Abstract

Fashion, since it became part of the contemporary art context, has been promoting cross-bordering approaches – the same that characterize the art practices – in the fashion design context itself. Therefore, presentations of collections in catwalk shows have been shifting to performative practices driven by the conceptual intentions of the designers, some held in the cultural spaces of contemporary art. The cross-contamination occurring among the contemporary arts has also allowed the fashion audience to engage in a more immersive way into the works of fashion designers. On the other hand, under the influence of other forms of art, fashion proposals became ever more conceptual, questioning so many preconceptions on wearing and communicating, since “clothing, seen as ‘anti-fashion', gained new ways to express one's thoughts, under this artistic universe grounded by a wave of experiments” (Cabral, 2010:44). Quinn gives the example of Chalayan: “Chalayan builds bridges between the visual, the ideological, the invisible and the tangible, his designs challenge preconceived notions of what clothing can mean” (Quinn, 2005 apud Bugg, 2014:33).