Luxury and designer fashion brands today produce as much digital content and branded entertainment as they do design and product. Online video is a key part of that production. In this article, the author questions whether the use of the generic term ‘fashion film’ is still relevant to discussions of the moving image in the digital age. He does this by examining a range of promotional uses of the moving image by the fashion industry – by brands such as Gucci, Burberry and Louis Vuitton – on the social media platforms Instagram, YouTube and Snapchat, which blend design with media. This article seeks to engage critically with the branded dominance of ‘fashion film’ as a commercial phenomenon in contemporary visual culture by positioning it as a shape-shifting form of ‘content’ through the dissemination of moving images on social media, on mobile image-sharing platforms, in which the visual dynamic of the feed (of marketing and data) is now, in part, superseding the aesthetic framework of cinema (of narrative and drama). Rather than situating it primarily as part of film history, here the author situates the contemporary fashion-moving image at the intersection of digital interactivity, fashion branding and celebrity influence.

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时尚电影之后：影响者经济中的社交视频和品牌内容

如今，奢侈品和设计师时尚品牌生产的数字内容和品牌娱乐与设计和产品一样多。在线视频是该制作的关键部分。在这篇文章中，作者质疑通用术语“时尚电影”的使用是否仍然与数字时代的运动图像讨论相关。为此，他研究了时尚界（Gucci、Burberry 和 Louis Vuitton 等品牌）在 Instagram、YouTube 和 Snapchat 等社交媒体平台上时尚界对动态图像的一系列宣传用途，这些平台将设计与媒体融为一体。本文试图批判性地探讨“时尚电影”作为当代视觉文化中的一种商业现象的品牌主导地位，通过在社交媒体上传播运动图像将其定位为“内容”的变形形式，在移动图像共享平台上，其中（营销和数据）提要的视觉动态现在在一定程度上取代了电影（叙事和戏剧）的审美框架。与其将其主要作为电影史的一部分，作者在这里将当代时尚运动形象置于数字交互、时尚品牌和名人影响力的交汇处。