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It is fashionable among Russians to travel all over the world. The author researches the social and cultural phenomenon of fashions in tourism based on analysis of the views of Russian tourists and experts from the tourism sphere. The criteria for prestige of a tourism destination are considered. Fashion trends in the practices of Russian tourists are analyzed.

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.

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.

Since the end of the twentieth century a movement has been observed, both in geography of tourism and in fashion, spreading to districts located on the outskirts of cities. This is the case of Château Rouge, located in the 18th arrondissement of Paris. For years considered as a “no-go-zone,” the district is now experiencing parallel phenomena of “off-the-beaten-tracks” tourism and fashion development. This chapter analyzes the processes and actors behind the expansion of the tourism perimeter and the diversification of fashion venues, as well as the implications of these developments for the city of Paris.

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 explores how department stores came at the end of the 19th century to be at the origin of what is now called “fashion tourism.” Contributing to a new “geography of commerce,” it highlights the role of the space of the department store both as a place of conspicuous fashion consumption and tourism. Further, it demonstrates how Parisian department stores helped consolidate Paris's place as the capital of fashion and luxury. Far from being only places to buy the latest in fashion, the latter became indeed a symbol as quintessentially Parisian as the Eiffel Tower and as necessary to visit for the “Paris experience.”

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.

This study aims to use organizational fashion to underscore a novel phenomenon in which products, services and practices fade in and out of the tourism/hospitality setting within a specific time frame. Drawing from the fashion theoretical strands in organization research, this paper studies how fashion has been conceptualized, operationalized and then diffused among tourism/hospitality enterprises.

A qualitative case design was used. A total of 37 semistructured in-depth interviews with executives of innovative tourism/hospitality companies (e.g. restaurants, hotels, theme parks and travel agencies) were conducted. This paper focuses on the organizational fashion phenomenon in which organizational trendsetters with creative, “hot” products/services have emerged prominently in the marketplace.

This inquiry illustrates a social phenomenon concerning the organizational fashion setting process by integrating existing production practices among different organizational suppliers in the hospitality sector. Different cases in the study show that fashion consists of a series of hybrid, paradoxical processes. These include conceptualization (conventionalization vs novelty, and personalization vs conformity), operationalization (bundling vs unbundling, and learning vs relearning) and diffusion (framing vs co-framing, and adaptation vs alteration).

Throughout the three continuous processes, service design and identity development for consumption, as well as value creation and knowledge transformation for production, are carried out according to the decision of what is “hot” and what is “out” at a particular time. In essence, fashion helps to explain why hospitality institutions imitate specific innovations to take advantage of popular trends in the consumer market, as well as how such trends vanish eventually.

This research contributes the insight that organizations use fashion as a managerial initiative to translate their organizational goals and improvise nascent products and services. The fashion processes can be triggered by microlevel individual organizations and are spread through a series of social interactions to become macrolevel phenomena in a recurring manner.