Once the failure of classical fashion Semiotics (1960-1980) was certified, as it conceived the fashion phenomenon as a system devoid of meaning (Barthes), incapable of communicating (Lotman) and unbearable (Volli), the great designers and marketing strategists began a new period, that of the Pragmatics of Fashion (1980-2000), committed to resemiotizing the system by resorting to prestigious referents for their collections (the history of art and culture) and to the brand, defined as a hypericonema loaded with powerful literal, imaginary and psycho-emotional meanings (Paz Gago). This stage of fashion semiotics is described by Floch and Calefato, scholars of fashion brands as written text, since it is the proper name of the great fashion designers that has become a brand. Both agree on the need to move beyond the more linguistic stage of the discipline to develop a visual semiotics or a plastic semiotics that serves to analyze fashion as an essentially visual phenomenon. With the new millennium, in line with the new digital technologies that colonize and are colonized by fashion, the Neosemiotics of fashion (2000-2020) emerges, mediated by the stories and reels uploaded to social networks such as Instagram or TikTok, as Bianca Terraciano or Victoria Nannini will analyze. Fashion semiotics faces a new challenge today due to the emergence of Artificial Intelligence, which has already colonized all processes in the fashion system: design creation, pattern making, manufacturing, advertising and marketing campaigns, fashion shows, distribution, and marketing can all be implemented through generative Artificial Intelligence applications. These new technological phenomena respond to the semiotic mode I have called Machination, as opposed to the Representation and Simulation characteristic of classic analog and digital technologies.

Citations

• Semiotics of the Manila Shawl (mantón de Manila): From Historical Transformations to its Present Identity Function
  Ana Velasco Molpeceres, Carmen Baniandrés, María Prieto Muñiz
  EPISTÉMÈ.2025; 35: 2.     CrossRef

This article offers an initial sketch of a model, semio-pragmaticism, whose ambition is to enable communication studies to be (re)founded on a common paradigmatically pragmatic and operationally semiotic foundation. Beginning with a review of various currents of thought in CIS and related disciplines that share this pragmatic concern for (re)placing the (communicational) subject at the center of the analytical approach to communication, I propose, on this basis, a fundamental synthetic model of communication conceived from and for the understanding of the communicational subject as the necessary and sufficient yardstick for the understanding of communication.

Citations

Over the past decade, social networks have become ubiquitous in our daily lives, transforming the way we interact, communicate and share information (Kaplan and Haenlein, 2010). Today a majority of French people have a sustained and regular presence on social networks. At the same time, music has always been an essential part of human culture, arousing emotions and memories, and influencing our tastes and preferences (Holbrook and Schindler, 1989). Through an in-depth review of the existing literature, we seek to understand what factors influence users' engagement with music on social networks.

Citations

• Du Tempo au Big Data : la symphonie du Marketing 6.0
  Samuel Mayol
  Question(s) de management.2023; n° 47(6): 89.     CrossRef