The Quiet Rebellion of Arte Povera in a Consumer-Driven World

HUR THOUGHTS

Jan 28

*© Tadao Ando Architect & Associates, Niney et Marca Architectes, agence Pierre-Antoine Gatier. Photo - Florent Michel / 11h45 / Pinault Collection.*

The Quiet Rebellion of Arte Povera in a Consumer-Driven World

An exploration of the 1960s Arte Povera movement, its enduring influence on contemporary fashion, and the timeless lessons we can draw from its philosophy.

By Valerie van Maarschalkerwaart

As we navigate a world driven by overconsumption and an environmental crisis, we crave calm, clarity and connection. On the one hand, we see the allure of branded clothing and endless trends on social media. On the other, we seek resilience and sustainability in nature and art. This duality–a hunger for meaning in an age of excess—reminds us of Arte Povera, a radical Italian art movement from the 1960s that championed simplicity, impermanence, and the beauty of the overlooked. From the 2013 retrospective at Fondazione Prada to the recent exposition at Bourse de Commerce in Paris, Arte Povera’s ideas have always been in style.

During Art Basel, Arte Povera took center stage at high-profile auctions and exhibitions, ironically nestled in the heart of über-consumerism. This raises a pressing question: in a world driven by trends and hyper-consumption, could the philosophy of Arte Povera help us reconnect with the value of objects, nature, and ourselves? What is the value of luxury and art during this time?

Arte Povera, which translates as “poor art”, was firstly described in 1967 by the young art critic Germano Celant. Rooted in post-war Italy, it was a response to the rapid Americanization of European culture during the 1960s economic boom. The movement’s artists rejected commodification, elevating humble, everyday materials like wood, metal, and earth into profound works of art. It not only opposed Pop Art’s celebration of consumer culture, but also made a deeper philosophical statement about the value of simplicity, impermanence and the essential human connection to nature. The artists were not only revolutionary in their use of material but also used groundbreaking techniques, like installation art, something that never had been shown before in that way.

“During Art Basel, Arte Povera took center stage at high-profile auctions and exhibitions, IRONICALLY nestled in the heart of über-consumerism. This raises a pressing question: in a world driven by trends and hyper-consumption, could the philosophy of Arte Povera help us reconnect with the value of objects, nature, and ourselves? ”

Although Arte Povera has never stopped being in vogue, we somehow lost sight of the art somewhere in the process. In this time of overconsumption and crisis, it’s key to look at the source of this movement and go beyond the philosophy and ideas of the original creators of it.

While the movement’s pioneers were largely male, Marisa Merz carved a vital space for herself as the only female artist associated with Arte Povera. Her innovative sculptures blurred the lines between personal and universal, much like Arte Povera’s blending of nature and culture. In a movement dominated by male voices, Merz’s work—encouraged and supported by her husband Mario Merz, also a key figure in the movement—brought a sense of intimacy and resilience to Arte Povera, reminding us that rebellion can be powerful and subtle.

Marisa Merz’s ability to blend the personal with the universal mirrors the work of today’s female designers who redefine traditional luxury. By embracing material integrity and authenticity, figures like Rei Kawakubo, Ann Demeulemeester, and Jil Sander extend Arte Povera’s legacy into the fashion world. Their minimalist designs—experimental, timeless, and sustainable—carry forward the movement’s philosophy of finding beauty in simplicity and meaning in materials.

*J Kounellis en Daniella Lorenzo Galleria Nazionale d Arte Moderna Rome, captured by Valerie van Maarschalkerwaart.*

*WHEN ATTITUDES BECOME FORM: BERN 1969/VENICE 2013. Photo Attilio Maranzano. Courtesy Fondazione Prada.*

Demeulemeester’s minimalism was unapologetically experimental, gender-fluid and almost ‘anti-fashion’. Jil Sander’s ethos of ‘less is more’, with its focus on materiality and clean, understated designs, aligns with Arte Povera’s celebration of simplicity and timelessness. Kawakubo’s designs reflected a philosophy of self-sufficient women, questioning the idea of dressing for attention, finding meaning in the relation of the body and materials rather than pretty dressing.

This sentiment extends to brands like The Row, Céline, and Issey Miyake, which have cultivated a sense of understated elegance. By prioritizing timeless designs and innovative material use, these brands prove that true luxury lies in simplicity and meaningful connection to the materials we choose to engage with. Just as Arte Povera elevated humble, everyday objects into profound expressions of art, these designers redefine fashion as an enduring, sustainable craft that transcends mere trends.

Whether or not it was conscious or indirectly influenced, Arte Povera made art approachable for “normal” people and connected it with nature. These women and designers of the world of fashion did the same. Not only women designers, but also male designers like Issey Miyake adapted the spirit of the movement using unconventional materials with an anti-elitists spirit, insisting that fashion–like art–should be accessible and meaningful to all.

Minimalism itself taps into something deeply human: a desire for clarity, order, and meaning in a chaotic, consumer-driven world. Arte Povera’s blending of archaism and innovation, its dialogue between nature and man-made materials, continues to offer those lessons today, particularly as we confront the environmental and existential crises of our time. For these artists, nature and culture were inseparable—a philosophy that aligns with sustainable fashion’s push to reconnect with the origins of materials and their impact on the environment.

This connection between Arte Povera and modern fashion reminds us to think critically about our consumption and what we consider valuable. Minimalism, whether in art or clothing, is not just an aesthetic; it’s a statement—a call to slow down, to choose carefully, and to honour the stories that objects, garments, and materials carry with them.

*Geometrie sconnesse palpiti geometrici, a Marisa Merz catalogue, courtesy of Collezione Giancarlo & Danna Olgiati, Lugano, and Fondazione Merz, Turin.*

Although you could argue that Arte Povera’s physical artworks nowadays only reside in prestigious galleries and (private or museum) collections, it would be too short-sighted not to consider the movement’s philosophical legacy on material value and simplicity that continues to challenge how we view consumption and nature. Philosopher Bruno Latour’s ideas on the interconnection between humans and nature resonate with Arte Povera’s focus on organic materials. Latour’s idea—that we are intrinsically linked to our environment—is an essential counter to the high-tech abstraction of modern life, just as Arte Povera reminds us of our basic, physical relationship with nature. The brands that adapted this vision into their designs give us the ability to actively integrate this philosophy into our lifestyles. It’s possible to appreciate fashion, while considering nature, by choosing designs that prioritize durability, sustainability, and respect for materials.

The Arte Povera as a movement was short-lived, but its spirit remains alive, urging us to rethink our relationship with the things we own and the impact we have on the world. Its lessons on simplicity, sustainability, and connection to nature feel more urgent than ever. By embracing the ‘humble’—in art, fashion, and daily life—we can reject excess and rediscover the beauty of living with intention.