Viviane Sassen

  • Viviane Sassen, Red Leg Totem, 2014, digital C-print, 23 5/8 × 15 3/4". From the series “Umbra,” 2014.

    Viviane Sassen

    AROUND THE EARLY 1990s, there was a major shift in how the boundaries between art and fashion were negotiated. While these two fields have never been strangers, now there was a new intimacy between them. More and more artists and editors, photographers and designers, began to explore the possibilities opened up by the blurring of distinctions. Underground magazines like Purple were great examples of this new hybridity. So were fashion labels like Martin Margiela and Comme des Garçons.

    But then, after 9/11, everything became much safer and more commercial—and stayed that way. These days,