You are here

Features of online promotion of fashion content in terms of the pandemic

Научные исследования: 


For citation: Shumsky A. Features of online promotion of fashion content in terms of the pandemic // Mediascope. 2021. 2. Available at:

DOI: 10.30547/mediascope.2.2021.9


© Alexander V. Shumsky

President of the National chamber of fashion, Mercedes-Benz-Fashion Week president (Moscow, Russia),



The article examines the tools for promoting fashion content and the strategy of working in the conditions of the COVID-19 pandemic. The growth of media consumption and production of fashion content, the increase in the number of virtual designers, the number of digital models and fashion events have created prerequisites for the formation of new centers of ‘digital fashion’ that differ from the dominant centers and clusters of fashion. The monitoring of quantitative and qualitative indicators of fashion weeks in Paris, Milan, London, New York, Moscow, and Berlin has revealed new trends in the development of the fashion industry.

Russia has managed to take advantage of the global trend towards fashion digitalization and actually enter the top three countries creating the most notable fashion events. Moscow has acquired the status of a new center of global digital fashion. This leadership has been provided exclusively from the creative side – thanks to working with content and a creative approach to its distribution. The strategy of digitalization of domestic fashion, which was timely picked up, has received international recognition.

The novelty of the research is connected with the study of such a new phenomenon in the contemporary society as ‘digital fashion’. For the first time, the domestic experience of fashion digitalization has been systematically investigated – by the example of promotion of the Mercedes-Benz Fashion Week Russia in Moscow for a global audience in a comparative perspective.

Key words: Fashion week, Mercedes-Benz Fashion Week Russia, format,creative industries, brand



#MFW – STREAMING PARTNERS. September 23, 2020. Available at: 

Can Digital Fashion Weeks Replace the Real Dеal? Financial Times. Available at:

DCMS (2001) Creative Industries Mapping Document 2001. Available at:

Fashion Week Is Actually Happening – at Least in Paris and Milan European Brands, Hungry for Front-Row Buzz, Are Stepping Back Onto the Catwalk. Available at:

Fashion’s Leading Source for Marketing Intelligence, Analysis&Creative. Available at:

Grigalashvili A. (2020) Feshn-front: chto khoroshego industriya mody sdelala dlya mira v 2020-m. [Fashion front: what good things did fashion industry do for the world in 2020] Vogue. 2020. December 30. Available at:

Haute Couture Week and Paris Fashion Week Online Success. Available at:

Kemp S. (2020) Digital 2020: 3.8 billion people USA Social Media. Wearesocial, January 30. Available at:

Milan Fashion Week to with Digital Catwalks for AW21. November 11, 2020. Available at:

Milan Fashion Week: Puppet Models, Aquatic Escapism and the Tentative Return of Nunways. September 28, 2020. Available at:

New York Fashion Week is Back for Another Season of Shows – but Things Have Changed. Available at:

Plag V.C. (2020) Könnten so die Modewochen der Zukunft aussehen? Frankfurter Allgemeine. August 16. Available at: https://

Popova N. (2020) Aleksandr Shumskiy: Nedovol'stvo sushchestvuyushchey sistemoy mody nazrelo davno. [Alexander Shumsky: Dissatisfaction with the existent fashion system is long overdue] Fashionunited. May 18. Available at:

Razina E., Bogomolova A. (2019) Kreativnyy lokomotiv: Kak tvorcheskie industrii mogut podstegnut' ekonomiki. [Creative locomotive: How can creative industries encourage economy] Vedomosti. October 21. Available at:

Sotsial'nye seti Rossii. Otkuda Vy chashche vsego uznaete o novostyakh v strane i v mire? [Social media in Russia. Where from do you most often get home and foreign news?] February 23, 2021. Available at:

Tom Ford on the American Collections Calendar. September 29, 2021. Available at:

What We Learned From London Fashion Week. The First Fully Digital Fashion Week From One of the Four Fashion Capitals Just Ended. Was It Any Ggood? Available at:

Zhang T., Theodosi N., Conti S. (2020) Highs, Lows and Shades of Gray at London’s First Digital Fashion Week. There’s a first for everything, and rarely is the product or execution perfect. Just ask Leonardo da Vinci, Henry Ford and the Wright brothers. WWD. June 14. Available at:



Florida R. (2002) The Rise of the Creative Class, And How It’s Transforming Work, Leisure and Everyday Life. New York: Basic Books.

Florida R., Tinagli I. (2004) Europe in the Creative Age. Available at:

Freeman A. (2015) Twilight of the Machinocrats: Creative Industries, Design, and the Future of Human Labour. In Pijl K. van der (ed.) Handbook of the International Political Economy of Production. Cheltenham: Edward Elgar. Pp. 352–374.

Horkheimer M., Adorno T. (1997) Dialektika Prosveshcheniya. Filosofskie fragmenty. [Dialectic of Enlightenment. Philosophical fragments] St. Petersburg: Medium Publ., Yuventa Publ.

Khestanov R. (2018) Kreativnye industrii – modeli razvitiya. [Creative industries – models of development]// Sotsiologicheskoe obozrenie [Sociological observation] 17 (3): 173–196.

Khezmondalsh D. (2016) Kul'turnye industrii. [Cultural industries].  Moscow: HSE Publishing House.

Koneva A.V. (2009) Moda v sotsial'nom bytii: ot vklyuchennosti k isklyuchitel'nosti. Fundamental'nye problemy kul'turologii: v 7 t.[Fashion in social being: from involvement to exclusivity // Fundamental problems of cultural studies: in 7 vol.] In D.L. Spivak (ed.). T. 6: Kul'turnoe nasledie: Ot proshlogo k budushchemu. [Social heritage: From the past to the future]. Moscow: Novyy khronograf Publ; St. Petersburg: Eydos Publ. Pp. 127–145.

Napso M.D. (2016) Moda v obshchestve potrebleniya.. [Fashion in the consumer society // Sotsiodinamika [Sociodynamics] 9: 46–51. Available at: DOI: 10.7256/2409-7144.2016.9.20130

Otechestvennaya teoriya media: osnovnye ponyatiya. Slovar'. [Domestic media theory: key terms. Dictionary] (2009) In E.L. Vartanova (ed.) Moscow: Moscow St. Univ. Faculty of Journalism Publ.

Throsby D. (2008) The concentric circles model of the cultural industries. Cultural Trends 17(3): 147–164.