圖書館

摘要

IN THE FACE OF THE COVID-19 PANDEMIC, THE FASHION INDUSTRY WAS SURPRISED AND QUICKLY HAD TO ADAPT TO DIGITAL MEDIA. HOWEVER, THE RELATIONSHIP BETWEEN FASHION AND THE MULTIPLICITY OF SCREENS IS NOT NEW. FASHION EMERGED AND TOOK ITS FIRST STEPS WITH CINEMA, IN MODERNITY. ALTHOUGH THERE ARE TIMES WHEN THESE TWO SYSTEMS ARE FURTHER APART FROM EACH OTHER, THE ALLIANCE SURVIVED. TO ANALYSE CONTEMPORANEITY, WE TAKE AS MAIN REFERENCE THE STUDIES OF GILLES LIPOVETSKY, AND HIS REFLECTIONS ON AESTHETIC CAPITALISM. THE FASHION SYSTEM HAS MANY WESTERN FIELDS OF LIFE, INCLUDING ART AND TECHNOLOGY. IN THIS ARTICLE WE DISCUSS HOW THIS RELATIONSHIP OF FASHION ADAPTS AND DEVELOPS WITH AESTHETIC CAPITALISM AND POST-DIGITAL ART WHILE WE ANALYSE REPRESENTATIVE ARTEFACTS FROM/ABOUT FASHION. WE PROPOSE TO PUT THE RECENT DIGITAL FASHION ARTEFACTS IN DIALOGUE WITH POST-DIGITAL AESTHETICS THEORIES, DISCUSSING THE BLURRED BOUNDARIES BETWEEN THE DIGITAL AND THE POST-DIGITAL, AND PROPOSING THE INSTANTIATION OF A POST-DIGITAL CREATION CYCLE APPLIED TO FASHION ARTEFACTS.