Hi esquire,
It's a pleasure to meet you.
Now there is certainly an aspect, I will admit, in Pugh, which is fascinating, but that's it. For me what it merely boils down to is a fascination, and that doesn't communicate much, not to say that leads the spectator to a standstill, which makes him not very significant yet in this context. This my own subjective view on Pugh's design and again cannot be used as and argument wether what he produce is a work of art!
To call him a costume designer, is , for me, not an argument we can use, for taking away the possibilities of his design to become a work of art, because some might argue that the costume designer, what he/she produces, ex in film/theatre/dance, is also a work of art.
I think in this context, we might need to get closer to what is a work of art, before we can label anyone an artist.
Art is artificial, just as artificial as technological production, and it draws on the most sophisticated technological innovations. For machanical assembly and aesthetic composition can be distinguised according to wether they are governed by external or internal dynamisms. Technology is produced in order to serve extrinsic purposes, while the plane of composition proper to art, by contrast, is a plane of immanence; it's capable of absorbing the technical plane. For where the product of tecnical machines are decided in advance, the product of the work of art is a psychic effect on the viewer that cannot be predicted in advance. Art has it's own economics: it can create new values and finalities for human relations and productive activities. In art matter becomes expressive instead of purely functional(that is not to say that art can be functional! Functionality is another argument I don't think we can use in this context!), short-circuiting the division between production and consumption, that's where art is distinguished by it's different relation to matter from technologies etc.
At first, if we look at what is particular to fashion, it might seem like, it finds itself both in the aesthetic plane and the mechanical assembly?!!!!
Of course this is not an answer at all, we have to tweak out more deatails but I just want to let this hang for a moment!
Another question, which is forcing upon us in this context, is the political valence of culture and art that leads us to a familiar problem: is it possible, or even advisable, to distinguish between 'true art' and fashion? Would such a distinction coincide with one between 'high culture and 'popular culture'? Or is it possible, on the contrary, for fashion and popular culture to overlap the immanent plane of aesthetics composition?