Irony and Post‑Irony as a Communicative Strategy of Fashion Brands: Virality, Micro‑Trends and User Engagement Design

Keywords: fashion communication, irony, post‑irony, virality, microtrends, digital fashion, social media, user engagement, memetic culture

Abstract

The article explores irony and post-irony as powerful tools in contemporary fashion, not just as expressions but also as methods for fashion brands to connect with their audience in the digital age. The authors delve into specific communication strategies, including visual puns, memes, intentional absurdity, self-irony, and manipulating consumer expectations. Through these techniques, brands market their collections, shape moral content, and spark discussions about fashion. Using examples from Balenciaga, Vetements, Gucci, and other brands, the article examines how ironic and post-ironic approaches influence a brand's message. It reveals that in the digital era, fashion images transcend mere visual styles; they become opportunities for dialogue, replication, reinterpretation, and broader dissemination. Digital platforms play a crucial role in fostering microtrends and altering the relationship between brands and consumers. The conclusion is clear: modern fashion communication prioritizes audience engagement. The worth of a fashion look lies not only in its physical form or aesthetics but also in its capacity to function as a recognizable media narrative, circulate online, and inspire new user responses.

Downloads

Download data is not yet available.

Author Biographies

Tatyana E. Fadeeva, HSE University

Doctor of Art History, Associate Professor

Mikhail A. Fedorov, Melon fashion group

Leading Designer of the Brand ZARINA MAN, Melon Fashion Group

References

Barthes, R. (1977). The death of the author. In S. Heath (Trans.), Image–music–text (pp. 142–148). Hill and Wang.

Berger, J., & Milkman, K. L. (2012). What makes online content viral? Journal of Marketing Research, 49(2), 192–205. https://doi.org/10.1509/jmr.10.0353

Bourdieu, P. (1984). Distinction: A social critique of the judgement of taste (R. Nice, Trans.). Harvard University Press.

Choi, W., Lee, Y., & Jang, S. (2024). Diffusion of fashion trend information: A study on fashion image mining from various sources. Fashion and Textiles, 11, Article 30. https://doi.org/10.1186/s40691-024-00394-8

Dal Bosco, E. (2023). Carnivalesque practices and cyborg esthetics: A study of the grotesque of Demna. Fashion Theory, 27(4), 533–554. https://doi.org/10.1080/1362704X.2022.2115964

Gensler, S., Völckner, F., Liu-Thompkins, Y., & Wiertz, C. (2013). Managing brands in the social media environment. Journal of Interactive Marketing, 27(4), 242–256. https://doi.org/10.1016/j.intmar.2013.09.004

Gerrie, V. (2019). The Diet Prada effect: ‘Call-out culture’ in the contemporary fashionscape. Clothing Cultures, 6(1), 97–113. https://doi.org/10.1386/cc_00006_1

Giolo, G., & Berghman, M. (2023). The aesthetics of the self: The meaning-making of internet aesthetics. First Monday, 28(3). https://doi.org/10.5210/fm.v28i3.12723

Gournelos, T., & Marutschke, D. (2025). Anime and luxury fashion: Studio Ghibli and Loewe’s unorthodox brand merchandizing. Journal of Anime and Manga Studies, 6(2), 1–42. https://doi.org/10.21900/j.jams.v6.1974

Hoffmann, L. (2016). Postirony – Conceptualizing an idea. In Postirony: The nonfictional literature of David Foster Wallace and Dave Eggers (pp. 37–64). transcript Verlag. https://doi.org/10.1515/9783839436615-003

Hutcheon, L. (1994). Irony’s edge: The theory and politics of irony. Routledge.

McLuhan, M. (1964). Understanding media: The extensions of man. McGraw-Hill.

Parkins, I. (2021). Surrealist fashion. In N. Lusty (Ed.), Surrealism (pp. 224–239). Cambridge University Press. https://doi.org/10.1017/9781108862639.013

Pettis, B. T. (2024). The inherent vice of internet memes: The double bind of recognition and the aesthetic of haste. International Journal of Communication, 18, 3212–3233.

Rocamora, A. (2017). Mediatization and digital media in the field of fashion. Fashion Theory, 21(5), 505–522. https://doi.org/10.1080/1362704X.2016.1173349

Schellewald, A. (2023). Understanding the popularity and affordances of TikTok through user experiences. Media, Culture & Society, 45(8), 1568–1582. https://doi.org/10.1177/01634437221144562

Shi, M., Chussid, C., Yang, P., Jia, M., Lewis, V. D., & Cao, W. (2021). The exploration of artificial intelligence application in fashion trend forecasting. Textile Research Journal, 91(19–20), 2357–2386. https://doi.org/10.1177/00405175211006212

Skjulstad, S. (2017). Who wore it best? Understanding mediated fashion as design. In D. Stuedahl & A. Morrison (Eds.), Nordes 2017: Design + Power (pp. 1–11). https://doi.org/10.21606/nordes.2017.030

Skjulstad, S. (2020). Vetements, memes, and connectivity: Fashion media in the era of Instagram. Fashion Theory, 24(2), 181–209. https://doi.org/10.1080/1362704X.2018.1491191

Stankevičiūtė, K. (2022). Irony in fashion memes: A pink poodle perspective on the aesthetics of dressing. The European Journal of Humour Research, 10(3), 1–21. https://doi.org/10.7592/EJHR.2022.10.3.676

Tepe, J., & Koohnavard, S. (2023). Fashion and game design as hybrid practices: Approaches in education to creating fashion-related experiences in digital worlds. International Journal of Fashion Design, Technology and Education, 16(1), 37–45. https://doi.org/10.1080/17543266.2022.2103591

Zagalo, N. (2020). Engagement design: Designing for interaction motivations. Springer. https://doi.org/10.1007/978-3-030-37085-5

Zulli, D., & Zulli, D. J. (2022). Extending the internet meme: Conceptualizing technological mimesis and imitation publics on the TikTok platform. New Media & Society, 24(8), 1872–1890. https://doi.org/10.1177/1461444820983603

Published
2026-09-30
How to Cite
FadeevaT. E., & FedorovM. A. (2026). Irony and Post‑Irony as a Communicative Strategy of Fashion Brands: Virality, Micro‑Trends and User Engagement Design. Communications. Media. Design, 11(3), 5-23. https://doi.org/10.17323/cmd.2026.42893
Section
Scientific Articles