How luxury brands are shaping the art world

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Luxury brands are increasingly collaborating with artists to create unique objects at the intersection between art and consumerism. We spoke to luxury expert Federica Carlotto about this creative interplay, new business models, and her personal favourite collaborations, from Salvador Dalí and Elsa Schiaparelli to Adidas and the Meissen porcelain manufactory.

Federica Carlotto is one of the most astute observers at the intersection when luxury, art, and culture meet. With an academic background in anthropology and management, and having held positions at renowned institutions such as Sotheby’s Institute of Art in London, she has established herself internationally as a key voice when it comes to deciphering the mechanisms of the luxury world. She not only analyses how brands play with cultural capital, but also shows how traditional business models are being reshaped under the influence of creative disciplines. At a time when luxury is no longer defined solely by products, but increasingly by attitude, values and cultural relevance, Carlotto understands how to accurately classify developments. She talks to Signature about current shifts in the creative field, the future of the luxury industry, and which collaborations are more than just strategic alliances for her.

Luxury brands are increasingly collaborating with artists. Is this a trend or something that is here to stay?

It’s more than a trend. Fashion designers and the luxury industry have always collaborated with artists – think of Schiaparelli and Salvador Dalí, for example – however, over the last two and a half decades, a entirely new business model has emerged, and a very successful one at that. This interconnection between luxury and art coincides with a profound upheaval in the business itself: luxury brands have become larger and more global and have had to generate increasingly high profits. The leather goods manufacturer Louis Vuitton, for example, became a global luxury group during this period. Artists are also increasingly seeking to expand their means of expression.

Getty Images 1509078502 Dominique Maitre WWD Penske Media — Elsa Schiaparelli and Salvadore Dalí designed the Tears dress in 1938.

Where do you see the initial spark, the collaboration that triggered this development?

When Marc Jacobs became creative director at Louis Vuitton and collaborated with graffiti artist Stephen Sprouse in 2000, it was something of a game changer. The rush for the limited edition was huge, the product range expanded, and the company profited enormously. And it appealed to customers who might otherwise not have been reached; who were interested in art and culture and wanted to communicate that they were cool and culturally savvy by buying a Louis Vuitton Stephen Sprouse bag. In sociological terms, you could say that they were emphasising or increasing their ‘cultural capital’.

LV SS03 Louis Vuitton Harri Peccinotti — The re-edition of the graffiti line by Luis Vuitton and Stephan Sprouse in 2009.

01 Vuitton skate board 23 12 08 Louis Vuitton Antoine Rozes — Louis Vuitton skateboard in collaboration with Stephan Sprouse

Interestingly, the Western art world turned its nose up at this collaboration. Was this criticism justified?

You are right to refer to the Western art world, which on the surface sees itself as highly intellectual and critical of consumerism. It was different in the East: Japanese artist Takashi Murakami, with whom Marc Jacobs and Louis Vuitton later collaborated, turned against precisely this conceit on the part of the Western art world in a manifesto. For him, manga and anime are artistic forms of expression, even if the mainstream art world did not see it that way at the time. Gradually, these collaborations also altered the understanding of what art and luxury are, or rather, the boundaries dissolved and continue to dissolve.

Louis Vuitton Marilyn trunk in white Monogram Multicolour canvas containing 33 Marilyn bags Collection Louis Vuitton 2011 Louis Vuitton — Marilyn Trunk with 33 pockets in a multicoloured monogram style by Louis Vuitton, created in collaboration with Takashi Murakami in 2007.

So today, the collaboration between artists and luxury labels is seen in a much more relaxed light?

The creative field has changed profoundly, both in terms of the art scene and the luxury industry. Just think of someone like Virgil Abloh, who didn’t call himself a designer. Many view themselves more as creatives looking for the right platform for their own forms of expression, be it in the art, fashion, or luxury market. Access has become much more holistic, if you will.

The collaboration between art and luxury is also highly diverse. There are capsule collections by artists, art foundations by luxury brands, artists who design luxury stores, etc.

What are the prerequisites for this collaboration to really make sense and also work financially?

From the perspective of luxury brands, it’s about having a vision for a brand, which is what Loewe has demonstrated under Jonathan Anderson, and Moncler under Remo Ruffini. Anderson emphasised the craftsmanship of Loewe products, while Ruffini wants to show what can be done with a down jacket. The chosen form of collaboration is secondary; what is important is that the collaboration fits in with the larger goal that a brand has set itself. The same applies to artists, for whom collaboration makes sense if it fits in with their themes and artistic stylings.

All these collaborations are about saleable products, such as handbags or winter jackets. But why are more and more luxury brands running their own art foundations that do not directly contribute to the companies’ turnover?

First of all, there is a personal angle: many people in the fashion and luxury industry, such as Achille Maramotti (Max Mara) and Miuccia Prada, collect art that they also want to make accessible to the public. On the other hand, we must increasingly view the luxury industry as something that sells not only products but also cultural values. Luxury brands are becoming players in the cultural sector, taking on a different identity – one that is no longer exclusively defined by consumption. Today, Prada is not just a luxury brand but rather something of a cultural institution, and that naturally has a positive effect on sales.

Is a brand’s image increasingly overshadowing the products themselves, for example in terms of quality and workmanship?

As modern consumers, we are faced with an endless choice of products. That’s why we look for something that stands out, that is meaningful, that fits into our world and our lifestyle. We look for products that tell a story, and that is exactly what luxury offers when it collaborates with artists. And yes, perhaps it is not primarily about quality.

Last but not least: What is your personal highlight from the collaborations of recent years?

You’ll laugh, but my favourite collaboration to date is the one between Adidas and the very traditional German ceramics manufacturer Meissen. They worked on the design of new sneakers using ceramic patterns from the 1856 Krater vase. The sale of the sneakers benefitted art students who would otherwise been unable to afford their studies. I found this collaboration so surprising and original, so much so that I am still a big fan of it today.