To begin with, in order to determine whether fashion can be classified or perceived as art, Miller (2007) explores different definitions of art that researchers and scholars have before to explain what art is. The main aim of establishing a specific definition of art is to apply this definition on fashion and determine whether there is any form of congruence between the two. In other words, if the definition of art and that of fashion shows some level of similarities, then Miller can determine whether one, that is fashion, can be perceived as the other, that is, art. On the other hand, if there is no relationship between the two, then Miller (2007) can conclude that fashion cannot be perceived an art. With this in mind, Miller (2007) evaluates a number of definitions of art by different scholars. For example, Miller (2007) that Dickie (1992) defined and classified the work of art as an artefact that enjoys the status that has been conferred upon it by some aspects, thus enabling it to be appreciated by certain people who act on behalf of the art world.
首先，为了确定时尚是否可以被归类或视为艺术，米勒（2007）探讨了研究人员和学者之前对艺术的不同定义，以解释什么是艺术。确立艺术的具体定义的主要目的是将这一定义应用于时尚，并确定两者之间是否存在任何形式的一致性。换言之，如果艺术和时尚的定义显示出某种程度的相似性，那么米勒可以确定一个，即时尚，是否可以被视为另一个，即艺术。另一方面，如果两者之间没有关系，那么Miller（2007）可以得出结论，时尚不能被视为一门艺术。考虑到这一点，米勒（2007）评估了不同学者对艺术的一些定义。例如，Miller（2007）认为Dickie（1992）将艺术作品定义并分类为享有某些方面赋予它的地位的人工制品，从而使它能够被代表艺术界的某些人所欣赏。类似地，米勒（2007）观察到杰罗德·莱文森（Jerold Levinson）将艺术品定义为任何旨在维持某些先例艺术的作品。重要的是，Miller（2007）对这些定义进行了批评，主要关注它们是否可以用来与时尚建立任何联系。因此，她得出结论，当从历史角度审视时尚和艺术的定义和评价时，时尚和艺术之间存在着重要的关系。在这种情况下，多年来，时装，特别是服装，不仅作为一种表达方式，而且作为区分社会地位、性别和阶级等的一种方式，在不同的社会中被使用。因此，Miller（2007）将艺术和时尚称为前卫创新，因此，她得出结论，时尚可以被视为一门艺术。
Similarly, Miller (2007) observes that Jerold Levinson define artwork as anything that is created with an aim to sustain some well-precedented art. Importantly, Miller (2007) critiques these definitions, mainly focusing on whether they can be used to establish any link with fashion. As such, she concludes that there is a significant relationship between fashion and art when the definitions and evaluations of the two are examined from a historical perspective. In this case, fashion and particularly clothing has been used over the years in different societies not only as a way of expression but also as a way to distinguish social status, gender and class among other things. Thus, Miller (2007) terms both art and fashion as avant-garde innovation and as a result, she concludes that fashion can be perceived as an art.
米勒（2007）在试图确定时尚是否是艺术的过程中指出，建筑等领域已被公认为艺术的重要方面，而时尚却未能获得这样的认可，尽管它在制作服装方面具有很高的艺术水平。通过这一分析，可以看出，建筑作为一门艺术已经获得了高度的认可，因为建筑作品往往会导致建立历经几代人的纪念碑，而时尚似乎不会持久，因为其艺术作品的寿命很短。这一点在她对各种研究者和学者的评价中得到了肯定，比如伊曼纽尔·康德（Immanuel Kant），他将时尚视为愚蠢和虚荣，以及社会中不可避免的多变的生活方式。换言之，时尚在不断变化，当一个人保持这种变化，这就是所谓的时尚。她进一步指出，一些学者拒绝承认时尚是一门艺术，因为事实上，时尚往往在特定季节后变得过时，从而促使引入一种新型时尚。请注意，她的作品提出了一个问题：某件作品是否被视为一门艺术？就其寿命而言，它是否跨越了几代人？为了回答这个问题，因此，对时尚是否是艺术做出结论，米勒（2007）认为，服装和任何其他形式的时尚都是为了美观和装饰而存在的。因此，时尚使穿着它的人在社会上显得更好、更有吸引力。因此，尽管时尚是短暂的，随着季节的变化会发生多次变化，但它值得被视为一门艺术，因为它不仅在帮助社会上的人们表达自己，而且在提高他们的幸福感和生活满意度方面发挥着关键作用。
In her attempt to establish whether fashion is art, Miller (2007) argues that whereas fields such as architecture have gained recognition as critical aspects of art, fashion has failed to gain such recognition despite its high level of artistry as far as making clothes is concerned. Through this analysis, it emerges that architecture has gained a high level of recognition as an art because architectural work often lead to establishment of monuments that exists through several generations, while fashion does not seem to last because of the short life of its artistic work. This is affirmed in her evaluation of various researchers and scholars such as Immanuel Kant who perceives fashion as folly and vanity, and a changeable way of life that is inevitable in society. In other words, fashion keeps on changing and when one keeps with such change, this is referred to as fashion. She further notes that some scholars refuse to recognise fashion as an art because of these fact that fashion often tends to become obsolete after a particular season, thus prompting the introduction of a new type of fashion. Note that her work raises the question: Is a particular piece of work considered an art is it transcends several generations as far as its longevity is concerned? To answer this question and as such, make a conclusion on whether fashion is art, Miller (2007) argues that clothing and any other form of fashion exists for the purpose of beauty and adornment. Therefore, fashion makes the person wearing it to appear better and attractive to others in society. Therefore, despite the fact that fashion is short-lived and changes many times as seasons change, it deserve to be accorded the status of an art because it plays a critical role not only in helping people in society express themselves but also in enhancing their level happiness and satisfaction in life.
除了Miller（2007），另一位研究时尚与艺术之间关系的研究者是Valerie Steele。在她的作品中，斯蒂尔（2012）首先考察了关于时尚与艺术之间关系的假设。特别是，她观察到，一些时装设计师将自己定位为艺术家，而另一方面，也有一些艺术家对时尚表达了极大的兴趣。同样，斯蒂尔观察到，有不同的时尚产品，特别是设计得非常复杂的服装，有些甚至作为艺术品陈列在博物馆里。从这个角度讲，有必要观察斯蒂尔的作品提出了一个问题：时装设计是否构成了一件艺术作品，并因此将其呈现为艺术？换句话说，在时尚中使用复杂的设计会使它成为一门艺术吗？为了回答这个问题，有必要研究社会对艺术和时尚的看法，以及对两者的看法是否存在某种交叉点。
Apart from Miller (2007), another researcher who explores the relation between fashion and art is Valerie Steele. In her work, Steele (2012) begins by examining the assumptions that have been made concerning the relationship between fashion and art. In particular, she observes that some fashion designers position themselves as artists, while on the other hand, there are a number of artists who have expressed significant interest in fashion. In the same way, Steele observes that there are different fashion products and particularly clothing that have been designed with a high level of sophistication to the point that some are displayed in museum as a work of art. Speaking from this point of view, there is a need to observe that Steele’s work raises the question: Does fashion designs constitute a work of art and as such, render them as art? In other words, do using sophisticated designs in fashion make it an art? In order to answer this question, there is a need to examine how art and fashion is perceived in society, and whether there is a point where the perceptions toward the two intersect in any way.
除了Miller（2007），另一位研究时尚与艺术之间关系的研究者是Valerie Steele。在她的作品中，斯蒂尔（2012）首先考察了关于时尚与艺术之间关系的假设。特别是，她观察到，一些时装设计师将自己定位为艺术家，而另一方面，也有一些艺术家对时尚表达了极大的兴趣。同样，斯蒂尔观察到，有不同的时尚产品，特别是设计得非常复杂的服装，有些甚至作为艺术品陈列在博物馆里。从这个角度讲，有必要观察斯蒂尔的作品提出了一个问题：时装设计是否构成了一件艺术作品，并因此将其呈现为艺术？换句话说，在时尚中使用复杂的设计会使它成为一门艺术吗？为了回答这个问题，有必要研究社会对艺术和时尚的看法，以及对两者的看法是否存在某种交叉点。
To begin with, Steele (2012), just as in Miller’s case begins by examining how fashion and art have been perceived in society over the years. In her analysis, Steele (2012) notes that whereas art has been perceived with a certain element of reverence thus making it a restricted field of cultural production, fashion has often been dismissed as material, ephemeral and superficial. Fashion is further perceived as an element that is unstable because it keeps changing and as such, the beauty it portrays today cannot be perceived as beauty tomorrow because of emergence of a new fashion that is perceived as even more beautiful. On the other hand, Steele (2012) argues that art is perceived as an element of true beauty that lasts for generations. With this in mind, there is a significant agreement between Steele (2012) and Miller (2007) that most people who dismiss fashion as an art argue from the perspective of its ability to endure generations and since this is not possible in the fashion world, it is therefore denied the status of an art. Furthermore, Steele’s analysis of modern perception of art and fashion indicate that critics perceive fashion as an industry while art is simply perceived as an inspired field that leads to the creation of creative forms.
首先，斯蒂尔（2012年），正如米勒的案例一样，首先考察了多年来社会对时尚和艺术的看法。斯蒂尔（2012）在她的分析中指出，尽管人们对艺术有一定程度的崇敬，从而使其成为文化生产的一个受限领域，但时尚往往被视为物质的、短暂的和肤浅的。时尚被进一步视为一种不稳定的元素，因为它不断变化，因此，它今天所描绘的美无法被视为明天的美，因为一种被视为更美的新时尚的出现。另一方面，斯蒂尔（2012）认为，艺术被视为一种真正的美元素，可以延续几代人。考虑到这一点，斯蒂尔（2012年）和米勒（2007年）之间达成了一项重要共识，即大多数将时尚视为一门艺术的人都从其代代相传的能力的角度进行了辩论，而这在时尚界是不可能的，因此被否定为一门艺术的地位。此外，斯蒂尔对艺术和时尚的现代感知的分析表明，批评家将时尚视为一个产业，而艺术只是被视为一个激发灵感的领域，从而导致创造形式。