags
sold in tourist gift shops. Nevertheless, the public has their own preferences on the tastefulness
of the products. Despite the aesthetic factor, the Masters Collection reveals standard Koons
oeuvre. Jeff Koons is intentionally making the purses kitschy, which is an essential quality in
Koons art practices. While the old master paintings were printed on the bags with the names of
the master artists and Koons’s signature is strikingly stamped across the bags, Jeff Koons
intertwines various lineages in a single product – the art canon, the artist’s status, and the
heritage of the brand.
Jeff Koon’s collaboration with Louis Vuitton illustrates an instance where the collaboration is
oriented towards the arts. First, Jeff Koons uses his collaboration with Louis Vuitton as a
platform to promote old masterpieces and share the art he most loves. He wants the public to see
and feel the power of Van Gogh, the sensuality of Titian, the glamour of Rubens, the playfulness
of Fragonard and much more. In Koons’ opinion, he doesn't see the bags from the Masters
Collection as commodity that differs from his art. He relaxes the distinction between art and
commerce by creating something that “connects in a profound way to the universal.”68 As Koons
is emotionally attached to the Old Master paintings, he hopes the public can also appreciate the
artistic treasures offered by the past. With the old masters’ names in metal letters emblazoned on
the bag, people walking on the street would indirectly take an art history lesson while looking at
the bag. Indeed, the Masters Collection enables the masterpieces to walk out of the museum and
integrate into contemporary lives.
67
Edwards, Stassa. “Jeff Koons’s Handbag Collaboration with Louis Vuitton is Predictably Boring.” The Muse.
November 4, 2017
68
33
Second, Louis Vuitton has granted a significant level of freedom in Koons’s creative process.
The brand allows the artist to push boundaries to innovate the brand’s traditional monogram and
include his own signature. Koons alters the intertwined “LV” logotype to accommodate his own
initials. He also adds a leather bunny bag charm in the “Masters” bags in tribute to his signature
Rabbit (1986) works. The sense of Koons’s self-branding is heightened in this collaboration. Jeff
Koons’s brand name is evident in the “Masters” bags.69 Through the inclusion of Koons’s
signature motif and logo, the artist uses fashion to increase his brand exposure and get his name
out to mass audiences. Associating with a dominant luxury brand cultivates the artist’s personal
brand image and expands his business to other horizons – the fashion industry. The target
customers of Louis Vuitton may be similar to the type of audience that Koons wants to develop
in terms of demographics and social class.
With the help of Koons’s artistic output, Louis Vuitton is able to create a line of leather goods
that upgrades the brand image. Associating with celebrity artist Jeff Koons, Louis Vuitton sets a
context and a hype in order to maintain its competitive advantage. Marc Gobe, author of
Emotional Branding, has argued that in order for a brand to differentiate itself from competitors,
it must reinvent itself constantly and create innovate products that are culturally relevant, socially
sensitive, and experiential in nature.70 In this particular case, the Louis Vuitton brand managed to
stay interesting and thus desirable to its customers by being innovative while at the same time
reinforcing its heritage.
In sum, the Masters Collection exemplifies an intersection of brand identity and art appreciation.
The collaboration between Louis Vuitton and Jeff Koons is like a co-branding between two
strong brands that builds a bridge between two fields. Both participants contribute and exchange
their own expertise, resources, and cultural capital in this collaboration.
69
Kim, Kibum and Degen, Natasha. “The Kitsch Gazes Back: Jeff Koons and Damien Hirst Return.” LARB, July 2,
2017 https://lareviewofbooks.org/article/the-kitsch-gazes-back-jeff-koons-and-damien-hirst-return/#
70
Gobe, Marc. Emotional Branding. (New York: Allworth Press, 2001), 117.
34
2.2. John Yuyi x Gucci: #TFWGucci
John Yuyi is a Taipei-born visual artist with a background in fashion design and painting. Upon
her arrival at New York City in 2016, Yuyi started to gain a reputation for her provocative art
that uses unconventional materials. She is known mostly for her temporary tattooed self-
portraits that explore the issue of body image, internet-identity and female representation in the
digital age. 71 As John Yuyi belongs to the millennial generation, she is well-aware of the
potential of social media. Indeed, her art consists of elements from social media and often
expresses critical commentary towards media representations of women and mass culture.
Examples are the temporary tattoo stickers that she designs exploiting the visual symbols of
social media: the like button, follow count, QR code etc. John Yuyi’s artistic aesthetic is
“playful, unexpected, and curious” 72. And the artist uses her own body (often nude) as the canvas
to communicate messages in regards to the intersection of fashion and art, self-identity and
internet-identity. Tattoo stickers, ‘meme’, and cosmetics are just some of the artist’s primary
elements that frequently appear in her works of art (figure 21-22).
Besides streaming ideas in social media, Yuyi embraces social media platforms, specifically
Instagram, in regards to her exposure as an artist. She carefully curates her Instagram account as
her artist page where she creates content and shares her artworks and artist experiences with the
public . Due to the characteristics of her art, the aura of an Asian female artist, and her heavy use
of Instagram, she became an influencer on Instagram, where she has more than 170k followers.
As John Yuyi is dependent on her Instagram for publicity, her distinctive art style and personal
charisma have also earned her various career opportunities. She has participated in a diverse
collaboration with prestigious fashion brands, magazines, independent designers, and other
talented artists. One of her most prominent collaborations is her collaboration with fashion
powerhouse Gucci in April, 2017. This collaboration, #TFWGucci, is an advertising campaign by
71
Accessed March 19, 2019 http://bullettmedia.com/article/john-yuyi-is-the-internets-favorite-artist/
72
Weinstock, Tish. “The Instagram artist turning her social media addiction into art.” i-D. Feb 21, 2018
https://i-d.vice.com/en_uk/article/a34na5/the-instagram-artist-turning-her-social-media-addiction-into-art
35
Gucci where the brand commissioned Gucci-centered memes from popular meme creators and
visual artists. According to the brand press release, the motivation for this project is to embrace
internet culture and promote its new Le Marché des Merveilles collection of watches.73 Gucci’s
creative director and designer Alexandro Michele handpicked 55 international artists to develop
original imagery for the campaign, which they intend to spread across the internet.
When Alexandro approached John Yuyi in March, Yuyi was very surprised. She recalled:
“When I first received their email, I was so shocked and happy. It was a confidential project with
GUCCI, so I had to hide all my excitement.”74 In fact, John Yuyi is the perfect candidate for the
meme-inspired campaign because her artworks make reference to the iconography of social
media and fashion. In this collaboration, John Yuyi again uses herself as the canvas and
incorporates her signature temporary tattoos as the primary medium (figure 23-24). Her design
comprises a series of temporary tattoo stickers that translate brand symbols, logos, Instagram
tags, and most importantly the watch as the artist’s second skin. With the artist’s body adorned
with these Gucci symbols, John Yuyi not only created something aesthetic and magnified the
Gucci vibe, but she also invoked a sense of subjection and heteronomy to internet identity.
Among the 55 posts in the #TFWGucci campaign, John Yuyi helped the Italian brand create one
of its most viral and popular posts, which has since received over 210,000 likes.75 According to
the Gucci website, the brand appreciated the artist’s effort and commented: “John Yuyi shows
how Internet icons can explode into the real world.”76
73
Gucci press release. Accessed March 21, 2019 http://digital.gucci.com/tfwgucci/p/1
74
Chen, Victoria. “Social Media Skin: The Provocative Imageries by John Yuyi.” Ketagalan Media. July 13, 2017
https://www.ketagalanmedia.com/2017/07/13/social-media-skin-provocative-imageries-john-yuyi/
75
Thayer, Katheryn. “Her Temporary-Tattoo Art Inks Instagram Fame, Gucci Partnerships, New York Times
Commissions.” Forbes. Feb 20, 2018
https://www.forbes.com/sites/katherynthayer/2018/02/20/her-temporary-tattoo-art-inks-instagram-fame-gucci-
partnerships-new-york-times-commissions/#2c1a33312698
76
Gucci press release. Accessed March 21, 2019 http://digital.gucci.com/tfwgucci/p/1
36
Figure 21 (left): 100K, 2017 Figure 22 (right): Becoming Famous, 2017

Courtesy John Yuyi Courtesy John Yuyi
Figure 23-24: John Yuyi x Gucci #TFWGucci project, 2017

Courtesy John Yuyi
37
Analysis
This case exemplifies an indirect collaboration between a luxury fashion brand and a
contemporary artist. In this type of collaboration, the artwork realized is not directly associated
to the product but rather to the brand name and brand image. John Yuyi’s commissioned work
for Gucci’s social campaign is displayed in relation to the brand. In this case, the artist is granted
more freedom in terms of artistic creation since John Yuyi doesn’t need to rely on a particular
medium or product like Takashi Murakami did in his direct collaborations with Louis Vuitton. In
addition, John Yuyi’s indirect collaboration with Gucci not only links to the brand, but also
attaches to Gucci’s merchandise since the brand name and its connotations are evident in Yuyi’s
creation. The net result of #TFWGucci campaign is the media hype. With its mix of pop culture
and high fashion and its alliance with artists, Gucci has dominated social media and connected
with the millennial generation.
Evaluation
Gucci’s collaboration with John Yuyi and other visual artists enabled the brand to reach out and
target a younger demographic audience - “a wider creative community than that which
traditionally locates around the world of fashion.”77 #TFWGucci campaign was seen as an
experiential marketing strategy that incorporates youth culture (meme) and the aura of artists to
invoke consumers’ emotional connections with the brand. 78 In addition, as the brand created
buzz on social media and traffic to its website during the launch of the new line of watches,
Gucci gained free advertising and competitive advantage over its competitors. Through the
#TFWGucci social media campaign, the perception of young, cool and hip is becoming more and
more immersed into Gucci’s DNA.
Since John Yuyi’s collaboration with Gucci, the artist has advanced her career with numerous
gallery shows and media recognition. Before teaming up with Gucci, John Yuyi didn’t have any
gallery shows in the West, probably because of her non-traditional art practices. Due to her rising
77
McCarthy, John. “Gucci takes a dip into the ever-dangerous world of memes to promote its watches.” The Drum.
March 22, 2017 https://www.thedrum.com/news/2017/03/22/gucci-takes-dip-the-ever-dangerous-world-memes-
promote-its-watches
78
Accessed March 20, 2019 https://fashionista.com/2017/03/gucci-made-memes-so-rip-memes
38
fame and media-centered art practice, she has become more recognizable in the art industry. In
2018, John Yuyi had three gallery shows. Her first solo exhibition, The Next Gen: John Yuyi,
was held at The Art Vacancy, which is a new York based non-for-profit art organization that
offers emerging artists the opportunity and resources to present a solo exhibition in collaboration
with The Art Vacancy. 79 Later, she showcased her artworks at MakeRoom LA, an experimental
art space that is dedicated to promote emerging art. According to an interview with the gallery
director Emilia at MakeRoom, Emilia suggested that she came to know John Yuyi through the
artist’s collaboration with Gucci that has been circulated everywhere. 80 Moreover, John Yuyi
was appointed to participate in a group show at Galerie Charlot Gallery in Paris. She also earned
her first museum exhibition at the Museum of Sex, New York in 2018. Besides the influx of
gallery representations, John Yuyi received press recognition from magazines such as Forbes,
Performa, i-D, NYLON, Harper’s BAZAAR, and VOGUE. As an artist, John Yuyi has
successfully created a signature style for herself, and through the use of social media, she
established a relationship with her audiences. Through her collaboration with the luxury fashion
brand Gucci, Yuyi has been able to reach wider audiences and elevate her artist brand so that it is
recognizable to hundreds of thousands of viewers.
79
Gallery press release. Accessed March 20, 2019 https://theartvacancy.com/exhibitions/the-next-gen-john-yuyi/
80
Gallery press release. Accessed March 20, 2019 https://www.makeroom.la/03_24_john_yuyi
39
2.3. Off-White c/o Virgil Abloh Collaborations
Virgil Ablol, best known as the founder of luxury streetwear brand Off-White and artistic
director for Louis Vuitton’s menswear label, wears many hats other than the role of designer. He
is also a DJ, an artist, an architect, and a marketing genius. Virgil Abloh is recognized as the
“king of collaborations,”81 who embraces collaborations with other creative individuals and
brands. His Off-White label has partnered with luxury brands like Moncler and Jimmy Choo,
street-wear brands like Nike, Vans, Supreme and Levi’s, and luxury retailers such as SSENSE
and Net-a-Porter etc. The cases of Virgil Abloh’s collaborations not only blend the distinctions
between fashion and art, high and low culture, but also advocate a type of lifestyle which is
infiltrated in contemporary living.
As the founder and designer of his own brand Off-White, Virgil Abloh seeks to collaboratewith
artists to leverage his brand as well as to create an impact in both marketplace and cultural
conversations.
Off-White c/o Virgil Abloh x Jenny Holzer

In June 2017, Virgil Abloh and Jenny Holzer first collaborated on Off-White’s debut
presentation of its Spring/Summer 18 collection for Pitti Uomo, the Florence leg of Men’s
Fashion Week, in Florence’s Palazzo Pitti, Italy. For Off-White’s 2018 runway presentation,
Virgil teamed up with neo-conceptual artist Jenny Holzer to create a “happening” at Pitti Uomo,
centered around the politically charged theme of immigration and refugee crisis.82 His
collaboration with Jenny Holzer realized a large-scale light projection featuring Holzer’s
selection of potent text on the façade of the Pitti Palace, which set the backdrop for the open-air
runway show (fig 25). For this project, Jenny Holzer presented two-part films that feature
81
Milnes, Hilary. “The king of the collab: Virgil Abloh can seemingly do no wrong when it comes to partnerships.”
Digiday. June 12, 2018 https://digiday.com/marketing/king-collab-virgil-abloh-can-seemingly-no-wrong-comes-
partnerships/
82
Solway, Diane. “The Story Behind Virgil Abloh and Jenny Holzer’s Potent, Political Off-White Show at Pitti
Uomo.” W Magazine. June 16, 2017 https://www.wmagazine.com/story/virgil-abloh-jenny-holzer-off-white-spring-
2018-mens-pitti-uomo
40
graphic text of loss, pain and despair through her selections of poems by Anna Świrszczyńska 83
and seven other poets living exiled in Europe and the US that documented ongoing struggles and
conflicts in various parts of the world across decades.84 Virgil Abloh chose the theme of
immigration and refugee crisis for his presentation at Pitti Uomo because these issues are
relevant in today’s society, his personal life, and his vision of Off-White. As the son of Ghanaian
immigrants, Virgil is well-aware of the ongoing struggle of conflict acts, social inequalities, and
the human experience of war. According to his interview with W Magazine, Virgil commented
on his collaborative installation with Holzer: “I wanted to do something that Pitti had never done
and give Florence an art work that was large scale and spoke to the moment. I’m at a place where
I can add something to the conversation.” 85 Texts like “Although your bullet will tear apart my
body, you, enemy, will not kill me” was projected on the façade of the Palace flowing with
models that powerfully walked along the open-air runway (fig 26).86 By placing his collection in
the context of Holzer’s politically charged art, Virgil Abloh managed to express his statements,
along with the voices of refugees and Jenny Holzer, and then highlight the continuing social
issues that are relevant in the past, the present and the future.
Besides the artist’s light projection for the runway show, Jenny Holzer’s presence can be
discerned within Off-White’s SS18 collection. As many clothes from the SS18 collection feature
red diode signs with fragments of text by refugee artist Omar Shams, these elements are referring
back to Jenny Holzer’s use of language and her pioneering LED works.
In addition to the runway presentation at Pitti Uomo, Jenny Holzer and Virgil Abloh
collaborated for the second time to design T-shirts to raise money for Planned Parenthood LA,
which finds itself threatened with being defunded under the Trump administration. 87 All the
83 Anna Świrszczyńska was a volunteer nurse during the Warsaw uprising of 1944.
84
Accessed March 22, 2019 https://www.buro247.sg/fashion/collections/meaning-off-white-show-virgil-abloh-pitti-
uomo.html
85
Solway, Diane. “The Story Behind Virgil Abloh and Jenny Holzer’s Potent, Political Off-White Show at Pitti
Uomo.” W Magazine. June 16, 2017 https://www.wmagazine.com/story/virgil-abloh-jenny-holzer-off-white-spring-
2018-mens-pitti-uomo
86
Accessed March 22, 2019 http://www.coneysloft.com/magazine/2017/6/16/off-white-takes-political-charge-in-
florence-with-latest-collection
87
Petty, Felix. “Jenny holzer and virgil abloh made t-shirts to support planned parenthood.” i-D. Dec 1, 2017
https://i-d.vice.com/en_us/article/eva49z/jenny-holzer-virgil-abloh-planned-parenthood
41
proceeds from the T-shirt sales would go directly to Planned Parenthood LA. Regarding the T-
shirt design, Virgil Abloh “appropriated” two of Jenny Holzer’s truisms: “abuse of power comes
as no surprise” and “abuse of flower comes as no surprise”. 88 As Jenny Holzer’s truisms were the
primary content of the T-shirt design, Virgil Abloh did some renderings on the design and used a
blurry font for printing (Figure 27).
Analysis
The collaboration between Off-White c/o Virgil Abloh and Jenny Holzer indicates mutual
appreciation between two participants. Virgil Abloh’s alliance with artist Jenny Holzer has
several intentions. First, according to Abloh’s interview with Dazed magazine, Virgil Abloh was
trying to build a context for his presentation at Pitti Uomo that makes fashion special and
meaningful. Abloh said, “Current times inspired me to work with someone that had a powerful
voice with a particular preciseness. I wanted to engage with an artist that made the right sort of
mix. It’s her seniority and her art, her preciseness, her message that she’s been doing her whole
career.”89 As Abloh realized the current social issues and the male-dominated environment at
work, he turned to Holzer and included a powerful female voice in the show. While presenting
his fashion show in the context of Holzer’s text-based lighting projections, Virgil was able to
partner with the voice of art to further his passion and messages in the fashion industry. In
addition, Abloh reached out to Holzer because he finds a resonance between his own interests
and Holzer’s art. As Virgil Abloh often uses text, typography and quotations as the tool to
operate his brand in a mode of ironic detachment 90, Jenny Holzer was the perfect contribution to
Virgil’s SS18 collection since her work is imbued with statements. Since Holzer and Abloh
shared same vision and passion in their works, they joined forces together to make statements,
start conversations, and address the current times. “Our work is weighted. It’s not just fashion for
fashion’s sake”91, said Abloh. Virgil Abloh’s other motivation to collaborate with Jenny Holzer
is because of his intention to “offer up her name to a generation that might not know her work”. 92
88
Accessed March 23, 2019 https://www.ft.com/content/b3315e22-52b9-11e7-a1f2-db19572361bb
89
Madsen, Susanne. “ Virgil Abloh on getting political with Jenny Holzer.” Dazed. June 16, 2017
http://www.dazeddigital.com/fashion/article/36381/1/virgil-abloh-on-getting-political-with-jenny-holzer-pitti-ss18-
off-white
90
“Virgil Abloh: Duchamp is my Lawyer.” 032c, March 25, 2018
https://032c.com/duchamp-is-my-lawyer-virgil-abloh
91
92
Accessed March 23, 2019 https://www.ft.com/content/b3315e22-52b9-11e7-a1f2-db19572361bb
42
For Abloh, Off-White is not just a fashion label. Abloh sees the potential of his brand to work as
a platform to connect ideas, to make art and to represent something that may be relevant in
current times. Indeed, art and fashion are Virgil’s tools to make statements and speak to a wide
group of people across the world. At the same time, Virgil’s artistic practice in his fashion design
further widens the definition of what’s art and what’s fashion.
Figure 25-26: Jenny Holzer x Virgil Abloh presentation at Pitti Uomo

Image retrieved from W Magazine
Figure 27: Jenny Holzer x Virgil Abloh for Planned Parenthood LA

Image retrieved from id-vice magazine
43
As an artist, Virgil Abloh also does collaborative projects with other creative individuals. The
recent collaboration between Virgil Abloh and Takashi Murakami shares inspirations and
creative practice that stimulates dialogue, tests the boundaries of both fashion and art, and also
opens up a new perspective outside of the institutional framework.
Virgil Abloh x Takashi Murakami at Gagosian Gallery

In 2018, Virgil Abloh and Takashi Murakami did three exhibitions with mega-gallery Gagosian
in London, Paris and Los Angeles. Before their art collaborations, Murakami and Abloh had
known each other for more than ten years through Kanye West. 93 Since then, they became each
other’s inspiration and continued their interactions in creative industries. For their collaborative
exhibition at Gagosian, the two artists were working together in Murakami’s Tokyo studio.
According to the gallery’s press release, Murakami and Abloh have produced a unique series of
works that merge their interests and trademark images.94 For example, DOB and Arrows:
Patachwork Skulls (2018) combines Murakami’s signature character Mr. Dob, a smiley
animation figure, with Abloh’s Off-White sign, two arrows crossing one another (figure 28).
Although the two artists have different artistic styles, together they create a combination of
sensibilities that open up new possibilities for both artists. As Abloh said, he believed that both
of them have achieved new things that don’t exist in each person’s practice through
collaboration.95 Indeed, the output of their collaboration is born from the similarities and
differences between each artist’s artistic practices and signature motifs. Through intersecting
each other’s trademarks and styles, they have achieved a balance between Murakami’s
extravagance and Abloh’s minimalism.
In addition to collage trademark images, Murakami and Abloh embrace similar artistic gestures
that express ironic statements in their collaborative works. The sculpture Life Itself (2018) is an
93
At that time, Virgil Abloh was Kanye West’s art director and Murakami illustrated the cover for West’s 2007
album Graduation.
94
Gagosian Gallery press release. Accessed March 24, 2019
https://gagosian.com/exhibitions/2018/murakami-abloh-america-too/
95
Armstrong, Annie. “ Collaborating Is Evidence of Being Human: Virgil Abloh and Takashi Murakami Join Forces
for Gagosian Show.” ARTNews. Oct 22, 2018 http://www.artnews.com/2018/10/22/collaborating-evidence-human-
virgil-abloh-takashi-murakami-join-forces-gagosian-show/
44
architectural carapace designed by Abloh to house one of Murakami’s large-scale gloss-black

smiley flower sculptures (figure 29). While the interior of the carapace has been sprayed with
black paint, the flower sculpture was placed just outside of the carapace as if it is in the process
of abandoning its home. In this installation, Abloh’s street-art contemporaneity and Murakami’s
gloss-black flower sculpture appear to be in dialogue with one another. In the painting Kyoto
Enso (2018), the two artists have further expressed their ironic artistic gestures in which arguing
appearances can be deceptive (figure 30). 96 From a distant look, Abloh’s Off-White yellow
industrial stripes are juxtaposed against Japanese calligraphy enso. While taking a close look,
Off-White’s yellow stripes turn out to be a painted rendition and the deceiving traditional
brushstroke of the character enso which was actually spray painted on top of Abloh’s branded
pattern. This resulting work not only draws a relationship to Murakami’s superflat aesthetic and
Virgil’s street-art aesthetic, but also signals a marker of bridging two cultures.
The collaboration between Takashi Murakami and Virgil Abloh produces a harmony between
different cultures and different artistic practices. Cultural references and ideas of production and
reproduction come into play in their artworks. Through the merger of two worlds, Murakmi and
Abloh reflect on the signs of the times in contemporary life and also challenge existing aesthetic
systems and its distribution.
Analysis
The collaboration between Takashi Murakami and Virgil Abloh originates from their admiration
for one another. As both artists are active in collaborative activities, they realize the power of
collaboration to educate, create an impact and impassion new audiences. This case exemplifies a
joint force between two artists who fill the void within the art world for artists to come together
and create.97 As they find their point of intersection in the work they create together, they are
engaging a new population that is interested in art and having a dialogue with current culture.
Virgil described the basis of their collaboration as “basically a conversation that Takashi
96
Foreman, Katya. “ Virgil Abloh and Takashi Murakmi Talk making Art Via WhatsApp.” WWD. June 23, 2018
https://wwd.com/fashion-news/fashion-scoops/virgil-abloh-and-takashi-murakami-talk-making-art-via-whatsapp-
1202729996/
97
Roffino, Sara. “ Virgil Abloh and Takashi Murakami are changing the conversation one collaboration at a time.”
Cultured Magazine. September 6, 2018 https://www.culturedmag.com/virgil-abloh-takashi-murakami/
45
Murakami and I have daily and we produce work out of that conversation. We make paintings,
digital works, sculptures, that report our time. We’re both from different fields: I’m
multidisciplinary, he practices his art and so where we meet in the middle are these
contemporary icons of current culture.” 98 Through the collaboration, not only the two artist’s
creativity and aesthetics are exchanged and integrated, their collaboration also solicits clients
from each creator and opens up a window for new audience. As both creators have approached
their practices in specific relationship with the audience, they are hoping to bridge the boundary
between art and fashion through this collaboration. Virgil Abloh said in an interview with
Culture Magazine, “…part of the motivation is that there’s a new audience. There’s been a
boundary between art and fashion that you couldn’t cross. In my own work I’m interested in
showing how those lines can be crossed and how new bridges can be built. The great thing is our
exhibitions at Gagosian have shown what the new audience looks and feels like and what they’re
intrigued by. That Takashi and I have been able to make work that represents that community is
quite inspiring.”99 The joint force between two powerful creators also manifests a sense of
liberation out of the institutional framework that divides art and fashion, brand and artist.
Murakami and Abloh’s alliance abandons the framework and behaves in a modern way, a
collaborative way, that breaks the division between brand and artwork, and the definition of what
art can be and who can be an artist. In all, the collaborative project between Murakami and
Abloh reflects each creator’s identities and speaks about art at the current moment.
Foreman, Katya. “ Virgil Abloh and Takashi Murakmi Talk making Art Via WhatsApp.” WWD. June 23, 2018
98
Roffino, Sara. “ Virgil Abloh and Takashi Murakami are changing the conversation one collaboration at a time.”
99
Cultured Magazine. September 6, 2018

46
Figure 28: DOB and Arrows: Patchwork Skulls, 2018 Figure 30: Kyoto Enzo, 2018
Takashi Murakami & Virgil Abloh Takashi Murakami & Virgil Abloh
Acrylic on canvas mounted on aluminum frame Acrylic on canvas mounted on aluminum frame
34 x 23 x 2 in 55 ½ x 47 ¼ x 2 in
©Virgil Abloh and © Takashi Murakami ©Virgil Abloh and © Takashi Murakami
Courtesy Gagosian Gallery Courtesy Gagosian Gallery
Figure 29 : Life Itself, 2018 ( Installation view)

Courtesy Gagosian Gallery
47
Evaluation
Virgil Abloh’s various collaborations exemplify an instance of beneficial brand alliances that
elevate the status of streetwear street art and blurs the notion of brand and artist. Through Virgil
Abloh’s collaboration with Jenny Holzer, they worked together to create a work of art, rather
than a fashion line. With the help of Holzer’s art, Abloh was able to add an intellectual layer to
streetwear and connect with young generations. Working with artists like Holzer and Murakami,
these collaborations give Abloh credibility regarding to his artistic talent and aesthetics.
The cases of Virgil Abloh’s collaborations illustrate the endless possibilities of collaborations.
For his collaboration with female artist Jenny Holzer, Abloh fuses art and politics. As they
cooperated to put together the presentation at Pitti Uomo, they created an impact in the political
climate and close the generation gap between Holzer’s generation and Abloh’s millennial
generation. For his collaboration with celebrity artist Takashi Murakami, Abloh transforms his
Off-White patterns and aesthetics into paintings and sculptures. By interacting and engaging with
one another, Virgil Abloh is able to share ideas and techniques with his collaborator and acquire
something new to his own practice. Abloh told ARTNews: “…collaborating is evidence of being
human.”100 Together, Abloh and his collaborator deliver messages that are relevant at current
times and practice the newest things to see the future of contemporary art and culture.
In the contemporary context, the definitions of art and artist are no longer the same as before.
As Abloh is a figure that sits in the intersection of art and commerce and popular culture, Ablohl
has declared his role as a creator through his multiple collaborations in creative industries.
Abloh’s brand, design, music, and art are all extensions of his own identity, which cannot be
separated and isolated. Collaborations have given Ablohl more power and agency to engage the
audience and express his concept and statement.
100
Armstrong, Annie. “ Collaborating Is Evidence of Being Human: Virgil Abloh and Takashi Murakami Join
Forces for Gagosian Show.” ARTNews. Oct 22, 2018
48
Chapter 3 Brand Alliance: Luxury Fashion Brands and Artist Brands
3.1. Artists as Brands
In today’s highly competitive environment, luxury fashion brands seek for art collaborations to
increase brand competitive advantage that differentiates from other competitors. The thriving art
industry also cannot escape from an economic framework. The vision of art as a pure creation
without any financial motives is idealized. In the twenty-first century, art shares the similarity of
commercial pursuit with fashion. Commerce intersects with the art world in numerous ways -
artworks are bought and sold in galleries, auction houses and art fairs develop their branding
strategies to inform the contemporary sphere of artists and collectors, luxury fashion brands
sponsor art exhibitions and establish their art foundations, museum shops play a significant role
in art institutions to enhance visitor experience and generate revenues. 101 As art is inseparable
from the general economic environment, so are artists.
In contemporary culture, artists are similar to brand names. Contemporary artists like Andy
Warhol and Jeff Koons are adept at fusing the worlds of art and business. According to Jonathan
E. Schroede’s study of artists and brands, successful artists actively promote themselves as
recognizable “products”102. The prominent reputation of successful artists comes not just from
their artistic output but also from their identity, recognizable style and publicity. They utilize the
branding concept to develop, cultivate, and promote themselves. Then, successful artists who
manage their image and works can be seen as managers of their own brand.
Through an artist’s personal charisma and creativity, his or her artist brand is established.
According to Sjholm and Psquinelli’s study in building artist brand, “the artist’s work consists of
the creation of images and of the definition of a recognizable style; while inherent to the artist’s
self-expression, images production and style definition build the artist’s brand.” 103 Case studies
101
Schroeder, Jonathan E. “The Artist and the Brand”. European Journal of Marketing 39, no. 11 (2005): 1293
102
Schroeder, Jonathan E. “The Artist and the Brand”. 1297
Jenny Sjholm and Cecilia Pasquinelli, “Artist Brand Building: Towards a Spatial Perspective,” Arts
103
Marketing 4, no.11 (2014): 11

49
from previous chapter sheds light on the ways in which artists develop and promote their own
artist brands through their interactions with luxury fashion brands. In the case of Takashi
Murakami’s collaboration with Louis Vuitton, the artist promotes his visual brand through his
critical cross-over with luxury fashion industry. Murakami not only transformed his trademark
images, such as his signature flower motifs, animation characters, and eye graphics, into the
collection of handbags and accessories, but also strategically incorporated Japanese culture into
the design as part of his artistic identity. After the collaboration, Murakami appropriated brands
and Louis Vuitton symbols in his gallery art. Following the logic of branding, the artist
controlled the distribution and extended his brand into other genres. Jeff Koons establishes his
recognizable artist brand through his engagement with commercial materials and commercial
production. Besides his art that earned him a prominent position in the art world, he’s also active
in other industries and built a strong network. Koons’ collaboration with Louis Vuitton promotes
his artist brand through the inclusion of his signature, signature motif and signature style in the
product design. Through his partnership with a luxury fashion brand, Jeff Koons creates
associations with people, strengthens his artist brand image and expands his business to other
horizons.
As media and publicity are crucial in the development of artists brands, social media plays an
important role in regards to an artist’s career today. John Yuyi is a great example of an artist who
truly utilizes social media in order to gain exposure and recognition. She maximizes her fame on
Instagram where her online identity seems attractive for her 179k followers. Her Instagram not
only showcases her artworks and collaboration, but also offers a glimpse to her personal life.
By repetitively using her own body as the canvas, embracing youth (meme) culture and sharing
her personal life in social media, John Yuyi communicates issues of identity construction with
the public and invokes emotional connections with her audiences. As Sjholm and Psquinelli
explains two perspectives of artist brand in their study, John Yuyi’s artist brand suggests a
reflexivity perspective that “the artist tends to position his/her brand according to an individual
dimension of emotional, physical and spiritual engagement.” 104 Indeed, John Yuyi’s artist brand
closely relates to her personal identity that is based on a deep reflexive recognition of her
Jenny Sjholm and Cecilia Pasquinelli, “Artist Brand Building: Towards a Spatial Perspective,” Arts
104
Marketing 4, no.11 (2014): 14

50
creativity. All aspects of her life contribute to her artist brand. Like John Yuyi and Takashi
Murakami, Virgil Abloh’s work reflectively comments on contemporary culture and embraces
the interconnections between art, design, branding, and consumption. Abloh’s continued success
is based on the recognition of his consistent visual language as well as his association with youth
culture and young demographics that is articulated through his use of branding.
Branding is a strategic signifying practice for artists to build association, reputation, and
recognition of the artist and his or her artworks. 105 In contemporary culture, successful artists
establish their artist brands and develop their brand identity. In order to maintain the status of the
artists brand, artists need to constantly promote their brand image while at the same time, be
innovative in their practices.
105
Schroeder, Jonathan E. “The Artist and the Brand”. European Journal of Marketing 39, no. 11 (2005): 1295
51
3.2. A Luxury Fashion Brand and Contemporary Art Collaboration as a Brand Alliance
Strategy
Brand Alliance
In a highly saturated market, brand alliance is introduced to achieve differentiation through
alliance with another partner to add on brand values. Brand alliance is a strategic marketing
activity where two or more brands collaborate together to leverage each other’s strength to
achieve a specific goal106. According to marketing literature, the aim of brand alliance is to
achieve competitive advantages for all parties.107 That is to say, the alliance between two or more
brands must be mutually beneficial although there is no guarantee of equal benefit for both sides.
In addition, each party can have different motivations and set different objectives that are
tailored to satisfy its specific needs. Based on Rollet, Hoffmann and Panchout’s study on the
concept of creative collaboration, brand alliance presents a strategic and a tactical perspective in
regards to the varied motives for entering into such collaborative activity. 108
From a strategic point of view, brand alliance can be used as a targeting tool to penetrate new
market segments. Louis Vuitton’s collaboration with Takashi Murakami is the case on point that
indicates Louis Vuitton’s intention to penetrate the lucrative Japanese market and conquer the
broader Asia market. The financial incentive of this collaboration is clear: Louis Vuitton wants
to reach out to new consumers in the Asian market and reinforce its leadership position in the
luxury fashion industry. By associating its brand with a successful Japanese artist, Louis Vuitton
creates a strong brand image in a new market. As Murakami’s design for Louis Vuitton is
embedded with the artist’s signature style and his representation of cultural identity, it helps
Louis Vuitton to pay tribute to host country (Japan) to attract and retain local customers. The
relationship between Louis Vuitton and Takashi Murakami is mutual. This collaboration also
helps Murakami broaden access to the luxury fashion market, diversify his portfolio, and open up
106
Wigley and Provelengiou, “Market-facing Strategic Alliances,” 142.
107
T. K. Das and Bing-Sheng Teng, “Managing Risks in Strategic Alliances,” The Academy of
Management Executive 13, 4, (1999): 50-62
108 Margaux Rollet , Jonas Hoffmann , Ivan Coste-Manière & Katrina Panchout. “ The concept of creative
collaboration applied to the fashion industry.” Journal of Global Fashion Marketing 4, no.1 (2013), 59
52
new audiences for Murakami’s art. The brand alliance between Louis Vuitton and Takashi
Murakami is thus designed with two target audiences in mind.
Besides the financial motivation, Louis Vuitton’s alliance with contemporary artists is consistent
with its corporate strategy of repositioning its brand image. As art and artist brand become part
of an emerging asset class, artist brands can be combined with other brands to create a
“synergistic alliance in which the sum is greater than the parts.” 109 From a tactical point of view,
brand alliance can be used as a promotional tool “to develop an effect of rarity with a limited
series offer and as a generator of additional values”. 110 Through alliance with art, Louis Vuitton
is able to re-positioning its brand and revive its brand image in relation to the evolution of the
luxury market and its competitive environment. To have an artist design a collection, Louis
Vuitton is able to change the way the brand is perceived. For example, Louis Vuitton’s
collaborations with artist like Stephen Sprouse, Takashi Murakami and Jeff Koons illustrate the
brand’s adaptation with contemporary culture. As these artists revisit the brand’s traditional
gold-on-brown monogram pattern, their design helps Louis Vuitton modernizes its brand image
and makes it appeal to young demographics. Besides, brand alliance also allows brands to
develop associations with a complementary partner. The artists that Louis Vuitton selected to
collaborate with are all established artists who are recognizable by the general public. Through
partnering with successful contemporary artists, Louis Vuitton connects the core strengths of
each partner and utilizes their cultural capital in the art field to add value to the Louis Vuitton
brand. Louis Vuitton’s association with contemporary art may increase the customer’s
consideration of the brand and lead to increasing competitiveness.
Overall, the collaboration between two brands (brand alliance) allows the brand to differentiate
itself from an overcrowded marketplace. As luxury fashion brands face the challenge of a
saturated market environment, they are increasingly focused on brand alliance, specifically with
art, to maintain the edge, create associations, and generate material and immaterial values. The
109
Akshay R. Rao and Robert W. Ruekert, “Brand Alliances as Signals of Product Quality,” Sloan
Management Review 36, 1, (1994): 87.
110 Margaux Rollet , Jonas Hoffmann , Ivan Coste-Manière & Katrina Panchout. “ The concept of creative
collaboration applied to the fashion industry.” Journal of Global Fashion Marketing 4, no.1 (2013), 65
53
successful brand alliance project is based on an interactive and symbiotic relationship between
each party. The fit between each partner needs to appear strong and coherent to the consumer.
The Risks of Brand Alliance

Although there are numerous benefits each brand receives when allying with one another, there
are several risks and threats that each partner of the brand alliance may encounter. If the brand
associations between two partners are not favorable in the consumer’s perception, there would be
risks of brand dilution. According to Ahn et al.’s study on fashion collaborations, “through
partnering with fashion brands that hold established, strong, unique, and favorable brand
associations in consumer’s mind, non-fashion brands may amplify the fascinating collaborations
or destroy their brand reputation resulting consumer’s conceptual collision.” 111 Indeed, if the
partners from brand alliance do not seem to fit or make sense to customers, artists and luxury
fashion brands may encounter the risks of damaging their brand images and personalities.
According to Smith and Kubler’s study, “just as fashion houses risk the substantial financial
outlay required to produce an experimental capsule collection, the artists who collaborate with
them risk being branded sellouts by their colleagues in the art world as they benefit from the
increased publicity.”112 Therefore, success of brand alliance is heavily dependent on the synergy
and chemistry between the two partners.
111
Ahn, SooKyoung et al., “Fashion Collaboration or Collision?” Journal of Fashion Marketing and Management
14, no.1 (2010), 14.
112
Smith, Mitchell and Kubler, Alison. Art/Fashion in 21st Century (London: Thames and Hudson, 2013), 101.
54
3.3. The Benefits of Brand Alliance for Both Sides
Benefits for Luxury Fashion Brands
1. Creativity & Aesthetics

The luxury fashion industries increasingly look to the art world for stylistic inspiration and
creativity to keep up with changing consumer preferences and the cultural marketplace. 113
Through art collaborations, luxury fashion brands initiate aesthetic investments that highlight the
immaterial and symbolic definition of the brand. According to the former chairman and CEO of
Louis Vuitton, Yves Carcelle stated that “collaborating with contemporary artists brings a new
kind of creative fecundity to the product. It forces creativity that is different from that typically
found in fashion.”114 Indeed, Louis Vuitton has been reliant on visual arts in the adoption of new
and creative skills. For instance, Marc Jacbos’s creative collaboration with Stephen Sprouse adds
subcultural style to luxury heritage. It was the first time for Louis Vuitton to incorporate street
aesthetic in its brand image. With Stephen Sprouse’s graffiti-style design imposed on top of the
brand’s iconic leather goods, the artist shows the possibility of mixing street aesthetic with
traditional luxury and makes the products and the Vuitton brand appear fashionable and relevant
to contemporary culture. Since then, street culture was elevated by brands, designers, artists and
celebrities. Seventeen years later, Louis Vuitton even appointed a luxury streetwear
designer/artist Virgil Abloh as the artist director. These examples suggest the luxury fashion
brand’s efforts to exercise its creative muscle and stay interesting while at the same time
preserve its heritage.
2. Authenticity & Originality

For a long time, the status of fashion is perceived to be lower than the status of art due to its
nature of commodity production. Then, the luxury fashion brand consciously promote the idea of
113
Currid, Elizabeth. The Warhol Economy: How Fashion, Art and Music Drive New York City (New Jersey:
Princeton University Press, 2007), 83.
114
Proctor, Rebecca-Anne. “ The Evolving Marriage of Art and Fashion.” LuxurySociety, April 6, 2009
https://www.luxurysociety.com/en/articles/2009/04/the-evolving-marriage-of-art-and-fashion/
55
authenticity and timelessness to present a product with the artistic aura of authenticity. 115
Through art collaborations, luxury fashion brands are able to create limited edition products that
carry the intangible quality in works of art. The collaboration between Louis Vuitton and
Murakami illuminates the luxury fashion brand’s strategy to exploit the artist’s aesthetics,
cultural heritage, and the emotions to create a series of limited edition products that blur and
break the tension between the commercial and the creative. Indeed, Murakami’s design for Louis
Vuitton was deemed as art and was exhibited with Murakami’s art in several prestigious
museums. While integrating a pop-up store in museums and displaying collaborative
merchandise in the context of the art museum, the status of these bags were elevated as if they
were as worthy and precious as works of art. Even the artist himself has included his design for
Vuitton in his gallery art, which further asserts the aura of authenticity and originality in his
collaboration with Vuitton. Besides the direct collaboration with artists, Gucci’s indirect
collaboration with emerging artist John Yuyi further indicates the market and cultural trend that
luxury fashion brands seek to be perceived as artistic producers rather than simply product
producers. It becomes commonplace that luxury fashion brands sponsor and support art because
of the symbolic, original, and emotional value rooted in art. These qualities in art further boost
brand identity and brand images of the luxury fashion brand.
3. Storytelling & Media Coverage

Alliance with artists allows luxury fashion brands to create fascinating stories that captivate
media and public interests. Luxury fashion brands consciously execute their artistic alliance to
receive extensive media coverage and create media hype. Partnership with another creative
industry (art) allows the luxury fashion brands to tell stories about the artist’s practice, the
collaboration, behind-the-scene production process and so on. These stories not only attract
media attentions but also lead one to another to provide new topics for the press and follow with
interviews. Thus, the luxury fashion brand is able to secure sustained media coverage for an
extensive period of time. In addition, luxury fashion brands also plan a series of events to
celebrate their partnership with artists. These events usually feature high-profile professionals
and celebrities from various creative industries that further present fruitful stories for the press.
The cases of Louis Vuitton collaborations demonstrate the brand’s efforts to design strategic
115
Oakley Smith, M. and Kubler, A. 2013. Art/Fashion in the 21st Century. London: Thames & Hudson.
56
events and media campaigns upon the launch of a new artist collaboration. From Stephen
Sprouse to the most recent Jeff Koons collaborations, Louis Vuitton always plans the launch of
the collaboration to coincide with a museum or gallery exhibition opening by the artist. As a
result, luxury fashion brands benefit from art alliance to receive extensive exposure in both art
and fashion spheres.
4. Commercial Gain: Higher price point & Expansive customer bases

Luxury fashion brands’ alliance with artists allow brands to price collaborative merchandise at a
premium. For example, Louis Vuitton’s collaboration with Jeff Koons realized a Master
Collection of Louis Vuitton bags. While the regular Vuitton Speedy 30 is priced at $1,020, Jeff
Koon’s Mona Lisa Speedy 30 bag is marked up to $2,800, which almost tripled the unadorned
bag.116 As consumers were willing to pay the premium and acquire the limited edition bags that
differentiate from others, Jeff Koon’s collection were all sold out worldwide. The resale price of
the bags from Masters Collection is about four times than the classic bags. For instance, Mona
Lisa Speedy 30 even climbed over $4,600 on resale stores like 1stdibs and stockx. As the artist
collaboration enables the luxury fashion brands to gain the artistic aura, the collaborative
merchandise are priced accordingly. The limited edition quantities, the artists aura, and unique
design all add values for the collection and justify a higher price that essentially increases the
revenue.
Moreover, Luxury fashion brands are mindful of that they share similar audience with the art
world. As luxury fashion brands associate themselves with art, they step into the art world to
attract a new consumer segment. 117 The players in the art world are often high net worth
individuals, who may be the big consumers of luxury brands. Therefore, alliance with
contemporary artists help luxury fashion brands to increase awareness among their target
customers.
116
Catalogue. Accessed March 25, 2019
https://www.spottedfashion.com/2017/04/12/louis-vuitton-masters-collection-by-jeff-koons/
117
Julia-Sophie Jelinek, “Art as strategic branding tool for luxury fashion brands”, Journal of product & Brand
Management, Vol. 27 Issue: 3, pp. 300
57
Benefits for Contemporary Artists

The benefits for contemporary artists’ alliance with luxury fashion brands share some similarities
with the benefits for luxury fashion brands that addressed above since the basis of brand alliance
is to benefit mutually for both sides. The condition of the art market meets the condition of the
luxury fashion industry’s timetable. Art, like fashion, is reliant on the perception of its newness
and creativity.118 Then, artists’ collaboration with luxury fashion brands is a way for artists to
explore new ideas and remain conscious to current issues. For instance, Virgil Abloh is the figure
who constantly looks for inspiration from various creative industries and applies the acquired
ideas to his works. Cross-disciplinary collaboration opens up new possibilities for artists and
allows artists to combine the creative spirit and expertise with another team player.
In addition, artists also gain benefits of media attention and presence from collaborating with
luxury fashion brands. Just as luxury fashion brands need customers, artists need audiences.
Since the audience in the art world is similar to the customer bases in the luxury fashion industry,
artists are able to reach out to a larger pool and cultivate their audiences in terms of
demographics and social class. Just as fashion brands benefit from exposure to the art world
audience, artists benefit from reaching a luxury brand demographic. Moreover, artists can benefit
from luxury fashion brands’ PR expertise and marketing resources to increase the public’s
awareness of their works. When Jeff Koons collaborated with Louis Vuitton on a line of
handbags and accessories, Louis Vuitton utilized extensive promotional strategies to increase
awareness and sales of the merchandise. As the Louis Vuitton PR team secured coverage in
multiple media outlets (art, luxury, lifestyle, pop culture media etc.), artists are able to take-over
the news headlines and become household names. This is especially true for emerging artists
who long for recognition. In John Yuyi’s case, it is because of her collaboration with Gucci that
caused her rise to fame and got her a prominent position in the art industry. Since her
collaboration with Gucci was featured in multiple media outlets and created a buzz all over
social media, John Yuyi gained credibility and recognition among the public. This credibility
earned her numerous gallery exhibitions and opportunities to collaborate with other super brands.
118 Geczy and Millner, Fashionable Art (London: Bloomsbury Academic, 2015), 6.
58
In addition, her collaborations with luxury fashion brands also create associations between the
brand’s identity and the artist’s identity. These creative projects help emerging artists like John
Yuyi to establish the artist’s brand and brand identity on a global scale.
Furthermore, artists’ alliance with another creative industry helps the artists to get their messages
to the public. And these messages contain an educational aspect. For instance, Jeff Koons’
Masters Collection with Louis Vuitton helped the artist to revive the significance and glamour of
old masterpieces. Koons is well-aware of the potential of his collaborations to educate the public
in the aspect of art history and art appreciation. Then, he even included a short biography and a
portrait of the master inside of each bag from the Masters Collection. In addition, Virgil Abloh’s
collaborations with Jenny Holzer enable Abloh to express his statements along with the voices of
female artist Jenny Holzer. Together, they have a more powerful voice to address continuing
social issues that are relevant in contemporary culture and educate the general public about these
issues through their politically charged art collaborations. Moreover, as Abloh addressed, this
collaboration also guides and educates his young generation audiences to know Holzer’s art
practices and appreciate her works. Additionally, Abloh and Murakami’s join forces further
engaged a new population and initiated a dialogue with current culture. Artists like Abloh are
well-aware of their influences on the general public; they are able to create an impact, challenge
the institutional framework and loosen the boundaries between art and fashion through
collaboration.
In summary, artists and luxury fashion brands gain commercial, cultural, and educational
benefits from brand alliance activity. Although each of these brand alliances differ in the
motivations of collaboration and the level of participation between the artist and the brand, the
outcomes of these collaborations are beneficial for both the artists’ brands and the luxury fashion
brands. The proliferation of such brand alliance proves that it is a successful strategy to achieve
goals and maximizes benefits for both sides. As today’s market landscape requires innovation
and newness, cross-disciplinary collaboration is the perfect strategy to leverage each parties’
resources and expertise.
59
Chapter 4 Conclusion
Throughout the expansive history of the relationship between fashion and art, the interactions
between the two creative industries become more intertwined and increasingly blur the
traditional distinctions between the art and fashion spheres. With Elsa Schiaparelli and Surrealist
artists as the pioneers of fashion and art collaborations, it is evident that the realms of fashion
and art constantly seek inspiration and creativity from one another. Although there is continuing
debate over whether fashion is an art form, artists and fashion brands have worked together to
bridge the gap between the two realms. As the market environment evolves and differs from the
time when Elsa Schiaparelli collaborated with visual artists, the objectives and motivations of
contemporary collaborations may differ from historical collaborations that came from mutual
appreciation. In today’s highly saturated market, the motivations of entering into collaborations
are more complex and diverse. Also, the outcomes of collaborations are more fruitful in today’s
contemporary culture. Louis Vuitton’s collaborations with Stephen Sprouse and Takashi
Murakami present fruitful outcomes in regards to commercial gain, aesthetics development,
brand reposition, media coverage, cultural capital and so on. The success of Louis Vuitton’s
pioneering approach to team up with contemporary artists has thus
paved the way for the current proliferation of collaborations between artists and luxury fashion
brands in today’s competitive marketplace.
As luxury fashion companies actively work to reinvent their brands, artists also establish and
develop their artists brands to promote themselves. Since brand alliance shares resources and
creates associations between each partner, luxury fashion brands and artists seek to exploit the
opportunities and values that come from collaborative projects. Although each brand alliance
may differ in the level of participation and motivation between each partner, it signifies mutual
benefits for both sides. For luxury fashion brands, alliance with art helps them to create unique
products that differentiate them from other commodities. At the same time, collaborating with
contemporary artists helps luxury fashion brands to achieve the aura of authenticity and
originality that further obscures the commercial context of their creations. By associating with
art, luxury fashion brands utilize artists’ creativity and their cultural capital in order to bestow
cultural credibility to their brands and add value to their brand identities. Through collaborating
60
with contemporary artists, luxury fashion brands are perceived as artistic producers that cultivate
art. Such brand image would give luxury brands a relevance that creates a new direction and
emotional affinity in the consumer. Moreover, alliance with art allows luxury fashion brands to
reach out new customers and target a specific demographic. The examples of Louis Vuitton and
Gucci’s case studies illustrate the luxury fashion brands’ efforts to target young potential
segments through their promotion of street art and youth culture. For artists, collaborating with
well-established luxury fashion brands not only stimulates inspiration but also advances their
careers in regards to media coverage, public recognition and cross-disciplinary skill sets.
Through collaborating with luxury fashion brands, artists are able to present their work in an
alternative context and spread their messages to a larger audience.
The fit between each partner is crucial to the success of brand alliance. If a brand alliance proves
to be successful, then both the brands and the artists are able to gain benefits associated with the
collaborative activity. Collaborations allow both parties to better engage with audiences and
become more unique, more recognizable, and more powerful in the competitive market that
exists today. Also, the experience of collaborating with another industry’s professionals, though
it can be challenging, is valuable for both partners and allows for the creation of more value than
a final product would receive. As these benefits are essential to a brand’s growth, the relationship
between fashion and art will continue to prosper. It can be expected that more creative industries
will come to the collaborative stage to add competitive advantages through brand alliance.
61
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Collaborations between Luxury Fashion Brands and Contemporary Artists:

Value Creation for Both Sides

Advisor: Sandra Lang M.A. Final Project

Collaborations between Luxury Fashion Brands and Contemporary Artists:

I. A History of the Relationship between Fashion and Art .................. 3

Debate on whether fashion is art ................................................ 3

Historical basis of collaboration ................................................ 7

Significance of the relationship between fashion and art ........... 12

II. Contemporary Collaborations between

Louis Vuitton collaborations ....................................................... 15

John Yuyi x Gucci: #TFWGucci ............................................... 34

Off-White c/o Virgil Abloh Collaborations ................................ 39

Artists as brands ......................................................................... 48

A luxury fashion brand and contemporary art

The benefits of brand alliance for both sides .............................. 54

2 "Collaborative Advantage: The Art Of Alliances". Harvard Business Review, 2018,

Chapter 1 A History of the Relationship between Fashion and Art

1.1. Debate on whether fashion is art

1.2. Historical basis of collaboration

Elsa Schiaparelli & the Surrealists

Figure 1(left): Embroidered Evening Jacket by Schiaparelli & Cocteau, 1937

Figure 2 (right): Shoe Hat by Schiaparelli & Dali, 1937

Figure 3 (left): The Lobster Dress by Schiaparelli & Dali, 1937

Figure 4 (right):The Tear Dress by Schiaparelli & Dali, 1938

Yves Saint Laurent & Piet Mondrian

1.3. Significance of the relationship between fashion and art

(1) Inspiration; Innovation; Creative Expression

(2) Popularization of Art

(3) Aestheticization of everyday life

(4) Commercial Value

Chapter 2: Contemporary Collaborations between Luxury Fashion Brands and Artists

2.1. Louis Vuitton Collaborations

Figure 6 (left): Louis Vuitton Spring/Summer 2001 Runway

Figure 7-8 (middle and right): Louis Vuitton 2008 Collection

Louis Vuitton x Takashi Murakami (2003 – 2015)

Hoogenhuyze Lisette (2017), “Third Factor”. 14

Figure 10-11: Louis Vuitton 2003 S/S Runway – detail

Figure 12 (left): Louis Vuitton 2015 Summer/Spring Runway

Figure 13 (right): Cheery Blossom Line

Analysis: Louis Vuitton’s curatorial choice to collaborate with Takashi Murakami

Beyond the collection

Louis Vuitton x Jeff Koons (2017)

Figure 15: Rabbit, 1986

Courtesy Jeff Koons

Figure 18: Interior of Masters Collection

Figure 19 (left): Figure 20 (right):

2.2. John Yuyi x Gucci: #TFWGucci

Figure 21 (left): 100K, 2017 Figure 22 (right): Becoming Famous, 2017

Figure 23-24: John Yuyi x Gucci #TFWGucci project, 2017

2.3. Off-White c/o Virgil Abloh Collaborations

Off-White c/o Virgil Abloh x Jenny Holzer

Figure 25-26: Jenny Holzer x Virgil Abloh presentation at Pitti Uomo

Figure 27: Jenny Holzer x Virgil Abloh for Planned Parenthood LA

Virgil Abloh x Takashi Murakami at Gagosian Gallery

architectural carapace designed by Abloh to house one of Murakami’s large-scale gloss-black

Cultured Magazine. September 6, 2018

Figure 29 : Life Itself, 2018 ( Installation view)

Chapter 3 Brand Alliance: Luxury Fashion Brands and Artist Brands

3.1. Artists as Brands

Marketing 4, no.11 (2014): 11

Marketing 4, no.11 (2014): 14

The Risks of Brand Alliance

3.3. The Benefits of Brand Alliance for Both Sides

Benefits for Luxury Fashion Brands