The essay "Surrealism and the Fashion Industry" talks about the surrealism movement and its connection with fashion industry. The collaboration has made the conjoined elements to form a distinct art form, which has gained recognition among popular art media such as magazines. This is exemplified by Vogue magazine, which has allowed industry players such as Cecil Beaton to explore and expand the limits of their standards. The developmental timeline of the bond between the surrealist cultural movement and the fashion industry began in the early 20th Century. This onset was witnessed when the surrealist movement disengaged from the written statement, which required it to embrace and focus on objects. The change of focus and the use of surrealism in the realm of the fashion industry is explicitly evident in common use of odd art pieces and objects, which are easily transformed to textile print work and jewellery among many other fashion forms. This offers designers freedom to develop “art forms” that find replication of form on either sides of the collaboration. The collaboration greatly contributed to the imagination of what lay beneath the art, which was easily transformed to wearable clothing pieces. Initially, fashion was not regarded as an art form and therefore surrealism, which is an art, was thought to be poles apart when considered alongside the fashion industry. However, this transformed when the surrealist movement’s written form of art and canvassed art forms shifted focus.