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Since the middle of the 19th century, intellectuals like Charles Baudelaire, in his essay “The Artist of Modern Life" and Georg Simmel, in his Philosophy of Fashion took fashion as a subject of their theoretical reflections on culture and society. In the decade of 1930 Walter Benjamin, mainly in his project of Paris’ passages, focused quite fruitfully on the role fashion played in the culture of the 19th and beginning of the 20th centuries, pointing to the aspects both of alienating fetishism and of anti-ideological proximity of art. More than thirty years later, in his Aesthetic Theory, Theodor Adorno, taking into account the contributions of Baudelaire and Benjamin, approached the topic of fashion, considering, on one hand, its submission to the dictation of culture industry and, on the other hand, the possibility of what he calls “innervation" between fashion and the authentic art, through which this one takes advantage of being always up to date, avoiding nonetheless fashion's subservient attitude towards the culture industry.
Desde mediados del siglo XIX, intelectuales como Charles Baudelaire, en su ensayo “El artista de la vida moderna”, y Georg Simmel, en su Filosofia de la moda, tomaram la moda como objecto de suas reflexiones teóricas sobre la cultura y la sociedad. En la década de 1930, Walter Benjamin, principalmente en su proyecto de las passages parisienses, enfocó frutiferamente el papel desempeñado pela moda na cultura no siglo XIX y en lo inicio del siglo XX, indicando tanto su aspecto de enajenación fetichista cuanto de sua aproximación anti-ideológica del arte. Más de treinta años después, en su Teoria estética, Theodor Adorno, levando en consideración las contribuciones de Baudelaire and Benjamin, abordó el tópico de la moda, considerando, por un lado, su sujeción al ditado de la industria cultural y, por otro lado, la posibilidad of o que ello llamó "enervación" entre la moda y el arte auténtico, por medio de la cual, esa obtiene el provecho de estar siempre atualizada, evitando, todavia una atitude subserviente a la industria cultural.
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