This article departs from the century-long understanding that fashion connects ‘life and art’, an understanding once advocated by Hans Siemsen in his avantgarde journal Zeit-Echo, to discuss how the museum constitutes an important space, or arena, where this connection is taking place. The museum as we know it is a space dedicated to displaying objects of art—and to some degree, of everyday life objects—and as such it constitutes a space for the linkage between the aesthetic and the profane, between art and life. However, as will be argued, as a space that has increasingly become dedicated to fashion—as a cultural, social and not least economic phenomenon—the museum does not embrace its full potential in displaying and problematizing fashion’s close and real relation to actual life, and especially, the very lives that produce it. The museum and its curatorial practices, it will be argued, ought to strive less to offer its audiences spectacular displays of extravagant designer fashion—and instead dare to deal with the urgent quest for and necessity of a reformed fashion industry in which textile and garment workers can actually lead safe and liveable lives.

中文翻译：

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艺术，生活和时尚博物馆：更加团结的展览实践

本文脱离了长达一个世纪的认识，即时尚将“生活与艺术”联系在一起，这是汉斯·西姆森（Hans Siemsen）在其前卫杂志《时代周刊》（Zeit-Echo）中倡导的一种理解，目的是讨论博物馆如何构成重要空间或竞技场，而这种联系是发生。我们所知道的博物馆是一个专门展示艺术品（某种程度上是日常生活物品）的空间，因此，它构成了美学与亵渎之间，艺术与生活之间联系的空间。但是，正如将要论证的那样，作为一种越来越专注于时尚的空间（一种文化，社会且尤其是经济现象），该博物馆没有充分发挥其潜力来展示和质疑时尚与现实生活的紧密和真实的联系，尤其是产生它的生命。