Then he is possible to notice that an artist and a estilista can be considered two creative elements, being that one creates for the consumption (estilista) and the other for the appreciation (artist). He has the idea where the estilista is also an artist when it assumes the corresponding behavior to each one. Elsa Schiaparelli, for example, was one of the Italian estilistas greaters that obtained to work with the art and fashion concepts, being created dresses, hats and accessories. According to Mendes and Haye, (2003, P. 95) ' ' Schiaparelli was the first estilista to work with thematic collections. Its clothes were admired by the elegance and perfect finishing, of admirable detalhes' '. In 1965, Yves Saint-Laurent, joined fashion and art when creating the inspired dress tubinho in the works of Piet Mondrian (1872-1944), (that it uses a restricted vocabulary to the vertical lines and horizontal lines and the pure colors). The dress if would become an icon of the fashion.
The fashion festejou the color, the creativity, new geometry and materials. (GARCI’A, 2010). The first possibility is the relation of the artist with the fashion, that if summarizes in the artist who if appropriates of a part of clothes of the fashion she becomes and it in a work of art, modifying its function (changing the structure, giving adereos, among others) becomes, it improper the daily use, therefore, its use alone is conceived in a way, where it could artistic be appreciated. Another example to be mentioned, is Alexander McQueen, the elitist one makes of its clothes a product of the spalling of ideals that folloies the modern society, that questions the proper beauty in search of an ideological beauty of bizarro to revolutionize the order of the typical elegance of high-sews and the great one industry of the confections. (LAMB, 2010) the ideas of the estilista Jum Nakao had surpassed the fashion concept as the simple act to dress clothes.