From the Runwat to the Meme
Digital narratives and fashion communication through AI
DOI:
https://doi.org/10.62701/revsocial.v13.5504Keywords:
Fashion communication, Artificial intelligence, Transmedia narratives, Prosumers, Digital cultureAbstract
The transformation of fashion communication offers a fertile field to explore how users reinterpret visual narratives through artificial intelligence. This paper analyzes AI-generated memes under the hashtag #bybalenciaga as an expression of emerging transmedia content. Through the campaigns of brands such as Balenciaga, Louis Vuitton, and Jacquemus, it examines how visual experiences are adapted to viral and Instagrammable formats. Users act as prosumers using tools like Midjourney or DALL·E, generating new visual languages and tensions between reality and fiction. These dynamics raise relevant ethical, cultural, and communicative implications in the context of digital fashion and participatory cultural production.
Downloads
Global Statistics ℹ️
|
9
Views
|
2
Downloads
|
|
11
Total
|
|
References
Castellano San Jacinto, T. (2020). Cuerpos de la reedición. Revisiones del siglo XX en el cambio de milenio. SOBRE. Revista Prácticas Editoriales Arte Arquitectura, 6, 75–84. https://doi.org/10.30827/sobre.v6i0.11779
Colegio Oficial de Ingenieros de Telecomunicaciones (20 de junio de 2024). Libro Blanco de la Inteligencia Artificial Generativa. DigitalES Asociación Española para la Digitalización https://is.gd/59tuRx
Cristófol-Rodríguez, C., Villena Alarcón, E.&Domínguez García, Á.d.l.C. (2022). Pasarelas de moda, año cero: cambio y percepciones tras la Covid-19. IROCAMM: International Review of Communication and Marketing Mix, 5(1), 72-82. https://is.gd/an8Qlh
https://doi.org/10.12795/irocamm.2021.v05.i01.06
Chayka, K. (7 de abril de 2023). «A.I. pop culture is already here». New Yorker (New York, N.Y.: 1925). https://is.gd/Yk7ol9
Danziger, P. N. (12 de abril de 2023). «Balenciaga has no easy answer for the Harry Potter meme». Forbes. https://is.gd/jkWHLy
De la Torre, J. (2023). «Redes Generativas Adversarias (GAN) Fundamentos Teóricos y Aplicaciones». arXiv [cs.AI].
https://doi.org/10.48550/arXiv.2302.09346
Espinosa Grau, A. (2020). La instagramización de los desfiles de moda en tiempos de hipermodernidad: era del directo y última temporada 2020. Redmarka Revista de Marketing Aplicado, 24(2), 110–128. https://doi.org/10.17979/redma.2020.24.2.7073
Galanter, P. (2003). «What is generative art? Complexity theory as a context for art theory». https://doi.org/10.1002/9781118475249.ch5
González, J. V. (2021). Tikok como escenario idóneo para el contenido generado por el usuario (cgu): el caso de #ratatouillemusical. En J. C. Figuereo-Benítez y R. Mancinas-Chávez (Coords.) Las redes de la comunicación: estudios multidisciplinares actuales (pp. 286-301). Dykinson.
Jenkins, H. (2006). Convergence culture: la cultura de la convergencia de los medios de comunicación. Paidós.
Jenkins, H. (2007). La culture de convergence. MédiaMorphoses, 21, 31–36. https://doi.org/10.3406/memor.2007.2274
Linfante, V. y Pompa, C. (2021). Space, time and catwalks: Fashion shows as a multilayered communication channel, 11(1), 15-42. https://doi.org/10.6092/ISSN.2611- 0563/13100
Lipovetsky, G. y Charles, S. (2006) Los tiempos hipermodernos. Anagrama.
Marino, G. (2020). Semiótica de la propagabilidad: un enfoque sistemático de las imágenes virales a través de Internet. La Tadeo de arte, 6(6), 22–55. https://doi.org/10.21789/24223158.1415
Martín, S. (2024). Virtualidades de la resurrección: redes, dispersiones y apropiacionismos en las imágenes pobres. InterdisciplinARS, Imágenes de lo frágil. Imaginación y catástrofe, 51-62. https://doi.org/10.4995/INT.2024.677101
Moreno Albarracín, B. y Blanco Sánchez, T. (2024). Instagram como canal promocional de moda de lujo. Estudio de los desfiles como herramientas de comunicación. Revista de Comunicación, 23(2), 239–256. htpps://doi.org/10.26441/rc23.2-2024-3583
Park, H. (2024) A New Genre of Online Memes: A Semiotic Analysis of the Harry Potter-Balenciaga Meme, Epistémè, 31, 169-194 https://doi.org/10.38119/cacs.2024.31.9
Pereira, S., y Adérito Fernandes, M. (2021). Post-digital fashion: The evolution and creation cycle, ZoneModa Journal, 11(1), 71–89. https://doi.org/10.6092/ISSN.2611-0563/13121
Peisajovich, S. (2020). Desfile de moda: arte y performance. Cuadernos del Centro de Estudios en Diseño y Comunicación, 100. https://doi.org/10.18682/cdc.vi100.3987
Reyes Cea, J. (2024). Memética y estética: El poder de la imagen. Cuadernos del Centro de Estudios en Diseño y Comunicación, 224.https://doi.org/10.18682/cdc.vi224.11291
Samoili, S., Lopez Cobo, M., Gomez Gutierrez, E., De Prato, G., Martinez-Plumed, F. y Delipetrev, B. (2020). AI WATCH. Defining Artificial Intelligence, EUR 30117. En Oficina de Publicaciones de la Unión Europea, Luxemburgo. https://doi.org/10.2760/382730
Scolari, C. A. (2013). Narrativas transmedia: cuando todos los medios cuentan. Grupo Planeta (GBS).
Terracciano, B. (2017) Social Moda. Nel segno di influenze, pratiche, discorsi, Milán: Franco Angeli.
Vinueza Calderón, D. (2024). Inteligencia artificial: Una cuestión de percepción. Uru: Revista de Comunicación y Cultura, 10, 85–99. https://doi.org/10.32719/26312514.2024.10.5
Downloads
Published
How to Cite
Issue
Section
License
Copyright (c) 2025 Susana Golf Sanchez, Ana Belén Bastidas Manzano, María Alcolea Parra

This work is licensed under a Creative Commons Attribution-NoDerivatives 4.0 International License.
Those authors who publish in this journal accept the following terms:
-
Authors retain copyright.
-
Authors transfer to the journal the right of first publication. The journal also owns the publishing rights.
-
All published contents are governed by an Attribution-NoDerivatives 4.0 International License.
Access the informative version and legal text of the license. By virtue of this, third parties are allowed to use what is published as long as they mention the authorship of the work and the first publication in this journal. If you transform the material, you may not distribute the modified work. -
Authors may make other independent and additional contractual arrangements for non-exclusive distribution of the version of the article published in this journal (e.g., inclusion in an institutional repository or publication in a book) as long as they clearly indicate that the work was first published in this journal.
- Authors are allowed and recommended to publish their work on the Internet (for example on institutional and personal websites), following the publication of, and referencing the journal, as this could lead to constructive exchanges and a more extensive and quick circulation of published works (see The Effect of Open Access).







