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From canvas to catwalk: how art history inspires contemporary fashion

Posted 14 Feb 2020, by Lydia Figes

Lady Anstruther c.1763

Joshua Reynolds (1723–1792)

Girl in White 1941

Louis le Brocquy (1916–2012)

Elizabeth I (1533–1603) 16th C

British School

Lady in a Fur Wrap 1580–1588

Alonso Sánchez Coello (c.1531–1588)

Ophelia 1851–2

John Everett Millais (1829–1896)

Henry Fiennes Pelham Clinton (1750–1778), Earl of Lincoln

Gainsborough Dupont (1754–1797)

The Decameron 1916

John William Waterhouse (1849–1917)

Frances Howard (1578–1639), Duchess of Richmond and Lennox c.1621

Marcus Gheeraerts the younger (1561/1562–1635/1636)

Margaret Laton (d.1641) c.1620

Marcus Gheeraerts the younger (1561/1562–1635/1636) (attributed to)

Portrait of a Young Woman about 1545

Paris Bordone (1500–1571)

Portrait of a Lady 1618

Lady Croke (1588–1638), née Brigette Hawtrey, Last of the Hawtrey Family

Art history and fashion have a long-standing relationship. Intrigued with new forms, colours, textures, and broader socio-cultural references, fashion designers have regularly turned towards the visual arts for sartorial inspiration. But fashion, as a living form of art, deserves to be analysed within the same frameworks as art history.

From Dolce & Gabbana's Alta Moda fashion shows inspired by paintings of the Italian Renaissance, to Alexander McQueen's love for Elizabethan silhouettes and ostentatious ruffs, the worlds of painting and haute couture have often collided.

Declaration of love

1731, oil on canvas by Jean François de Troy (1679–1752)

In time for London Fashion Week, here are some famous examples of when art inspired fashion.

The Middle Ages

You may be surprised to know that Hieronymous Bosch , the Netherlandish artist whose work reflects medieval codes of morality, is one of the fashion world's favourite art historical references.

His famous fifteenth-century triptych The Garden of Earthly Delights  has inspired countless designers, from Zandra Rhodes to Raf Simons and Alexander McQueen.

The Garden of Earthly Delights

c.1495–1505, oil on oak panel by Hieronymus Bosch (c.1450–1516)

For the Gucci SS18 Campaign titled ' Gucci Hallucination ', Spanish artist Ignasi Monreal was commissioned to create an Instagram-driven project inspired by art historical references. In this instance, he created a fantastical digital animation inspired by Bosch's famous triptych. By referencing and mixing both the historic and contemporary worlds, fine art and fashion, Monreal revives and readapts a traditional, painterly genre.

      View this post on Instagram @gucci SS18 Campaign  

Valentino designer Pierpaolo Piccioli has also been captivated by Bosch's surreal and celestial garden. He invited Zandra Rhodes to reinterpret the heavens and hells of Bosch, adopting a colour palette of earthy hues of greens and browns against acid pinks and violets.

The Renaissance

Last year, Renaissance-inspired fashion experienced a renaissance in twenty-first-century fashion trends. Continuing the theme of the 2018 Met Gala, 'Heavenly Bodies', designers began fabricating bold shapes and silhouettes mimicking fifteenth- and sixteenth-century Italian paintings.

Before the flurry of interest in Renaissance forms, designers such as Dolce & Gabbana, Pierpaolo Piccioli and Marie Grazia Chiuri were already experimenting with this era of art history, creating legendary haute couture looks that took the fashion world by storm.

Eleonora di Toledo c.1562–1572

Agnolo Bronzino (1503–1572) (studio of)

Renaissance fashions and painting have been reinterpreted by looks such as the billowing 'Juliet Sleeve', chiffon and taffeta gowns, detailed floral prints, and Shakespearean ruffs. The hair accessories – headbands, bejewelled headpieces – have also come back into fashion.

      View this post on Instagram Dolce&Gabbana’s Alta Moda inspired by Bellini’s "I Capuleti e i Montecchi". The main characters of this Opera are Romeo and Juliet, the wealthy heiress of the Capulets. She begged the winds for help, in the hope that she could love her Romeo. The first model represents Juliet by wearing an inlaid cotton organza corset dress, illusion tulle and chiffon. #DGAltaModa #DGFattoAMano #MadeInItaly #TeatroallaScala #DGLovesMilano #DolceGabbana A post shared by Dolce & Gabbana (@dolcegabbana) on Dec 8, 2019 at 6:00am PST

      View this post on Instagram Relive the backstage moments from the Dolce&Gabbana Alta Moda and Alta Sartoria Fashion Show, Milano, December 2018. #DolceGabbana #MadeInItaly #DGFattoAMano A post shared by Dolce & Gabbana (@dolcegabbana) on Jan 21, 2019 at 11:58am PST

Dolce & Gabbana even designed dresses emblazoned with the paintings by Leonardo da Vinci , Raphael , Giovanni Bellini and Sandro Botticelli for their 2018 Alta Moda show.

In this instance, a model wears a dress featuring the Portrait of Giovanna Tornabuoni , executed in 1488 by Domenico Ghirlandaio . The exquisite profile portrait was commissioned by the sitter's husband Lorenzo Tornabuoni, after his wife's death the same year.

Giovanna Tornabuoni 19th C

Domenico Ghirlandaio (1449–1494) (copy after)

The Elizabethans

Elizabeth I is undeniably one of history's greatest fashion icons. Her dramatic silhouettes have inspired many haute couture designers, including Valentino and Vivienne Westwood among many others.

Perhaps more so than any other royal, the Virgin Queen used clothing to create a powerful mythology for herself, one which legitimised and strengthened her God-like reign and regal status.

Queen Elizabeth I (1533–1603) c.1590

British (English) School

      View this post on Instagram From the archive: a cut-out white exploded graphic floral embroidered dress featuring a collar made using rich pearl embroidery and raised whitework petals. ⁣ ⁣From the Autumn/Winter 2013 collection. ⁣ ⁣#McQueenArchive ⁣#McQueenAW13 ⁣#AlexanderMcQueen A post shared by Alexander McQueen (@alexandermcqueen) on Dec 24, 2019 at 1:31am PST

Elizabeth was known for her opulent, embroidered dresses incorporating rare and expensive jewels, glossy pearls and intricate ornate brooches.

Like all aristocratic Elizabethan woman, she wore a chemise, stiff corset, a petticoat, a farthingale, stockings, a gown, and usually an ostentatious neck ruff. Stiffened with starch (derived from grains, wheat or corn), some of the most extreme ruffs were more than a foot wide (known as cartwheel ruffs) and took many hours to make. The ruff was a status symbol, one which made clear that the person wearing it was of great importance and didn't do manual labour.

Elizabeth I (1533–1603): The Pelican Portrait c.1573–1575

Nicholas Hilliard (1547–1619) (attributed to)

Baroque opulence

The Italian Baroque has also provided plenty of inspiration for contemporary designers. Known for its theatricality and grandeur across the visual arts, music and architecture, the Baroque style emerged out of Mannerism and the High Renaissance and prompted an interest in ornate detail, excess, and splendour.

      View this post on Instagram Inspired by the queens of the Baroque era, dedicated to the contemporary women of today. #DGWomen A post shared by Dolce & Gabbana (@dolcegabbana) on Aug 26, 2019 at 9:01am PDT

Baroque compositions and forms are characterised by movement and energy, aspects which have appealed to fashion designers looking to embrace the theatrical in their garments. Baroque portraits of women from nobility inspired Dolce & Gabbana, seen in these exquisite shoes above.

Marchesa Maria Serra Pallavicino (?) 1606

Peter Paul Rubens (1577–1640)

Japanese ukiyo-e

The Japanese genre of ukiyo-e prints is often translated as 'pictures of the floating world' and flourished in the seventeenth century, during Japan's Edo Period.

In the following century, The Great Wave Off Kanagawa by Katsushika Hokusai (1760–1849) became one of the most famous Japanese woodblock prints in existence. Unsurprisingly, the striking visual has been reinterpreted by fashion designers, such as Russian designer Alena Akhmadulina.

The Great Wave

'Under the Wave off Kanagawa' from the series 'Thirty-Six Views of Mt Fuji', 1831, colour woodblock oban print by Katsushika Hokusai (1760–1849)

      View this post on Instagram  

The allure of the eighteenth century has consistently been revisited by haute couture fashion designers, looking to recreate the whimsical decadence that characterised the fashions of Marie Antoinette and her courtiers at the Chateau of Versailles in the mid- to late 1700s.

Madame de Pompadour 1759

François Boucher (1703–1770)

From Christian Dior to Balenciaga, runway fashion has reinterpreted looks such as taffeta silks in pastel colours, fur-trimmed lined robes and dresses, powdered wigs, and garments with shell and floral designs.

      View this post on Instagram Like in a Rubens Baroque composition, the mirror is the ultimate symbol of beauty to gracefully frame like a portrait. A great play is made by the “ton sur ton” elements, which contrast with the different weight of fabrics. The pink #DGDevotionBag is perfectly paired with the gold embroidered skirt and the chiffon shirt. Discover the #DGWomen collection with sizes available up to an Italian 54. #DolceGabbana #DGFamily A post shared by Dolce & Gabbana (@dolcegabbana) on Jan 22, 2020 at 8:06am PST

Although Dolce & Gabbana make reference to Rubens' Venus at a Mirror  in their text, the overall aesthetic of this image recalls the French Rococo. The artist who epitomised this style was  Francois Boucher (1703–1770). He was known for his idyllic scenes showing courtly love or voluptuous mythological goddesses surrounded by putti and cherubs. In 1759, he painted the famous mistress of Louis XV, Madame de Pompadour , as seen above.

The Rococo genre of 'La toilette', in which an artist captured a woman in a state of undress before her dressing table and maidservant, was popularised by artists such as Boucher (although the tradition was brought into existence centuries before). Sumptuous and often voyeuristic, these depictions offered a fleeting glimpse into a private, feminine, domestic setting, one which reflected the Rococo fashion for suggestive and sensual scenes.

The Toilette of Venus

1751, oil on canvas by François Boucher (1703–1770)

Regency fashion

Regency period fashion in Britain is often thought of as the 'Jane Austen era', when women wore relatively understated, elegant dresses (usually without corsets) and men dressed in tailored culottes, breeches, jackets, and Hessian boots.

Inspired by the simplicity of classical attire, the fashions of the day reflected changing moral and social values, which advocated for a return to nature and simplicity. This era also gave rise to the term 'the dandy', a fashionable character who prided himself on sophisticated sartorial taste reflecting 'natural excellence'.

The Ladies Elizabeth and Georgiana Stanhope

James Ward (1769–1859)

Women's fashions often involved muslin chemises showing bare arms, high-waist dresses known as the 'empire' silhouette, pastel fabrics, turbans and gloves. Unlike customs in previous centuries, the woman's waist was de-emphasised. Instead, clothing highlighted the chest, shoulders and arms. 

      View this post on Instagram Catherine the Duchess of Cambridge rewears a stunning @alexandermcqueen dress to the BAFTAs. She last wore the dress during a visit to Malaysia in 2012. See more from the red carpet at the link in bio. A post shared by Vogue Runway (@voguerunway) on Feb 2, 2020 at 11:55am PST

Here, Catherine, Duchess of Cambridge, wears a gold-embroidered Alexander McQueen dress in the Empire silhouette design.

The Victorians

By the commencement of the Victoria era in the nineteenth century, the whimsical, classical-inspired fashions of the eighteenth century had disappeared and were replaced by a more formal, restrictive attire. The corset returned and necklines emphasised the V-shape. Women's robes were heavier, darker and incorporated more frills, bows, and lace.

Whereas pre-1850s dresses often had collapsed sleeves and low necklines, by the latter half of the century women rarely showed any bare skin and higher necklines and collars were introduced.

For Sale 1857

James Collinson (1825–1881)

Here is a striking comparison between the dress of a young Victorian woman in 1857 with ERDEM's Spring/Summer 2019 collection.

      View this post on Instagram ERDEM Spring/Summer ’19 features in @vogueportugal. #ErdemSS19 Stylist: @rachelbakewell

The Belle Époque

As we reach the turn of the nineteenth century, here is Vivienne Westwood's iconic look which Christy Turlington took to the runway in the early 1990s.

Channelling the Parisian era of the Belle Époque at the fin-de-siecle, Westwood recalls Henri de Toulouse-Lautrec 's caricatures of provocative cabaret dancers at the Moulin Rouge.

      View this post on Instagram Christy Turlington for Vivienne Westwood AW93/94 #WestwoodSundays A post shared by Vivienne Westwood (@viviennewestwood) on Nov 12, 2017 at 12:32pm PST

Dancing Jane Avril

study for the poster 'Jardin de Paris', 1893, gouache on cardboard by Henri de Toulouse-Lautrec (1864–1901)

With an almost limitless range of styles to explore, whatever happens in fashion's future, it's certain that art will continue to inspire designers for years to come.

Lydia Figes, Content Creator at Art UK

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Visiting Sleeping Beauties: Reawakening Fashion? You must join the virtual exhibition queue when you arrive. If capacity has been reached for the day, the queue will close early.

Exploring art deco textile and fashion designs.

«Pochoir, a stencil-based printing technique used to create multicolored prints, was particularly popular in the production of French illustrated pattern books from the late 19th century until the 1930s. The technique created lively images with crisp lines and vibrant colors, as seen in the design by Eugène Séguy at left (fig. 1), and was widely used in fashion journals and illustrated portfolios with designs for architecture, interiors, and textiles, many of which can be found in the collection of the Department of Drawings and Prints . A group of these publications devoted to textile and fashion designs from the Art Deco is in the process of being cataloged and digitized, giving us the opportunity to take a closer look at the idiosyncratic eclecticism of the textile designs in this period.»

Fig. 1. Eugène Alain Séguy (French, 1877–1951). PRISMES: 40 planches de dessins et coloris nouveaux , plate 20 , [ca. 1930]. Pochoir, Sheet: 12 9/16 x 8 7/8 in. (31.9 x 22.6 cm). The Metropolitan Museum of Art, New York, Jane E. Andrews Fund, in memory of William Loring Andrews, 1933, transferred from the Library (1991.1073.196[20])

While the Art Deco was a decidedly a new style, it also maintained a strong dialogue with other artistic styles and periods, nurturing certain elements while turning away from or reacting to others. The Art Deco inherited various aspects from its direct predecessor, Art Nouveau, such as the use of geometric forms; the often flat and sometimes stylized naturalistic decorations; an predilection for exotic elements, often combined with the local; and a general interest in compositions consisting of multiple dimensions and perspectives. In line with the spirit of the times, the Art Deco also shared or adopted elements from other contemporary artistic movements. With Futurism it shared a fascination for technological advancements and the machine; with Cubism a predilection for repetition and geometric forms. A tendency towards distortion is often linked to German Expressionism, while the theatricality of the style finds a parallel in the costume and set designs for the Ballets Russes.

Textile design received much attention during this period, as fashion represented the second-largest export industry and was of great importance to the recovery of a devastated economy after World War I. This aspect is clearly reflected in the quantity of publications devoted to textile design issued in this period. The vibrancy of many of these designs can also be understood to reflect a spirit of revival and recuperation.

Left: Fig. 2. Jean-Émile Laboureur (French, 1877–1943). Papiers Peints et Tentures Modernes , plate 12, "Papier peint 'Le Marin,' composition de Laboureur," [1929]. Photo reproduction of a pochoir print, Sheet: 12 11/16 x 8 1/4 in. (32.3 x 21 cm). The Metropolitan Museum of Art, New York, Rogers Fund, 1929, Transferred from the Library (1991.1073.181[12]). Right: Fig. 3. Maurice-Jacques-Yvan Camus (French, born Angers, 1893–1971). Idées 1, plate 2 (detail), ca. 1933. Pochoir, Sheet: 15 in. x 11 1/16 in. (38.1 x 28.1 cm). The Metropolitan Museum of Art, New York, The Jane E. Andrews Fund, in memory of William Loring Andrews, 1933, transferred from the Library, (1991.1073.39[1.2])

The above pattern designed by Jean-Émile Laboureur for the book Papiers Peints et Tentures (fig. 2) demonstrates the eclectic effect of the combination of elements of the various styles from which Art Deco artists took inspiration. In the repeat pattern, a French marine arrives with his sailing ship at unknown shores characterized by exotic plants, palm trees rich with fruits, and semi-savage, half-naked women who bring life to the jungle.

While a fascination with the female figure is common in both the Art Nouveau and Art Deco styles, many art historians observe a transition from a rather overt sexuality in the former to the more subdued sensuous and playful semi-abstract forms of the female body, as represented in the design by Camus shown above (fig. 3).

Even more prevalent in the Art Deco designs is the association with the advancements of modern times and the machine age. An orientation toward the industrial and urban landscape—which translated into metallic color schemes and the clean ergonomic lines of industrially manufactured objects and vehicles—also invaded the realm of textiles and fashion. Details of cityscapes, Art Deco architecture, and the New York skyline, in particular, form important design motifs in the designs presented by Nicolas Sorokine in his Studio d'Arts Décoratifs (fig. 4).

Left: Fig. 4. Nicolas Sorokine. Studio d'Arts Décoratifs: Tissus par Nicolas Sorokine , plate 11, "Dessins de différents genres, de couleur sobre" (detail), [ca. 1930]. Pochoir, Sheet: 15 5/8 x 11 5/8 in. (39.7 x 29.5 cm). The Metropolitan Museum of Art, New York, Rogers Fund, 1925 and 1931, transferred from the Library, (1991.1073.33[1.11]). Right: Fig. 5. Serge Gladky (French, 1880–1930). Nouvelles Compositions Décoratives, 1re Série , plate 24 (detail), [ca. 1930]. Pochoir, Sheet: 12 3/4 x 9 3/4 in. (32.4 x 24.7 cm). The Metropolitan Museum of Art, New York, Jane E. Andrews Fund, in memory of William Loring Andrews, 1943, transferred from the Library. (1991.1073.125[24])

The locomotive, other means of transportation, and new industrialized forms of production also became ubiquitous in the designs created by Serge Gladky (fig. 5).

Technological advances not only served as a subject for Art Deco designs, but also became essential in the physical production of art during the period. As such, the extensive use of pochoir as the printing technique of choice in the production of model books is not surprising, since it allowed for the creation of color illustrations with more facility than previously employed techniques such as hand-coloring, à la poupée printing, and chromolithography .

Along with industrialization, commercialization and mass production of design became the norm and also invaded the field of fashion. Paul Poiret , in particular, understood the theatrical appeal of fashion as a selling technique as early as 1911. Poiret crafted his early designs for a feminine figure who, now liberated from the corset, began to wear harem trousers, lampshade tunics, and hobble skirts.

Left: Fig. 6. George Barbier (French, 1882–1932). Costumes Parisiens : "Grande robe du soir en tulle et satin; Echarpe de velours à glands de perles," 1913. Line engraving with gouache and water color, Sheet: 8 3/4 x 5 9/16 in. (22.2 x 14.2 cm). The Metropolitan Museum of Art, New York, Gift of Mrs. Millia Davenport, 1957 (57.546.1[2]). Right: Fig. 7. Georges Goursat [SEM] (French, 1863–1934). Le vrai et le faux chic: Musée des Erreurs , page 10 , 1914. Line engraving and pochoir, Sheet: 17 7/8 x 12 13/16 in. (45.4 x 32.6 cm). The Metropolitan Museum of Art, New York, The Elisha Whittelsey Collection, The Elisha Whittelsey Fund, 1962 (62.652.7[11])

In his Le vrai et le faux chic: Musée des Erreurs (The True and False Chic: Museum of Errors) of 1914, Georges Goursat (better known as SEM) mocked the polemics of Art Deco fashion and, in particular, the style of Paul Poiret. He criticized the exotic, over-the-top fashions with their bold designs, and instead advocated for a simpler, slender form, plain fabrics, and subtle colors that would come to be known as the garçonne ("New Woman") of the Art Deco.

The development of the slender figure of the garçonne was a direct result of the changing position of women in society, especially after they were granted the right to vote by the United States in 1919. The "New Woman" had a taste for fashionable, androgynous, and more form-revealing clothing, which contemporaries simultaneously loved and criticized. The characteristic silhouette consisted of an elongated, boyish figure; tubular garments that revealed legs; imaginative, streamlined shoe designs created by the likes of Salvatore Ferragamo and Roger Vivier; a short haircut, covered by a cloche hat ; and a long, dangling pearl necklace around the neck.

For Poiret, the garçonne was a symbol of the decay of French fashion, and he predicted it would severely damage its stature. Nevertheless, at the 1925 International Exhibition of Modern Decorative and Industrial Arts in Paris, the garçonne was chosen to symbolize the epitome of Parisian fashion.

Fig. 8. Sonia Delaunay, née Terk (French [born Russia], 1885–1979). Plate 2 from Sonia Delaunay: ses peintures, ses objets, ses tissus simultanés, ses modes , [1925]. Pochoir and relief process, Sheet: 14 15/16 x 21 15/16 in. (38 x 55.8 cm). The Metropolitan Museum of Art, New York, The Elisha Whittelsey Collection, The Elisha Whittelsey Fund, 1968 (68.580.1[2])

The designs of Sonia Delaunay (figs. 8, 9) seem to form a middle ground between the two opposites: promoting striking colorful, geometric patterns to create short dresses for a modern, active woman. Applying a painter's approach to textiles, the fashions of Delaunay's "simultaneous experiments" perfectly reflect the eclectic, abstract aesthetic of the late Art Deco.

Fig. 9. Sonia Delaunay, née Terk (French [born Russia], 1885–1979). Plate 18 from Sonia Delaunay: ses peintures, ses objets, ses tissus simultanés, ses modes , [1925]. Pochoir and relief process, Sheet: 14 15/16 x 21 15/16 in. (38 x 55.8 cm). The Metropolitan Museum of Art, New York, The Elisha Whittelsey Collection, The Elisha Whittelsey Fund, 1968 (68.580.1[18])

Both a reaction to and an escape from the perplexing contrasts of modern times as well as the monumental changes and apocalyptic events of the early 20th century, textile design maintained a sense of positivity and fantasy in the Art Deco period. This optimism—like the liberated, dancing figure of the garçonne —would disappear at the end of the 1930s when a second, even more devastating war shook the foundation of modern society.

Left: Fig. 10. G. Barbier (French, 1882–1932). Costumes Parisiens 112: Manteau de velours blanc brodé de perles; Robe de damas blanc; Souliers roses , 1913. Line engraving with gouache and water color, Sheet: 8 7/8 x 5 1/2 in. (22.6 x 14 cm). The Metropolitan Museum of Art, New York, Gift of Mrs. Millia Davenport, 1957 (57.546.14[1]). Right: Fig. 11. André Stéfan (French, active early 20th century). Costumes Parisiens 138: Robe de satin pékiné à volants de nansouk , 1914. Line engraving with gouache and water color, Sheet: 8 7/8 x 5 9/16 in. (22.5 x 14.2 cm). The Metropolitan Museum of Art, New York, Gift of Mrs. Millia Davenport, 1957 (57.546.25[2])

The spirit of the times has been preserved, however, in the many artworks and design objects made in this period. The textile and fashion design publications, in which not only the designs but also their vibrant colors have been so beautifully preserved, form a kind of time capsule, giving us a glimpse of the Parisian lifestyle and the elegant eclecticism of the fashions during the heydays of the Art Deco period (figs. 10, 11).

Related Links Heilbrunn Timeline of Art History: " French Art Deco "

Now at The Met : " Discussing the Rise of French Art Deco with Author Jared Goss " (April 29, 2015)

Laura Beltran-Rubio

Laura Beltran-Rubio is a research volunteer in the Department of Drawings and Prints.

By Meredith Blechman

March 12, 2013

The status of fashion within the sphere of fine art has long been the subject of debate. There have been designers who identified themselves first and foremost as artists, such as Elsa Schiaparelli, who declared in her autobiography that she regarded dress design not as “a profession, but an art.” By contrast, many prominent designers of the present day reject this position—including Miuccia Prada, Karl Lagerfeld, and Marc Jacobs—instead viewing fashion and art as their own separate, if highly complementary, realms. In fact, Yves Saint Laurent considered there to be such a gulf between the two fields that he once lamented that, despite his legendary accomplishments as a couturier, “I am a failed painter.” 

In 1983, this occasional dispute was brought to the forefront of art criticism and scholarship when the  Metropolitan Museum of Art 's Costume Institute mounted a 25-year retrospective of Saint Laurent's designs. Displaying the iconic clothes in the same manner and context as masterpieces by Picasso, Monet, and Pollock angered many critics, who were forced to question whether an “applied” or “decorative” art should be elevated to the same platform as fine art. 

From one point of view, the main differences between fashion and art could be found in their utility and temporality. Fashion is constrained by certain factors, including wearability and the specific contours of the human body, for instance. It has a clear commercial value, priced as a cross-function of the cost of goods and brand perception. Fashion is ever-evolving, frequently changing based on trends. Those considerations, one could argue, keep fashion distinct from art, in which economic considerations in general are seen as much less important—art is created regardless of its eventual economic value (or lack there of). And the nonutility of art is a key differentiator from fashion, as is the fact that its value increases over time. 

Just as fashion is following art, art, too, is steadily adopting characteristics typical of fashion. As art economist Claire McAndrew noted in her book The Art Economy , “no matter how highly valued art is in society, there is no escaping the fact that it is produced, bought, and sold by individuals and institutions working within an economic framework inescapable from material and market constraints,” a fact that is largely a byproduct of an increasingly global art market. Artists today have become brand names, with many investors looking less at the aesthetic or formal qualities of an artwork and instead examining an artist’s sales history and “brand value.”

In turn, many contemporary artists (like, most famously, Damien Hirst and Takashi Murakami ) have made art's function as a market commodity a core aspect of their work. Leveraging their brand identities, artists have often partnered with fashion designers to create wildly popular clothing collaborations, such as Murakami's Louis Vuitton bags. And anyone who doesn't believe that art follows trends has never toured an art fair, where common approaches to a perceived opening in art history often lead to a profusion of similar objects made by artists all over the world. (Just see our trend report from Armory Week to discover a couple of these .)

When considering the changing dynamics of the art and fashion worlds—particularly over the past 50 years—the distinctions between fashion and art in the traditional sense become almost nonexistent. So... fashion is clearly art, right? Well, in my view, not quite. Fashion and art share more of a symbiotic relationship, as two different means of creative self-expression that profit from frequent interchange. There is no doubt that fashion demands a rightful place in the museum, and should be valued for its contribution to our visual culture. Fashion shows today are so elaborate and conceptual that it's difficult not to consider them a form of performance art, and I would be hard-pressed to dispute anyone who declared that certain haute-couture looks from avant-garde designers like Viktor & Rolf, Hussein Chalayan, and Alexander McQueen are true works of art.

Yet, the intrinsic difference between fashion and art remains, namely as it relates to utility—just as there is a distinction between design, where an object is created to fulfill a functional need, and art, where artworks largely fulfill non-functional (spiritual, for instance) needs. There's a reason fashion designers are called "designers," after all. Karl Lagerfeld may have put it best: “Art is art. Fashion is fashion. However, Andy Warhol proved that they can exist together.”

On Trend is a monthly column on fashion and art by Meredith Blechman. See her previous column here .

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Is Fashion Art? Addressing the Ongoing Debate

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What is Fashion?

Alistair o’neill, professor of fashion history and theory at central saint martins, asks the elusive question.

Fashion is most often thought of as a global industry that is invested in anticipating what we wear and how we wish to appear to others. But fashion isn’t just a business. It’s also a cultural and social phenomenon, driven by the desire for the new. As such, the industry can never fully control fashion: fashion is all about being open to change.

Let's take a look at some of the different aspects of fashion... 1. The 'new' Christian Dior ’s first couture collection was unveiled on February 12, 1947. It presented two lines named 8 and Corolle , referring to the corolla of a flower which is the botanical term for its petals. The bar suit was, in essence, an upside-down flower. The full pleated skirt, fine black wool crêpe over a stiffened taffeta petticoat, is the corolla, and the natural silk tussore jacket, tightly fitted at the waist and extending out over padded hips, is the sepal (the green protective layer that surrounds the petals).

But all the references to botany were scrambled as the show ended and Carmel Snow, editor-in-chief of American Harper’s Bazaar, exclaimed to Dior, "It's quite a revelation, dear Christian. Your dresses have such a new look!". A correspondent for Reuters news agency wired the quote, quickly spreading the revised name for the collection that changed the course of postwar women’s fashion. The New Look , as it is still known, continues to symbolize fashion as seasonal change and the 'newest thing'; but it also illustrates how turning clothes into fashion requires a degree of transformation. What we know about fashion is partly formed by the materiality of dress and the experience of wearing clothes, but much more is learned from its translation into words and images – how it gets communicated.

2. Experimentation and adaptation Fashion often promotes ideals that are unattainable to the many, and accessible to the few. Yet fashion also has the capacity to make the marginalized feel that they can participate. For example, through vogueing, which came out of the New York gay balls of the early 1990s, black and latino gay men appropriated the elite fashions presented in the pages of Vogue magazine.

Youth style magazines, such as i-D , turned their back on mainstream and elitist fashion in favor of styles that foregrounded the themes of gender, sexuality, and ethnicity. In the 1991 editorial Strictly , black male models wearing Savile Row tailoring and traditional separates paraded in front of suburban mock Tudor housing: as a knowing commentary on a sense of place and belonging in multicultural Britain. Now, in 2017, one of the models, Edward Enninful , has been appointed editor of British Vogue. What was once marginal becomes the new cultural center.

3. The body The 2016 exhibition Game Changers at the Mode Museum in Antwerp is a good example of how the evolution of fashion can be traced through the changing relationship between clothes and the body. Further, it shows that fashion is not only about newness; it can also be in creative dialogue with fashion's history and the past.

4. The craft Fashion can be appreciated both for how it looks and how it's made. Yves Saint Laurent’s Mondrian dress is credited as the first fashion design to comment on art in a pop idiom, turning a painting by Piet Mondrian into a silk crêpe garment. But the true marvel of this dress is how Saint Laurent’s atelier made the geometric design read as a series of straight lines when placed across the curves of a woman’s body.

Martin Margiela took the idea of a dress being referential and inverted it, creating a bodice that’s based on the Stockman mannequin stand you find in fashion design studios. The outfit is a commentary on how making clothes also relates to bodies, and how there is an inescapable gap between an ideal body and a real one. Something that anyone who’s ever used a changing room mirror can appreciate.

5. Big business Detractors of fashion say that its principle of change is a conspiracy of planned product obsolescence and excessive consumption. The manufacturing techniques of fast fashion have intensified to the point that the production process is unsustainable, and the industry is now the second biggest polluter in the world, second only to oil. Due to its rapid response collecting policy, the Victoria and Albert Museum recently acquired a pair of Primark trousers traced to the Rana Plaza building prior to its collapse and the death of over 1,000 workers. It is a potent reminder of what fashion in the 21st century looks like.

6. A way of understanding ourselves Fashion is a vital indicator of what it is to be modern, and central to how we wish to be recognized as individuals in the world. As fashion historian Christopher Breward notes: ‘Fashion now occupies the centre ground in popular understandings of modern culture.’ But this is not to suggest that fashion is an ally, as it is always one step ahead of us, ready to outdo us. This is exemplified by the reaction of the audience to Chanel’s A/W 2014 Prêt-a-Porter fashion show, documented in a film made by New York Times fashion photographer Bill Cunningham.

Fashion is modern: it’s change, it’s progress. But it’s also an industry, and one that doesn’t always propagate the most modern or progressive viewpoints. Fashion is beautiful to look at, and also often most interesting when it’s questioning beauty standards. Fashion is a way of thinking and also a way of making. Fashion is contradiction. And it’s in fashion’s contradictory-ness that it’s most human.

Explore more: - Frances Corner on Why Fashion Matters - Back to We Wear Culture

Alistair O’Neill is Professor of Fashion History and Theory, Fashion History and Theory Pathway Leader, and a Fashion Programme Member of PARC Research Centre at Central Saint Martins. He is the author of London - After a Fashion (Reaktion Books, 2007) and writes widely on contemporary fashion. Recent curatorial projects include co-curating SHOWstudio: Fashion Revolution (2009) and Valentino: Master of Couture (2012). He is the curator of Isabella Blow: Fashion Galore! (Somerset House, 2013), for which he also edited the accompanying publication (Rizzoli, 2013), and co-curator of Guy Bourdin: Image Maker (Somerset House, 2015).

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117 Awesome Fashion Research Topics: Inspirational Ideas List

Finding some decent fashion research topics that you can use for your next papers is not easy nowadays. You want something new, something original. Your classmates are probably scouring the Internet as we speak, so why are you still wasting time? Take a look at our long list of 117 exceptional fashion research topics and choose the best one right now.

What makes our topics different, you ask? Our experts are constantly updating the list and adding new ideas. This means you will always be able to find an original idea here on this page. We will soon be adding new topics for 2023, so stay tuned!

What Is The Fashion Research Paper?

Keep in mind that finding some great fashion topics to write about is not enough. You need to be able to create a well-organized, concise research paper. To help you do just that, we will show you the 8 main parts of a research paper:

Title page (or cover page) Start with a hook to catch the attention of your readers, then talk a bit about the background of the problem and present your thesis. Literature review. Here, you will need to demonstrate that you have analyzed the literature related to the topic and that there is a gap in knowledge that needs to be addressed. Research In this section, you will explain in great detail all the methods you have used to gather the data. Be as specific as possible. Data analysis. This is the section where you present and analyze the data. Be objective and avoid discussing the results. This is the section where you can discuss your findings and prove how your research results back your thesis. Don’t forget to acknowledge the limitations of your research. Restate your thesis and summarize your research and findings. Show your readers how your findings answer the research questions. References page. This is where you list all the resources you have used to write your research Make sure you don’t miss any.

Now that you know the overall structure of a research paper, it’s time to give you some excellent topics to write about:

Brand New Fashion Research Paper Topics

We will start our list with the brand new fashion research paper topics. These have been added to the list recently, so you can pick one right now knowing that it’s original:

• Fashion in Ancient Rome
• The impact of Jane Austen on the world of fashion
• Swimwear in the 1980s
• Using bizarre colors in fashion
• The rise and fall of the jeans
• Peer pressure related to fashion trends
• Social networking and fashion
• The life and work of Giorgio Armani
• Talk about hippie fashion
• Fashion in Islamic religions

Interesting Fashion Topics To Write About

If you are looking for something out of the ordinary, we have a long list of interesting fashion topics to write about. Take a look at the following ideas:

• The rise of the Chanel brand
• Does price reflect quality?
• Fashion in Ancient Egypt
• The sense of fashion in women
• The link between art and fashion
• Discuss ethics in fashion
• The relationship between style and money
• The role of clothes in your culture
• Interesting fashion hacks

Fashion Research Topics 2023

In the fashion research topics 2023, you can find topics that were greatly appreciated in 2023. These may or may not be as appreciated in 2024 though:

• Fashion in developing countries
• Research smart casual fashion
• Compare Asian fashion with American fashion
• Fashion and aesthetics
• Marketing a new brand of clothes
• Fashion in vlogging
• What are cycles in fashion?
• The rise of the Versace empire
• Fashion in Paris

Advanced Fashion Topics To Discuss

We also have a list of more advanced fashion topics to discuss. Just keep in mind that the following topics are not easy to write about. But as an option, you can buy a dissertation on any topic.

• Negative effects of fashion on the environment
• Forecasting new trends in 2023
• Celebrities and fashion
• Negative effects of fashion on the human psychology
• Influencer marketing of fashion products
• Fashion from a religious standpoint
• The place of leather in fashion in 2023
• Largest fashion shows in the world
• The importance of Fashion Weeks in Eastern Europe

Fun Research Topics On Fashion

Who said a research paper can’t be fun? Choose one of these fun research topics on fashion and start writing the perfect paper today:

• Fashion in 1990s media
• Funny fashion mishaps
• Men in fashion advertisements/commercials
• Fashion in medieval times
• Crossover fashion in 2023
• Can you start a fashion business?
• Fashion in the royal family (the UK)
• Fashion and school uniforms

Important People In Fashion

One of the easiest ways to write a research paper in the field of fashion is to research an icon. Here are some important people in a fashion that you can talk about:

• Karl Lagerfeld
• Stella McCartney
• Audrey Hepburn
• David Bowie
• Princess Diana
• Charles Frederick Worth
• Harry Styles
• Kim Taehyung
• Coco Chanel
• Designer Paul Poiret

Fashion Research Paper Topics For High School

If you are a high school student, you need some easier topics to write on. Check out these fashion research paper topics for high school and pick the one you like:

• Fashion in Ancient Egyptian times
• Michael Jackson’s fashion
• Fashion in Western Europe
• Fashion at the workplace
• Fashion in schools in the UK
• Discuss fashion in North Korea
• Luxury products and the human brain
• Fashion trends and the science that explains them

Captivating Fashion Design Research Paper Topics

In case you want to discuss fashion design, we have a nice list of captivating fashion design research paper topics right here. All these topics are, of course, 100% free to use:

• Fashion in the LGBTQ community
• Fashion in Nazi Germany
• Fun facts about beachwear
• The role of Versace in fashion
• New York as a fashion center
• Effects of Tik-Tok on fashion
• The origins of ethnic clothing
• Mixing 3 styles the right way
• Fashion and sexism in 2023

Fast Fashion Research Paper Topics

Don’t want to spend a lot of time working on that research paper? No problem! Simply choose one of these fast fashion research paper topics:

• The role of politics in fashion in the United States
• Talk about wedding ceremony fashion
• Talk about trends in baby clothing in the United Kingdom
• The role celebrities play in fashion marketing
• Talk about 3 iconic fashion characters
• An in-depth look at fashion in the punk world

Fashion Topics To Research In 2023

It’s time to think about the topics that should work great in 2023. In fact, our experts have already compiled a list of fashion topics to research in 2023:

• Talk about the notion of “invisible branding” in fashion
• Research women’s fashion in the 1980s
• The role played by art in fashion trends
• Research 3 major fashion companies
• Talk about the low rise fashion trend
• Discuss the women’s oversized bomber jackets trend

Fashion And Marketing Research Topics

As you probably know, fashion and marketing go hand in hand. Take a look at our latest and most interesting fashion and marketing research topics right here:

• Fashion marketing on social media
• Fashion marketing in the 1960s
• Effective marketing strategies for luxury products
• Style vs. functionality in marketing
• Marketing and fashion cycles
• The role of fashion in TV commercials

Fashion Ideas For College Students

College students should research topics that are more complex in nature. Don’t worry though; we have more than enough fashion ideas for college students:

• Research the hoodies under blazers fashion trend
• Compare Asian and European fashion
• Research Jane Austen’s style
• A closer look at minimalist fashion
• The beginning of the Haute Couture
• Fashion and the Internet

Unique Ideas Related To Fashion

This list of topics has been revised recently to make sure all ideas are unique. So, if you’re looking for unique ideas related to fashion, you have definitely arrived at the right place:

• Analyze the cropped cardigans trend
• Research the plus-size fashion industry in Indonesia
• The impact of feminism on fashion
• Social issues caused by fashion
• Fashion and cheap labor
• Effects of religion on fashion

Easy Fashion Essay Topics

If you want to make sure you ace that research paper, you should find an easy topic to talk about. Take a look at these easy fashion essay topics and pick one today:

• Discuss the notion of “color blocking”
• Fashion trends during World War II
• The evolution of men’s suits over the last 100 years
• Fashion and child labor
• What is organic clothing?
• Talk about the rise of wig fashion

Creative Fashion Research Questions

Professors really appreciate creativity, so you should definitely go through this list of creative fashion research questions:

• A closer look at the puff sleeves trend
• The Kardashian family’s impact on fashion
• How did Chanel rise to fame?
• Sustainability in the fashion industry
• Fashion and body types
• Interesting fashion trends in Dubai
• Talk about fashion in the armed forces

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Clothes, costume, and fashion in russian modernism.

• James Rann James Rann School of Modern Languages and Cultures, University of Glasgow
• https://doi.org/10.1093/acrefore/9780190201098.013.1244
• Published online: 26 May 2021

Writers have always been conscious of the contribution that clothes can make to their work—as material objects, as outward signs of inner character, and as metaphors, especially for language itself. In the early 20th century, however, a time of rapid technological change, as well as of industrialization, globalization, and urbanization, literary interrogations and descriptions of dress evolved to respond to the new ways in which garments were designed, made, marketed, and sold, and to fashion’s increasing pervasiveness in society. Particularly sensitive to these changes were many of the writers associated with modernism, who shared with the nascent fashion industry a preoccupation with questions of novelty and the presentation of the self. Russia was no exception, and there poets, playwrights, and novelists explored and exploited the meanings of clothes and fashion in order to address the urgent questions concerning sex, gender, and race that were thrown up by life in the modern city. Moreover, as elsewhere, these explorations were not limited to the page; rather, writers’ own wardrobes played a part, especially among those who styled themselves as dandies. In other ways, however, Russia diverged from the European norm in its relationship to clothes and fashion and, therefore, in their intersection with literature. First, the habit of appropriating motifs and styles from non-European cultures, which was further galvanized by the modernist turn away from 19th-century culture, had a very different significance in Russia. The long history of ambivalence about Russia’s place in European culture meant that Russians were capable of finding the exotic in their own backyard, leading, for instance, to a vogue for peasant poets. Second, Russia experienced a particularly intense craze for masquerades in the first two decades of the century, which was both reflected in contemporary literature and, in part, a product of an obsession with the connection between inner essences and outer appearances that also manifested itself in modernist poetry. Third, Russian writers of the time were more inclined than most to see their work as part of a wider transformative mission; this often took the form of an attempt to overcome the perceived division between life and art by infusing the everyday with creativity. Clothes, both on the page and in the streets, were an important front in this battle. Finally, the upheaval caused by the revolutions of 1917 and the emergence of the socialist state had profound effects on the organization of fashion as both industry and discourse. Some writers responded by imagining the post-fashion future; others by involving themselves in reconfiguring what socialist commodities might look like; still others by criticizing a surprisingly resilient consumer culture, at least until the Stalin-inspired reorganization of many aspects of society, including fashion and literature, in the late 1920s and early 1930s.

• dandy/dandyism

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date: 11 August 2024

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The Unique Russian Clothing Brings Out its Cultural Diversity

Russia is not only a landmass giant, but also unique in its geographical location and hence, the way of life of its people and their homogeneous dress and food.

Russia is a vast nation, and hence, the kind of clothing that one would notice in the dedicated stores of Moscow would naturally be quite different to that found in Siberia. Leather is a fetish in Russia. Lined with fur, the look has become synonymous with Russian clothing. In general, traditional Russian men like to flaunt leather a lot. In fact, till today, no matter what the time of the year is, a leather jacket is a cool thing to have! Russian women wear dresses or long skirts and blouses and love to flaunt high heels.

There is a distinct difference in the color and theme preference of the Russian men and women; while the men do not usually like flaunting bright colors in clothing, the women do. The men prefer sober, earthy tones and prefer to keep the look ‘calm’. Many Russians find black and white being very elegant.

Russians pick dark colors mainly due to the amount of dust and mud around and this is a practical choice that runs down the generations. The Russians wear different colors on occasions too; however the colors they choose seem to tell of their lifestyle! There is no hiding the fact that the Russians work very hard and their down-to-earth demeanor is seen in their clothing too.

The colors often seen on Russian men and women tell of their occupation and lifestyle. The colors are from a different scale. The rest of the world is used to people wearing blue, red, yellow and even pink. However, when it comes to shocking and deep shades, only the Russians know how to flaunt them. And the beauty of these people lies in the fact that the shades of colors look different on them and even more natural! The normal fabrics they choose are also to complement the climatic conditions. They use a lot of wool and linen during winter, furs are reasonably a natural choice.

A shirt like long-sleeved garment that is mid-thigh long, known as a kosovorotka is the traditional Russian shirt. Unlike a normal shirt, it has buttons at the collar, slightly off-center, which are unfastened and the shirt is worn by pulling it over the head. The word kosovorotka is used to denote just any kind of shirt. Though there are separate shirts for children and women, kosovorotka are considered to be men’s shirts. Widely worn by peasants and townsfolk till the early 20th century, today it has become the mainstay in Russian song dance and folk music ensembles and as souvenirs.

The traditional dress for women folk is called sarafan, it is a plain jumper-like long dress much like a pinafore. This dress is of single piece and has no sleeves but thin straps at the shoulders which were decorated with ribbons, gold or silver thread and made stiffer. and were decorated with ribbons, gold or silver thread or buttons. Usually it is worn over a traditional off white or bright-colored Russian blouse. A typical sarafan had a woven belt at the waist that had beads or bells and was either of printed or plain material. It is still popular as a summer-time light dress, though worn without the blouse. For festivities or special occasions silk or fine linen was used for the sarafan.

Utter the name Russia and the image of snow, fur coat, and fur cap springs to one’s mind. The most popular headgear that keeps Russians warm during the cold, snowy days is known as the ushanka. They are fur caps with ear flaps, that can be tied on the top of the cap or worn down over the ears. An ushanka is the best protective headgear in the harsh Russian winter and testament to it is the fact that they became a part of winter uniform for military and police not only in Russia but many other western countries, such as Canada and the United States, as well. The massively popular modern-type ushanka are generally made from rabbit fur or sheepskin.

Till the beginning of the 20th century, the traditional footwear of Russian peasants were shoes made from the bark of the linden tree or birch tree. These shoes known as Bast shoes, were hand-woven that fitted according to the shape of a foot and were primarily worn during the summer. Today, bast shoes are seen only as part of ethnic costumes or dance troupe costumes and are majorly sold as souvenirs. Valenki, or felt boots, are the traditional Russian winter footwear and are associated with traditional rustic style. They are primarily worn during severe frost or when other shoes don’t keep out the cold. Valenki boots worn with galoshes (overshoes) are popular in urban areas and are usually worn by little kids.

Symbolism of Russian Clothing

Russian clothing is a show of the traditional folk art and the spirit of the culture of Russia. Traditional Russian clothing is designed to highlight the inner dignity and emotional restraint of every woman. The traditional Russian costumes are not only beautiful, but also very convenient, being specially created for work. The variety of colors used in the traditional costumes display ethnic diversity and it is interesting to note that the Russian word for “beautiful” comes from “krasny”, which is Russian for “red”!

Moscow Fashion

The fashion trends followed in the capital city of Moscow are quite close to those observed in Europe or New York though they are lagging behind maybe by about 10 years. An aspect frequently observed by foreigners is that Russians are dazzling and each dress that they wear seems to be prepared for going out. Russians are fast developing their own fashion culture and regard casual style as wearing bright unusual clothes to show their personality, it is the way of feeling comfortable for lots of Muscovites.

Russian fashion is distinctively different. There are a number of authentic and dedicated online and offline resources that make designer Russian clothing available. In fact, the easiest way to learn more about Russian clothing and purchase authentic apparel is just a click away! Most of the apparel found in other parts of the world, claiming to be Russian, is usually decorated with traditional Russian motifs.

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COVID-19: Long-term effects

Some people continue to experience health problems long after having COVID-19. Understand the possible symptoms and risk factors for post-COVID-19 syndrome.

Most people who get coronavirus disease 2019 (COVID-19) recover within a few weeks. But some people — even those who had mild versions of the disease — might have symptoms that last a long time afterward. These ongoing health problems are sometimes called post- COVID-19 syndrome, post- COVID conditions, long COVID-19 , long-haul COVID-19 , and post acute sequelae of SARS COV-2 infection (PASC).

What is post-COVID-19 syndrome and how common is it?

Post- COVID-19 syndrome involves a variety of new, returning or ongoing symptoms that people experience more than four weeks after getting COVID-19 . In some people, post- COVID-19 syndrome lasts months or years or causes disability.

Research suggests that between one month and one year after having COVID-19 , 1 in 5 people ages 18 to 64 has at least one medical condition that might be due to COVID-19 . Among people age 65 and older, 1 in 4 has at least one medical condition that might be due to COVID-19 .

What are the symptoms of post-COVID-19 syndrome?

The most commonly reported symptoms of post- COVID-19 syndrome include:

• Symptoms that get worse after physical or mental effort
• Lung (respiratory) symptoms, including difficulty breathing or shortness of breath and cough

Other possible symptoms include:

• Neurological symptoms or mental health conditions, including difficulty thinking or concentrating, headache, sleep problems, dizziness when you stand, pins-and-needles feeling, loss of smell or taste, and depression or anxiety
• Joint or muscle pain
• Heart symptoms or conditions, including chest pain and fast or pounding heartbeat
• Digestive symptoms, including diarrhea and stomach pain
• Blood clots and blood vessel (vascular) issues, including a blood clot that travels to the lungs from deep veins in the legs and blocks blood flow to the lungs (pulmonary embolism)
• Other symptoms, such as a rash and changes in the menstrual cycle

Keep in mind that it can be hard to tell if you are having symptoms due to COVID-19 or another cause, such as a preexisting medical condition.

It's also not clear if post- COVID-19 syndrome is new and unique to COVID-19 . Some symptoms are similar to those caused by chronic fatigue syndrome and other chronic illnesses that develop after infections. Chronic fatigue syndrome involves extreme fatigue that worsens with physical or mental activity, but doesn't improve with rest.

Why does COVID-19 cause ongoing health problems?

Organ damage could play a role. People who had severe illness with COVID-19 might experience organ damage affecting the heart, kidneys, skin and brain. Inflammation and problems with the immune system can also happen. It isn't clear how long these effects might last. The effects also could lead to the development of new conditions, such as diabetes or a heart or nervous system condition.

The experience of having severe COVID-19 might be another factor. People with severe symptoms of COVID-19 often need to be treated in a hospital intensive care unit. This can result in extreme weakness and post-traumatic stress disorder, a mental health condition triggered by a terrifying event.

What are the risk factors for post-COVID-19 syndrome?

You might be more likely to have post- COVID-19 syndrome if:

• You had severe illness with COVID-19 , especially if you were hospitalized or needed intensive care.
• You had certain medical conditions before getting the COVID-19 virus.
• You had a condition affecting your organs and tissues (multisystem inflammatory syndrome) while sick with COVID-19 or afterward.

Post- COVID-19 syndrome also appears to be more common in adults than in children and teens. However, anyone who gets COVID-19 can have long-term effects, including people with no symptoms or mild illness with COVID-19 .

What should you do if you have post-COVID-19 syndrome symptoms?

If you're having symptoms of post- COVID-19 syndrome, talk to your health care provider. To prepare for your appointment, write down:

• When your symptoms started
• What makes your symptoms worse
• How often you experience symptoms
• How your symptoms affect your activities

Your health care provider might do lab tests, such as a complete blood count or liver function test. You might have other tests or procedures, such as chest X-rays, based on your symptoms. The information you provide and any test results will help your health care provider come up with a treatment plan.

In addition, you might benefit from connecting with others in a support group and sharing resources.

• Long COVID or post-COVID conditions. Centers for Disease Control and Prevention. https://www.cdc.gov/coronavirus/2019-ncov/long-term-effects.html. Accessed May 6, 2022.
• Post-COVID conditions: Overview for healthcare providers. Centers for Disease Control and Prevention. https://www.cdc.gov/coronavirus/2019-ncov/hcp/clinical-care/post-covid-conditions.html. Accessed May 6, 2022.
• Mikkelsen ME, et al. COVID-19: Evaluation and management of adults following acute viral illness. https://www.uptodate.com/contents/search. Accessed May 6, 2022.
• Saeed S, et al. Coronavirus disease 2019 and cardiovascular complications: Focused clinical review. Journal of Hypertension. 2021; doi:10.1097/HJH.0000000000002819.
• AskMayoExpert. Post-COVID-19 syndrome. Mayo Clinic; 2022.
• Multisystem inflammatory syndrome (MIS). Centers for Disease Control and Prevention. https://www.cdc.gov/mis/index.html. Accessed May 24, 2022.
• Patient tips: Healthcare provider appointments for post-COVID conditions. https://www.cdc.gov/coronavirus/2019-ncov/long-term-effects/post-covid-appointment/index.html. Accessed May 24, 2022.
• Bull-Otterson L, et al. Post-COVID conditions among adult COVID-19 survivors aged 18-64 and ≥ 65 years — United States, March 2020 — November 2021. MMWR Morbidity and Mortality Weekly Report. 2022; doi:10.15585/mmwr.mm7121e1.

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Guest Essay

Don’t Get Fooled Again by Crypto

By Eswar Prasad

Mr. Prasad is a professor in the Dyson School at Cornell University, a senior fellow at the Brookings Institution, and the author of The Future of Money .

Crypto appears to be on the verge of mainstream acceptance. The price of Bitcoin, the original (and still most prominent ) cryptocurrency, hit an all-time high recently, while the Securities and Exchange Commission has loosened rules that make it much easier to invest in crypto. Donald Trump is vowing to make the United States “the crypto capital of the planet,” and a new Republican-sponsored Senate bill demands that the Fed invest billions in bitcoin. Even Kamala Harris is reportedly more open than President Biden to crypto’s potential.

All of this might suggest that the crypto world is finally putting its scandals and unsavory reputation as the playground of crooks and financial charlatans behind it. Perhaps it will finally sweep aside stodgy banks and put power back in the hands of users, delivering benefits such as easier access to basic financial products and services, more competition and improved resilience.

Or perhaps not. Politicians’ newfound love of crypto probably has more to do with a cynical bid for young voter support and Silicon Valley cash than a maturing of a financially perilous set of assets. If anything, crypto today presents even greater risks to its investors and to our financial institutions than it did before. The fact that the Republican Party is publicly celebrating crypto to American voters could only make matters worse.

I am not a perennial crypto naysayer. Having written a book about digital currencies, I can tell you that Bitcoin has remarkable creative concepts and innovative technology behind it. Bitcoin and other such cryptocurrencies are in principle decentralized — which means they are not issued or managed by any institution or agency. Because the digital transactions of records are maintained on a worldwide network of computers, cryptocurrencies are in principle secure, invulnerable to manipulation by a small group and resilient to failure. As such, they should theoretically displace the need for trusted intermediaries such as commercial banks, which often use their power to limit competition and restrict broad access to financial products and services.

Unfortunately, some of these benefits have fallen by the wayside as cryptocurrencies gained in popularity and speculative forces in search of quick profits took hold. One major paradox of crypto is that there is now enormous centralization in this unregulated ecosystem. Apparently unwilling to put their full faith in a trustless technology, most users rely on cryptocurrency exchanges to hold their crypto assets and to trade them. The fraud perpetrated by Sam Bankman-Fried’s FTX, in which its executives treated investor funds like a personal piggy bank, highlights this vulnerability. And the government’s charges that Binance, the world’s largest cryptocurrency exchange, engaged in money laundering and other forms of malfeasance show how the problems of concentrated market power can pervert the noble aims of crypto visionaries.

Despite the problems illustrated by FTX and Binance, regulation is scant and centralization remains pervasive. The process by which transactions are validated and recorded on the Bitcoin digital ledgers is controlled by a handful of major consortiums that deploy their computing power to enable this process and reap the rewards . And in other parts of the crypto world, true democracy goes only so far. Large stakeholders have been accused of trying to manipulate rules , which are based on majority voting power, in ways that favor their interests over those of smaller players.

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