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There are many profound links between fashion and tourism. This chapter provides a critical reflection, mainly from a philosophical, historical, and linguistic perspective, on the dynamic relationship and parallel evolution between these two sectors. It explains how their interconnectedness form and mirror contemporary society. This chapter classifies the connections between the two, starting with the person, her body, and the relationship the latter has with fashion and tourism, and with the contemporary society at large. Four layers of such connections are exemplified. It also discusses a selfie, as a symbolic (digital) communication object and a complex phenomenon facilitated by changing technological affordances and societal functions as an excellent case of the complex relationships between fashion and tourism.

The close link between fashion and from a historical and sociological point of view is the focus of this chapter. Since the Industrial Revolution, these two industries have been part of the path toward modernity in Western Europe. The new industrial society created a different relationship with leisure time and bodies. On the other hand, fashion tourism accelerated and intensified this process toward unforeseen outcomes: new social relations and the loosening of traditional morality constraints. The swimming costume represents the point of encounter and overlapping between these two spheres: a significant element of novelty despite its ever-shrinking dimensions.

Social media influencers increasingly determine what is fashionable. By creating and sharing visual contents, predominantly on Instagram, they shape what social media users see and aspire to. Their contents reflect Instagram esthetics and their own personal brands. This chapter argues that their visuals also represent emerging visual practices and styles that are typical of influencers and transcend fashion and tourism contexts. Using a netnographic approach, this chapter examines Instagram posts of 20 tourism and fashion mega-influencers. It finds common practices but also identifies differential ways in which fashion and tourism visuals are constructed. This chapter highlights how the subjects have intertwined, especially when it comes to influencers.

From Batik cities to woven textile regions, Indonesia possesses several fashion destinations with remarkable textile heritage. The rise of fashion heritage destinations is characterized by avid textile lovers and fashion followers that promote the regions. Several diversifications of tourism alternatives are analyzed, such as rural tourism with experiential textile-making workshops, urban destinations connected to contemporary fashion heritage, architectural works inspired from/to textile heritage, as well as fashion week cities that spark the interests of global fashion designers to visit the country. This chapter evaluates the current state, its rising challenges, and to what extent it may be promoted through digital technologies, based on local practitioners and the governmental perspectives.

This chapter seeks to elucidate specific behavioral patterns that occur when people travel and consume luxury items using concepts drawn from sociocultural and economic theories. These concepts are Walter Benjamin's “aura,” Karl Marx's “commodity fetishism,” and Arnold Van Gennep's “liminality.” These concepts are deployed within the spheres of tourism and luxury in order to analyze how tourists on a shopping spree search for forms of authenticity, how this type of travel is similar in many respects to a religious quest, and, finally, how the design of luxury outlets in European capitals convey religious overtones.

By celebrating tourism destinations through cruise collections, luxury brands open to new influences. They may develop deeper connections with certain geographical areas, but may also challenge the quintessentially national dimension of luxury brand culture. The best example of synergies between a luxury fashion brand and tourism destinations are the Christian Dior cruise collections with Maria Grazia Chiuri at the helm. This chapter is to understand how cruise collections may enhance luxury fashion houses' brand culture through the connections they develop with tourism destinations. Further, the chapter assesses the extent to which destinations can benefit from the exposure provided by luxury fashion brands' cruise collections.

In contemporary cities, private actors, such as luxury fashion houses, increasingly participate in projects, affirming themselves as relevant players in urban transformation. Based on the case of “SouPra” district (Milan, Italy), this chapter focuses on the effects of the opening of a fashionable artistic venue on the tourism development. It explores the promotional actions implemented by tourism entrepreneurs after the opening of the Prada Foundation. The analysis leads to two main results: actors in tourism exploit the urban brand conveyed by Prada, which becomes an integral part of the city branding. Fashion houses also act as marketing devices, producing new urban narratives that influence both the tourist and the real estate market.