Behaviour change report final print edition by cjagger

Changing

Attitudes and Behaviour

Chloe Jagger

Word Cout: 2,739

Introduction: pg.2 Before Role

adreesing the debate...: pg.3

of the Ediotr: pg.7

Influence Future

of magazines on Girl Culture: pg.15

of the teen magazine: pg.21

Consumer List

profile: Targetting todayâ&#x20AC;&#x2122;s teens: pg.23

of References: pg. 27

Bibliography: pg. List

of Illustrations: pg. 29

Appendix

pg.31

Fig 1. Mack, B.M, (2013)

ithin this report I attempt to deconstruct the illusions that make up reality within our social and cultural landscape. As an aspiring fashion communicator I aim to weigh up the heavy debate of size, weight and the patriarchal demands of woman in accordance to her body and outward physical appearance. Focusing on the publishing sector, I aim to assess the responsibly of editors and tastemakers of magazines, whose publications perpetuate an unattainable perfection; through the exposure of thin and airbrushed models. However, I intend to delve deeper into the debate, looking at its origins in relation to Naomi Wolf â&#x20AC;&#x2122;s Beauty Myth and a Darwinian Marxist theory; which gave birth to our ingrained cultural belief that a womans body and physical worth is her only form of social currency and power. Realising the ironic and dangerous consequences of such a commoditised belief; I question the power of the editor within teenage magazines and their failure as a meaningful source of mental and spiritual nourishment for young girls. Through their teachings that power as woman comes from her beauty, and that beauty in todayâ&#x20AC;&#x2122;s culture is defined, increasingly by a certain body type and thin ideal.

Before adreesing the debate...

Fig 2. Mack, B.M, (2013)

efore addressing the debate about the role and responsibility of editors and publishers, first I will look at the determining influences of women in relation to the question, of whether we actively have a choice but to follow patriarchal demands. In relation to impossible beauty and body standards Benjamin Straight, in his book “The Two Finger Diet” bears some of the blame upon woman ourselves who “solidify the beauty myth by reproducing it and voting with their purchasing power(Straight, 2005, pg.2)”. Straight’s thought is one that does not put the entire blame upon the male gaze of publications, believing that women primarily judge other woman based on their body type and image. Whether we like to admit this to ourselves or not, Straight goes further to base the origination of woman’s ‘body shaming’ on a Darwinian and capitalist theory; which underpins todays social context. Stemming from the theory of natural selection; our biological impulses urge us to attract the best mate, through the act of beautifying ourselves, woman like every living entity on our planet, are essentially competitive and in competition with other women (). The role of capitalism is simply the means by which we achieve our goals; yet the result of such a toxic combination fuelled by gross consumption of the 21st century means that we now only relate to other beings as we relate to the goods we buy; as females we have become essentially expendable and temporary. Feminist writer Andrea Dagrworkin agrees that women today are treated as commodities “in our culture no part of a woman’s body is left untouched, unaltered. No feature or extremity is spared the art, or pain of improvement…From head to toe, every feature of a woman’s face, every section of her body, is subject to modification, alteration…it is vital for the economy (Dagrworkin in bordo, 2003,p.21).”

owever feminist writer Naomi Wolf puts the blame more upon society, rather than the inevitability of nature, arguing that despite women being autonomous beings, our freedom of choice has been stripped from us by a stereotypical society. Instead our feelings of inadequacy stem from women internalising unattainable images from a young age, meaning they no longer question the origination of the ‘beauty myth’.

We are essentially“so far into the matrix of this particular cultural mandate and constructed reality”(Straight, 2005,pg.2)that we no longer question whether our quest of physical perfection is actually socially, mentally or physically healthy for us.

Fig 3. Mack, B.M, (2013)

Role of the editor

“nearly 70% of girls in grades five th 12” saying that “magazine images infl their ideals of a perfect body.” Ultimately it can be argued that the fashion and beauty industry is destructive in its reappraisal of the new and ever changing beauty standards. As an industry which focuses so much on fantasy, ideology and iconography, the word ‘human’ is one not often heard in fashion and the industry’s tastemakers have essentially forgotten that the mantra “out with the old and in with the new” is just as much about people as it is clothes.

can be inferred that eating disorders and the pursuit of the thin ideal is primarily a feminine problem. And it is a problem which looks set to get worse, as food and eating becomes more problematic for a generation of girls who attach such high values to being supremely thin. Magazines have always been recognised as a mirror of current culture and in the last century they have become one of the most powerful agents in forming and changing women’s roles in society and determining our perceptions of beauty and body image(Wolf, 1991)) . Fashion at its core is a political and social product, shaping consumers relationship with beauty ideals and magazines rhetoric and editorials remain an influential source of inspiration and information for female consumers. What’s more the fashion magazine has become the most widely accused form of media in relation to body image accusations and eating habits. With health organisations such as the’ National Association of Anorexia Nervosa and Associated Disorders’ blaming magazines for the instigation of eating disorders. With “nearly 70% of girls in grades five through 12” saying that “magazine images influence their ideals of a perfect body.”(Pearson, 2011: online) proving that exposure to unrealistic ideals such as thin models can lead to dangerous levels of body dissatisfaction

The manifestation of anxiety about body shape and beauty has reached a tipping point. Where in England today, from 2011-2012 the NHS revealed that hospital admissions for eating disorders rose by 16%, with it being estimated that across the whole of the UK, about 1.6 million people are affected by an eating disorder(BBC, 2012). Yet these statistics only scratch the surface of the problem, with B-EAT, the world’s largest eating disorders charity detailing that these statistics are only a fraction of the problem; being based upon patients within NHS care “these figures therefore leave out all those who have not come forward, have not been diagnosed, are receiving private treatment” (Beat,2012). With statistics revealing that women made up 91% of hospital admissions, it can be inferred that twomen made up 91% of hospital admissions, it

hrough fluence

ith the power to instigate and edit written and visual content which

is communicated to readers; the fashion Editor is in a position to address prevalent issues of significance such as gender, race, sexuality and body image to promote greater diversity and behaviour change universally. With the likes of Diana Vreeland paving the way, coupled with the industry’s vast promotion of the innovation and power of social media, the fashion editor has now become a celebrity in their own right. They are viewed as highly influential opinion leaders and their ideas and attitudes are heard and analysed by the media and public. Two editors who challenge the conventional norms of beauty within fashion magazines are Editor-in-Chief of Vogue Italia, Frannca Sozzini and Carine Roitefld, Global Fashion Director of Harpers Bazar and former Editor-in-Chief of Vogue Paris. Described as the “tastemaker’s tastemaker” both editors are not estranged to controversy, with both having published one off issues which have attempted to widen our notions of diversity; however both were accused of insincere ‘tokenism’ rather than an authentic commitment to depicting healthier body images to readers.

Fig 3. Meisel, S.M, Belle Vere,

Fig 4. Meisel, S.M, Belle Vere,

ozzini’s influence within the fashion industry can be seen as paramount, helping to transform “Vogue Italia from a domestic trade publication into the world’s most influential fashion magazines”(Adams, 2011 :online). Despite the magazines small circulation, her issues have achieved worldwide acclaim for pushing the barometer of controversial topics, such as the dedication of whole issues to ‘curvy’ and black models. Because “Italian is only spoken in Italy…our visuals have to be very strong to attract attention”(Sozini (2011) in interview with Adams: online) says Sozzini, which explains why Vogue Italia’s fashion imagery is used as vehicle for tackling social and political issues. Fig 3 and 4 are examples of Sozzini’s “Dream Woman”, bored of “sad faced models” who look the same, using three plus sized models on the cover and spread of Vogue Itallia in an effort to promote to readers the view that “curvy girls are more sexy, more sexy than skinny girls”. Sozzini’s efforts have come at a time when there has been a dramatic change in the consciousness of editors; whereby nineteen Vogue Editors agreed to consistently promote more realistic body ideals in their magazines by complying to guidelines set by the CFDA health initiative to endure health over thinness (CFDA, 2007: online).

Fig 5. Lagerfeld, K.L, Singular Beauties, (2013)

n August this year Roitfeld too attempted to showcase a “gloriously diverse range of models” in all 29 editions of Harpers Bazar, paying “homage to the diversity of women”(Hearst Magazines, 2013: online). Figure 6 is an example of the spread titled Singular Beauties, which includes an eclectic mix of models, actresses, fashion editors and muses. Yet for a publication which spans 45 different countries you cannot help but notice that the editorials prevalent perception of diversity and beauty is predominately expressed through a thin Caucasian female form. Despite applauding both Sozzini and Roitfeld in their effort of conceptualisation of diversity, both manifestations highlight the very fact that it is not so much about what editors are showing to readers, but what they are not showing us. The very fact that a diversity of women of different race, shape and sizes needs a singular issue dedicated to them is the very issue at hand. By making diversity a novelty, we must question why it is an issue for plus size women to stand next to smaller women in an editorial; size acceptance doesn’t come in the form of one issue a year, it comes in the form of being able to see women of all varying sizes stand next to one another. Though the CDFA’s initiative and Roitfeld and Sozzini’s editorials are positive examples of ‘share copying’ in the promotion of a diverse range of beauty and its notions; both editors moral intentions ultimately fail, as they leave us with the feeling that their attempts were only meant to be incongruously inspiring, but temporary.

Fig 6. Lagerfeld, K.L, Singular Beauties, (2013)

he problem of one off special issues is that they communicate mixed messages to consumers and can ultimately damage the campaign for diversity by showcasing a false sense of different beauty ideals which ironically all still succumb to uniformity. For true attitude and behavioural change to come about, diversity must be more consistent within magazines. Meaning that in order to create lasting change that will effectively challenge patriarchal notions of beauty and shape, editorâ&#x20AC;&#x2122;s must realise the effect that advertisements hold within their magazines, which hinder and undo any effort of diversity in editorials. Thus despite editors paving the way in opinion change, it is harder to foster change in an industry which is ultimately driven by economics; with the likes of British Vogue pulling in ÂŁ32 million in advertising revenues a year, it is not surprising that the creative editorial voice is somewhat stifled(Barber, 2008: online). As mentioned earlier, in a cultural society underpinned by Darwinism and capitalism, the male business of big name magazine titles has always been and will always be, driven by economics and not moral responsibility.

Influence of magazines on Girl Culture

agazines play a hugely important role in the development and sustaining of young girls self-image; they are also prevalent pieces of our culture; offering us an insight into the beliefs harboured by a target consumer. Focussing specifically on the teenage consumer, I question the beauty standards set by teenage magazines, which coupled with the rise of teen consumerism in the last decade; exploits vulnerable young females desire to change themselves. In today’s culture a girl’s emotional and physical development has become inextricably linked to the commercial world. Naomi Wolf paraphrases Betty Friedan in her book The Beauty Myth to illustrate the inconvenient truth that

“the really crucial function that women serve as aspiring beauties is to buy more things for the body…Somehow, somewhere, someone must have figured out that they will buy more things if they are kept in a self-hating, ever failing, hungry and sexually insecure state of being.Friedan in Wolf, 1991, pg.47).”

“...it is the pretty girl and not the brig who is most popular (Straight, 2005, pg

owever this is not new, despite the teenager only existing within social consciousness since the mid twentieth century, after the post WW2 baby boom, it was not long before marketers and advertisers realised that teenagers could be a direct consumer category; giving birth to the teen magazine and other products. These products such as young girl’s dolls were soon being used to reinforce the values held by our culture. Feminist writer Natasha Walter agrees that dolls “with their perfect bodies, symmetrical faces and over defined sleepy eyes” teaches young girls that her “main journey in life is to simply lie along her path to winning admiration of others for her appearance.”(Walter, 2011, pg.64).

Increasingly girls mature into adolescence, their bodies dominate their emotional landscape. In her influential book “Girl Culture”, photo journalist Lauren Greenfield agrees that “girl culture today is driven largely by commercial forces” (see fig 7). Teen magazines remain a trusted source of information amongst young girls, and their content exposes adolescent girls to a narrow perception of beauty which lays the foundations for disordered eating during early adulthood. Magazines such as Teen Vogue and Seventeen magazine lead young woman to believe that the “emphasis on female beauty” is central “to a teenage girls life, it is the pretty girl and not the bright girl who is most popular.(Straight, 2005, pg.53).”

ght girl g.53)â&#x20AC;?

Fig 7. Greenfield, S.G, Girl Culture, (2002)

Fig 8. Seventeen Magazine, Own Image, (2011)

nspired by K Perice’s content analysis of Seventeen Magazine, which found out that appearance makes up 50% of editorial content (Perice in Straight, 2005, pg. 55). I conducted my own primary research, leading to figures which similarly revealed that 56% of Teen Vogue’s advertising content was dedicated to beauty ads with a further 24% being dedicated to health and hygiene (see appendix). Thus, going by teenage magazine’s advertising content I recognised that by the age of seventeen, the traditionally socialised teenager will have learnt that how she looks is far more important than how she thinks. I realise that the landscape and messages of teen magazines must transform in order to harbour positive behavioural change in young girls, who are vulnerable to the damaging messages held by patriarchal

society. Teenage girls distorted desire to look like airbrushed models within magazines is highlighted by Greenfield, “I’m not the size zero I want to be . I want to be a stick thin girl. A double zero. I look a the models and actresses and I want to be like that.(Girl in interview with Greenfield, 2002,pg.26). However, after interviewing two teenage girls about the influence that the internet has on body image, their responses revealed that social media can be “more harmful” than magazines. Coupled with the internet and search engines such as goggle, unhealthy trends such as “thigh gaps” are “unavoidable” to hear about, equally photoshopped Facebook images and the “selfie” generate immediate feedback from peers, which add an extra layer of peer pressure on teens (see appendix).

Artist Louise Orwin warns of ‘tweenagers’ damaging relationship with social media through her social research of the pretty/ugly youtube phenomenon, whereby young girls post videos of themselves asking strangers to rate their looks (Orwin, 2013, Online). Orwin is touching upon the blurring lines between social media and peers; both of which are “two primary influences on the development of eating disorders (Common health, 2013, Online)”. Teenagers now compare themselves to their friend’s pictures on Facebook; not realising that there an idealised version of what’s normal.

Future of the teen magazine

et despite the negative behavioural change created by the internet, it can be argued that the rise of social media and technology has given birth to a new voice of fierce femininity. Lead by discerning females such as Tavi Gevinson, author of the influential blog The Style Rookie and Jamie Keilels, who followed the advice given by Seventeen Magazine to challenge the publications “limited idea of the right way to do things” which was “informed by whatever brands it was trying to push”(Keiles in Jezebel, 2010: online). Thus technology and the diversity of the internet which allows every female to have an influential voice and reach audiences universally, has given birth to a new, authentic landscape for the future of the magazine. It is one that could offer an authentic voice free from a prescribed beauty standard and content could be conceptualised by teens themselves.

As mentioned earlier, being that the essential purpose of the print magazine is to round up a group of similarly demographicâ&#x20AC;&#x2122;d consumers for advertisers to target. There is a gap in the market for smaller circulating, independent print and online magazines to conceptualise a new diverse beauty standard to young girls. Realising that the rhetoric of the magazine can be just as damaging as its visual imagery, there is a gap for a teen magazine to offer written content which is authentic; offering a true meaning of feminine power and ideals, which are exempt from the restraints of physical perfection and influence of moneyed advertisers.

Fig 9. Tavi Gevinson: A teen just trying to figure it out, Ted Talks,

eens of Generation Y, are increasingly becoming bored with teenage culture which is overrun by synthetic pop confections. These teens are seeking a countercultural voice, the kind that existed in full force during the bygone decades of big name magazine brands. This influential, internet powered generation look for meaningful connections within a like-minded community; yet if one does not exist, they are happy to create it themselves. Meaning that a chance to comment and debate upon subject matters which is made for teenagers, by teenagers appeals to this young target consumer. This consumer group want to see realistic representations of women within fashion imagery and commentary. So that women are portrayed as being multi-faceted and flawed, as opposed to the submissive perfection of beautiful role models who dominate the mainstream media.

Fig 10. Own Image, (2013)

Consumer Profile:Targeting today’s teens

Familiar with digital media “96% percent of Generation Y is active on at least one social networking site.”

Buiness of Fashion, (2010), ONLINE

Envisioning a future where the commo of power does not inspire women to bu through perfection of appearance; but independence through freedom of expr

hus I propose that the future of the teen magazine lies in the innovation of a two way dialogue, through the blend of the glossy tactile experience and value of print magazines with digital technology. All made possible through the use of augmented reality which can easily be incorporated into the printed page, enabling readers to hold their phone over an image for additional content to be made available. Following in the footsteps of innovative fashion magazines such as ‘Dazed and Confused’ and ‘Purple Fashion magazine’, were readers could scan QR codes next to editorials to reveal behind the scenes videos and fashion films. Andy Warhol’s ‘Interview’ magazine took the power of the QR code one step further; allowing the reader the chance to scan and leave comments to start conversations “in the metaphorical margins of a physical magazine that become visible only when other readers click with their phones”(BOF, 2009: online). We could take this one step further through the use of augmented reality apps such as the app Blippar, which when placed over a page covert printed content into engaging interactive experiences for the reader(Blippar, 2013: online).

Fig 11. Blippar press pack example, Blippar, (2013)

oditised rhetoric uy their autonomy to instead seize their ression.

ith the words ‘dialogue’ and ‘spontaneity’ being key, I imagine the future of the magazine to be one which actively allows readers to not only view and comment on editorials, but participate in the dialogue and start debates to influence and co-create written content. Ultimately to create positive behaviour change in the young girls of today, I realise that the publishing world has to create a new source of media which is free from ‘body shaming’ and impossible perfection of fashion imagery. Yet realising the power of the written language, written content has to ultimately change from an obsession of beauty and health articles to one’s which instead teach young girls that self-fulfilment in not equated to our physical worth. Envisioning a future where the commoditised rhetoric of power does not inspire women to buy their autonomy through perfection of appearance; but to instead seize their independence through freedom of expression.

List of references BBC News. 2012. Hospital admissions for eating disorders up by 16%. [ONLINE] Available at: http://www.bbc.co.uk/news/health-19908688. [Accessed 31 December 13].

Huffington Post, Catherine Pearson. 2011. Fashion And Eating Disorders: How Much Responsibility Does Industry Have?. [ONLINE] Available at: http://www.huffingtonpost. com/2011/09/13/fashion-eating-disordersindustr y-responsibility_n_955497.html. [Accessed 31 December 13].

Beat. 2012. Facts and Figures. [ONLINE] Available at: http://www.b-eat.co.uk/aboutbeat/media-centre/facts-and-figures/. [Accessed 31 December 13].

Jezebel: A N. 2010. Seventeen Project Teen Finds Hope Online. [ONLINE] Available at: http:// jezebel.com/5571981/seventeen-project-teenfinds-hope-online. [Accessed 31 December 13].

Blippar . 2013. Blippar. [ONLINE] Available at: https://blippar.com/en/about#what. [Accessed 31 December 13].

Louise Orwin. 2013. Pretty Ugly . [ONLINE] Available at: http://www.louiseorwin.com/site/ project/id/15. [Accessed 19 January 14].

BOF: V A K . 2009. Fashion 2.0 | An Interactive Future for Fashion Magazines. [ONLINE] Available at: http://www.businessoffashion. com/2009/02/fashion-20-an-interactivefuture-for-fashion-magazines.html. [Accessed 31 December 13].

Straight, B.S, 2005. The Two Finger Diet: How the Media Has Duped Women into Hating Themselves. 1st ed. pg.2: iUniverse, Inc..

Bordo, S B, 2003. Unbearable Weight: Feminism, Western Culture, and the Body. 2nd ed. pg.21: University of California Press.

Walter , N W, 2011. Living Dolls: The Return of Sexism. 1st ed. pg.64: Virago Press.

Wolf , N W, 1991. The Beauty Myth: How Images of Beauty are Used Against Women. 1st ed. p.47: Vintage Books .

Conde Nast International . 2007. CONDÉ NAST INTERNATIONAL AND SOCIAL RESPONSIBILITY. [ONLINE] Available at: http://www.condenastinternational.com/ et-cetera/social-responsibility/. [Accessed 31 December 13].

Greenfield , L G , 2002. Girl Culture. 1st ed. pg.26: Chronicle Books.

William Lee Adams. 2011. Franca Sozzani: Fashion’s Rebel with a Cause. [ONLINE] Available at: http://content.time.com/time/ world / ar ticle / 0 , 8 5 9 9 , 2 0 9 3 3 6 8 , 0 0 . html . [Accessed 31 December 13].

Bibliography BBC News. 2012. Hospital admissions for eating disorders up by 16%. [ONLINE] Available at: http://www.bbc.co.uk/news/health-19908688. [Accessed 31 December 13].

Harpers Bazaar. 2013. Carine Roitfeld’s singular beauties. [ONLINE] Available at:http:// www.harpersbazaar.com/fashion/fashionphotography/carine-roitfeld-fall-fashion-shoot0913#slide-1. [Accessed 04 January 14].