Zur Hauptnavigation springen Zum Inhalt springen Zur Fußzeile springen

Saggi per la call-sezione sottoposta a peer review

Nr. 9 (2025): Miscellanea II

It’s a Kind of Magic (or not)? Ai’s technological imaginary and the symbolic structures of fashion narration.

DOI
https://doi.org/10.54103/connessioni/28772
Eingereicht
April 25, 2025
Veröffentlicht
2025-09-08

Abstract

This paper delves into the dynamic relationship between imaginary and technology in the era of Artificial Intelligence, illustrating how AI’s technological imaginary is not an independent entity but rather a product of the creative process inherent in the social imaginary. Additionally, it explores how the symbolic structures of socio-cultural imaginary contribute to shaping the imaginary realms of AI. The widespread integration of generative AI in fashion has introduced visual AI, offering new avenues for creative expression while challenging the construction of the sector’s imaginary landscape (Banerjee et al. 2022). This prompts critical inquiries: to which extent fashion narratives have become the nourishment of AI? What innovative narrations does AI introduce? How is AI influencing traditional perceptions of the body and beauty? Comparing 882 covers from Vogue Italia Digital Archive (1964-2024) with visuals from the AI-produced fashion magazine Copy (August 2023 onwards), this research analyzes representations and narratives to determine if AI perpetuates or subverts beauty and gender stereotypes, and how the normativity of fashion influences AI's visual output.

Literaturhinweise

  1. Alma, H.; Vanheeswijck, G. (2018) Introduction to Social Imaginaries in a Globalizing World. In H. Alma, G. Vanheeswijck, Social Imaginaries in a Globalizing World, pp. 1-18, Berlin, Boston: De Gruyter, https://doi.org/10.1515/9783110435122-001
  2. Afful, A. A., Ricciardelli, R. (2015). Shaping the online fat acceptance movement: Talking about body image and beauty standards. Journal of Gender Studies, 24(4), pp. 453-472.
  3. Akram, U., Fülöp, M. T., Tiron-Tudor, A., Topor, D. I., Căpușneanu, S. (2021). Impact of digi-talization on customers’ well-being in the pandemic period: Challenges and opportuni-ties for the retail industry. International Journal of Environmental Research and Public Health, 18(14), 7533.
  4. Aspers, P., Godart, F. (2013). Sociology of Fashion: Order and Change. Annual Review of So-ciology, 39, pp. 171-192. 10.1146/annurev-soc-071811-145526.
  5. Banerjee, S., Mohapatra, S., Bharati, M. (2022). AI in fashion industry. Emerald Publishing Limited.
  6. Barthes, R. (1967), Système de la mode, Paris: Seuil.
  7. Barthes, R. (2020). Fashion photography. In M. Barnard, Fashion Theory, (pp. 119-121). Routledge.
  8. Beil, B., Hensel, T., Rauscher, A. (2018) Game Studies, Springer VS Wiesbaden, https://doi.org/10.1007/978-3-658-13498-3.
  9. Belgrave, L. L., and Seide, K. (2019). Coding for grounded theory. In A. Bryant, K. Charmaz, The SAGE handbook of current developments in grounded theory, pp.167-185, Sage.
  10. Bennett, S., Maton, K., Kervin, L. (2008). The ‘digital natives’ debate: A critical review of the evidence. British journal of educational technology, 39(5), pp. 775-786.
  11. Bitencourt, E., Castelhano, G., Lopes, C. (2021). From digital influencers to influencer-laboratories. A case study of Lil Miquela. Paper presented at AoIR 2021: The 22nd An-nual Conference of the Association of Internet Researchers. Virtual Event: AoIR.
  12. Blumenthal, M. S., Inouye, A. S., Mitchell, W. J. (Eds.). (2003). Beyond productivity: Informa-tion technology, innovation, and creativity. National Academies Press.
  13. Bory S., Bory P. (2015) The new imaginaries of artificial intelligence. Imago. A Journal of the Social Imaginary, 6(1), pp. 67-83.
  14. Breward, C. (1994). Femininity and Consumption: The Problem of the Late Nineteenth-Century Fashion Journal. Journal of Design History, 7(2), pp. 71-89.
  15. Calia, R. M. (2021). The Imaginary dress. An interdisciplinary fashion approach among socio-logical, anthropological, and psychological orientations. Fashion Theory, 25(2), pp. 243-268.
  16. Cappetta, R., Cillo, P., & Ponti, A. N. N. A. (2001). L'innovazione nel pret-a-porter. Un'analisi longitudinale di Vogue Italia (1984-2002). Economia & Management, pp. 85-94.
  17. Castoriadis, C. (1987). The Imaginary Institution of Society. Polity.
  18. Chen, H. J., Shuai, H. H., Cheng, W. H. (2023). A survey of artificial intelligence in fa-shion. IEEE Signal Processing Magazine, 40(3), pp. 64-73.
  19. Chetioui, Y., Lebdaoui, H. (2020). How fashion influencers contribute to consumers' purcha-se intention. Journal of Fashion Marketing and Management: An International Jour-nal, 24(3), pp. 361-380.
  20. Chu, S. C., Seock, Y. K. (2020). The power of social media in fashion advertising. Journal of Interactive Advertising, 20(2), pp. 93-94.
  21. Click, J. W., Baird, R. N. (1983). Magazine editing and production. Baird. Brown & Bench-mark Publishers.
  22. Conrad, S. (2021). Globalizing the Beautiful Body. Journal of World History, 32(1), pp. 95-125.
  23. Crane, D. (2001) Fashion and Its Social Agendas: Class, Gender, and Identity in Clothing, ED. IT. Questioni di moda. Classe, genere e identità nell'abbigliamento, Franco Angeli Edi-tore, 2004.
  24. Cunningham, M. R., Roberts, A. R., Barbee, A. P., Druen, P. B., Wu, C. H. (1995). "Their ideas of beauty are, on the whole, the same as ours": Consistency and variability in the cross-cultural perception of female physical attractiveness. Journal of personality and social psychology, 68(2), 261.
  25. Cusumano, D. L., Thompson, J. K. (1997). Body image and body shape ideals in magazines: Exposure, awareness, and internalization. Sex roles, 37, pp. 701-721.
  26. D. Bartlett, A. Rocamora, S. Cole (2013), Fashion Media, London: Bloomsbury Publishing, - ISBN: 9780857853080 - Permalink: http://digital.casalini.it/9780857853080 - Casalini id: 5205522
  27. de Freitas, C., Jordan, H., Hughes, E. K. (2018). Body image diversity in the media: A content analysis of women's fashion magazines. Health Promotion Journal of Australia, 29(3), pp. 251-256.
  28. de Vaate, N. A. B., Veldhuis, J., Konijn, E. A. (2020). How online self-presentation affects well-being and body image: A systematic review. Telematics and Informatics, 47, 101316.
  29. Dimitrov, D., Kroumpouzos, G. (2023). Beauty perception: A historical and contemporary re-view. Clinics in Dermatology, 41(1), pp. 33-40.
  30. Doyle, S. A., Moore, C. M. (2023). Diversity, inclusivity and equality in the fashion industry. In E. L. Ritch, C. Canning, J. McCall, Pioneering New Perspectives in the Fashion Indu-stry: Disruption, Diversity and Sustainable Innovation, (pp. 105-114). Emerald Publishing Limited.
  31. Drenten, J., Brooks, G. (2020). Celebrity 2.0: Lil Miquela and the rise of a virtual star sy-stem. Feminist Media Studies, 20(8), pp. 1319-1323.
  32. Edwards, T. (2010). Fashion in focus: Concepts, practices and politics. Routledge.
  33. Esteban-Santos, L., García Medina, I., Carey, L., Bellido-Pérez, E. (2018). Fashion bloggers: communication tools for the fashion industry. Journal of Fashion Marketing and Mana-gement: An International Journal, 22(3), pp. 420-437.
  34. Eugeni, R. (2004). Analisi semiotica dell’immagine. Pittura, illustrazione, fotografia. EDU-Catt Università Cattolica
  35. Faria, A. P., Cunha, J., Providencia, B. (2019). Fashion communication in the digital age: Fin-dings from interviews with industry professionals and design recommenda-tions. Procedia CIRP, 84, pp. 930-935.
  36. Ferrero-Regis, T. (2015). Fashion Media: Past and Present. Fashion Theory, 19(4), pp. 445–451. https://doi.org/10.1080/1362704X.2015.1058039
  37. Gee, J. P. (2006). Why Game Studies Now? Video Games: A New Art Form. Games and Cul-ture, 1(1), pp. 58–61.
  38. Ghigi, R., Sassatelli, R. (2018). Body projects: fashion, aesthetic modifications and stylized selves. In O. Kravets, P. Maclaran, S. Miles and A. Venkatesh, The SAGE Handbook of Consumer Culture, pp. 290-315, SAGE.
  39. Giri, C., Jain, S., Zeng, X., Bruniaux, P. (2019). A detailed review of artificial intelligence ap-plied in the fashion and apparel industry. IEEE Access, 7, pp. 95376-95396.
  40. Gobo, G. (1993). Le forme della riflessività: da costrutto epistemologico a practical is-sue. Studi di sociologia, pp. 299-317.
  41. Haug, F. (1999). Female sexualization: A collective work of memory. Verso.
  42. Ivy, M. (1995) Discourses of the Vanishing: Modernity, Phantasm, Japan. Chicago, IL: Univer-sity of Chicago Press.
  43. Johnson, S., Christ W. G. (1988). Women through Time: Who Gets Covered?, Journalism Quarterly, 65(4), pp. 889–897.
  44. Kim, J., An, H. (2021). Modern reinterpretation and succession of Balenciaga design by Demna Gvasalia. The Research Journal of the Costume Culture, 29(2), pp. 185-203.
  45. Knox, H. (2019). Fat shaming vs fat empowerment: The construction of fat bodies in neoli-beral discourse. Cultivate: The feminist journal of the centre for women's studies, 2.
  46. Konecki, K. T. (2011). Visual grounded theory: A methodological outline and examples from empirical work. Revija za sociologiju, 41(2), pp. 131-160.
  47. Krause, M. (2021). On sociological reflexivity. Sociological Theory, 39(1), pp. 3-18.
  48. Kuipers, G., Chow, Y. F., Van Der Laan, E. (2017). Vogue and the possibility of cosmopolitics: race, health and cosmopolitan engagement in the global beauty industry. In P. Levitt, P. Nyíri, Books, Bodies and Bronzes (pp. 10-27). Routledge.
  49. Lee, H., Xu, Y. (2020). Classification of virtual fitting room technologies in the fashion indu-stry: from the perspective of consumer experience. International Journal of Fashion De-sign, Technology and Education, 13(1), pp. 1-10.
  50. Lyman, P., Kahle, B. (1998). Archiving digital cultural artifacts. D-lib Magazine, 4(7).
  51. Marcinowski, M. (2022). Artificial intelligence or the ultimate tool for conserva-tism. Danube, 13(1).
  52. Matteucci, G. (2021). Aesthetics of fashion. In E. Paulicelli, V. Manlow, E. Wissinger, The Routledge Companion to Fashion Studies, (pp. 23-30). Routledge.
  53. McCracken, A. B. (2014). The beauty trade: Youth, gender, and fashion globalization. Oxford University Press.
  54. Miller, S., McNeil, P. (2018). Fashion Journalism: History, Theory, and Practice. Bloomsbury, London.
  55. Moeran, B. (2006). More than just a fashion magazine. Current sociology, 54(5), pp. 725-744.
  56. Mohr, I. (2013). The impact of social media on the fashion industry. Journal of applied busi-ness and economics, 15(2), pp. 17-22.
  57. Mora E., Noia E. (2024) Fare politica con l’abbigliamento e la moda. Vita e Pensiero, CVII(1), pp. 125-132.
  58. Mora, E., Pedroni, M. L. (2017). New frontiers of the fashion imaginary, In E. Mora, M. Pe-droni, (ed.), Fashion Tales. Feeding the imaginary, pp. 13-28, Peter Lang, Bern 2017. 10.3726/b11234 [http://hdl.handle.net/10807/101826]
  59. Mortara, A, Roberti, G. (2022) Nuove forme di celebrità: il ruolo dei virtual influencer. In A. D’Aloia, M. Pedroni, I Media e la Moda. Dal cinema ai social Network. Carocci Editore 2022. ISBN: 9788829011285.
  60. Noia, E., Mazzucotelli Salice, S., Capalbi, A. (2023), Narratives and legacies of 1960s Vogue Italia covers on contempo- rary Italian young women, Film, Fashion & Consumption, Special Issue: ‘Fashioning Girlhood across the Media in the Mid-Twentieth Century’, 12:1, pp. 83–108, https://doi.org/10.1386/ffc_00054_1.
  61. Noris A., Nobile T. H., Kalbaska N., Cantoni L. (2021) Digital Fashion: A systematic literature review. A perspective on marketing and communication, Journal of Global Fashion Marketing, 12:1, pp. 32-46, DOI: 10.1080/20932685.2020.1835522.
  62. P.A. Gavrikova (2022). Diversity and inclusivity as a growing tendency in fashion in 2022. Сборник трудов II международной научно-практической конференции «Инновации и дизайн», (1), 166-170. doi: 10.24412/cl-36963-2022-1-166-170
  63. Paoli, A. D., D’Auria, V. (2021). Digital ethnography: a systematic literature review. Italian Sociological Review, 11(4S).
  64. Pedroni, M., Mora, E. (2023). Influencers, Niche Magazines and Journalistic Practice in Italy: Toward a New Fashion Editorial System. Fashion Theory, pp. 1-28.
  65. Pereira, S., Marcos, A. (2021). Post-digital fashion: the evolution and creation cy-cle. ZoneModa Journal, pp. 71-89.
  66. Piccolo, V. (2019). L’evoluzione: Vogue Italia tra presente, passato e futuro. Groundbreaking, pp. 16-20.
  67. Pink, S. (2008, September). Mobilising visual ethnography: Making routes, making place and making images, Forum Qualitative Sozialforschung/Forum: Qualitative Social Re-search (Vol. 9, No. 3).
  68. Raja, B. (2023). Perpetuating the ideal: the role of fashion magazines in promoting unreali-stic beauty. International Journal of Emerging Technologies and Innovative Research, ISSN:2349-5162, Vol.10, Issue 3, pp. 346-352, http://www.jetir.org/papers/JETIR2303652.pdf
  69. Reay E., Wanick V. (2023). Skins in the Game: Fashion Branding and Commercial Video Ga-mes. In E. Bazaki, V. Wanick, (eds) Reinventing Fashion Retailing. Palgrave Studies in Practice: Global Fashion Brand Management. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-031-11185-3_5.
  70. Rocamora, A. (2017) Mediatization and Digital Media in the Field of Fashion, Fashion Theo-ry, 21:5, pp. 505-522, DOI: 10.1080/1362704X.2016.1173349.
  71. Rose, G. (2022). Visual methodologies: An introduction to researching with visual mate-rials. Visual methodologies, pp. 1-100.
  72. Schröter, J. (2019). Artificial intelligence and the democratization of art. AI Critique| Volu-me, 297.
  73. Sergio, G. (2015). Dal marabù al bodysuit: Vogue Italia e la lingua della moda, Memoria e ricerca: rivista di storia contemporanea, 50, 3, pp. 97-114, Milano, Franco Angeli.
  74. Slevin, T. (2013). Sonia Delaunay's Robe Simultanée: Modernity, Fashion, and Transmediali-ty. Fashion Theory, 17(1), pp. 27-54.
  75. Smiraglia, R. P. (2008). Rethinking what we catalog: Documents as cultural arti-facts. Cataloging & classification quarterly, 45(3), pp. 25-37.
  76. Strauss, A., Corbin, J. (1994). Grounded theory methodology: An overview. In N. K. Denzin, Y. S. Lincoln (Eds.), Handbook of qualitative research (pp. 273–285). Sage Publications, Inc.
  77. Strauss, C. (2006). The imaginary. Anthropological theory, 6(3), pp. 322-344.
  78. Torregrosa, M., Sadaba, T. (2023). The adaptation of species in the fashion media ecosy-stem: the case of Vogue. Popular Communication, 21(2), pp. 114-129.
  79. Tortora, P. G. (2015). Dress, Fashion and Technology: From Prehistory to the Present. Bloomsbury Publishing.
  80. Tran, A. T. N., Nguyen, U. H. D., Ngo, V. M., Nguyen, H. H. (2023). Explaining consumers’ channel-switching behavior in the post-COVID-19 pandemic era. Cogent Business & Management, 10(1), 2198068.
  81. Varini, M. (2023). (Meta) morphosis. The giant “bug” in the fashion system. Connessioni remote. Artivismo_Teatro_Tecnologia, (6).
  82. Varini, M. (2024). Sfilare nell’Iperspazio: riflessioni sul futuro della moda nel digitale, da Tomb Rider al Metaverso. Futuri, (21), pp. 191-206.
  83. Wall, E., Blaha, L. M., Paul, C. L., Cook, K., and Endert, A. (2018). Four perspectives on human bias in visual analytics. In G. Ellis, Cognitive biases in visualizations, pp. 29-42, Springer.
  84. Wilson C. (2018), Big, bold and body-positive, New Scientist, Volume 239, Issue 3197, pp. 20-21, ISSN 0262-4079, https://doi.org/10.1016/S0262-4079(18)31754-8.
  85. Zeng, L., Lo, C. K., Chen, Z. (2024). Fashion innovation through an innovation ecosystem–a research agenda. International Journal of Fashion Design, Technology and Educa-tion, 17(1), pp. 62-75.

Downloads

Keine Nutzungsdaten vorhanden.