Fashion is frequently regarded as merely an arena for personal expression and aesthetic tastes, detached from the stringent realms of global politics. Yet, the interplay between fashion and geopolitics is substantial. It exerts influence on market trends, international relations, and cultural exchanges. This paper aims to delve into the complex role of fashion as a geopolitical instrument, exploring its use of soft power. The case study highlighted in this analysis examines the recent MIC Sur Festival held in Chile, focusing particularly on a major fashion show at the Museo de Bellas Artes. To illustrate the importance of fashion in geopolitics, this event is analyzed for its cultural and economic implications. Despite the prominence of this event, discussions throughout the conference—panels and roundtables alike—largely treated fashion as mere spectacle rather than acknowledging it as a creative industry with significant economic implications. This oversight underscores the nuanced intersection of fashion with broader cultural and economic contexts, which this paper seeks to unravel.

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Weaving Influence: The Role of Fashion in Geopolitics and Cultural Diplomacy. Cultural Landscapess of Fashion at the MIC Sur Festival

  • Bárbara Pino Ahumada

摘要

Fashion is frequently regarded as merely an arena for personal expression and aesthetic tastes, detached from the stringent realms of global politics. Yet, the interplay between fashion and geopolitics is substantial. It exerts influence on market trends, international relations, and cultural exchanges. This paper aims to delve into the complex role of fashion as a geopolitical instrument, exploring its use of soft power. The case study highlighted in this analysis examines the recent MIC Sur Festival held in Chile, focusing particularly on a major fashion show at the Museo de Bellas Artes. To illustrate the importance of fashion in geopolitics, this event is analyzed for its cultural and economic implications. Despite the prominence of this event, discussions throughout the conference—panels and roundtables alike—largely treated fashion as mere spectacle rather than acknowledging it as a creative industry with significant economic implications. This oversight underscores the nuanced intersection of fashion with broader cultural and economic contexts, which this paper seeks to unravel.