AD5603
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MAGAZINE
ELEANOR HENDRY
VOGUE US VS BRITISH VOGUE AN ARGUMENT OF THE DIVERSITY WITHIN VOGUE MAGAZINE COVERS FIG 1
INTRODUC
What defines you?
Could it be your personality, your traits, your mannerisms perhaps? Or maybe it’s the garments you fashion, the ways in which you style, additionally accessorise them? Have you ever pondered where those originated from, how they became of such significance to your existence? Could they be influenced by family, a commending role model, a brand for example?
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The fashion industry can continually observe back in time, historically, to the eras which enveloped the trends consumers admire on the catwalks today and appreciably highlight the work of many members within the black communities. Yet, as a population, it can conceivably be questioned the extent as to how black culture is applauded and presented with the appropriated gratitude for the tendencies they have delivered and proceed to supply throughout the years. If the matter is delved into deeper, we can occasionally find both individuals and companies belittling their worth, under-representing and un-crediting their ethnical status. But as one of the largest, creative enterprises globally, hasn’t the fashion industry already harvested the power to elevate such societies and support them to become equally successful, or is it improper to assume that many of the triumphant companies we tend to idolise, could in fact be the ones proposing the problematic issues revolving black culture today?
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Upon recent years, a heightened cognisance has been observed towards subjects of diversity and inclusion, with undeniable progression being implemented concerning broader topics like gender parity, LGBTQ+, and neurodiversity which is fantastic! However, a call for cultural appreciation, sustainable representation, and an end to stereotypical assumptions remains to be echoed in the workplace as well as the fashion industry. The passing of George Floyd was notably an eye opener for radical change, with businesses looking internally at their systems and assessing their approach toward the black community. His unfortunate death, resulted in an ignition of nationwide protests, condemning police brutality and inequitable treatment and an eruption of black squares assembling upon social media faces, amplifying a voice for Black Lives Matter and a demand to cease systematic racism and discrimination. Could the monumental measure of support and a compliance to change be perceived as just a response to the movement which trended worldwide, however?
Brands have already received hypocrisy claims and accusations which do not correlate to the advocacy they have displayed online; could this question as to whether #BlackLivesMatter was yet another repugnant attempt to win consumer mindsets or has it indeed proven pivotal for enforcing a requisite transformation in the industry and its approaches. Fashion publications were amongst many supposed allegations pitched at the industry for a lack of representation. With the awakening of a nation being educated culturally and receiving a greater comprehension towards social justice, will such matters provoke the media to rethink their strategical publicity standards and cater for a society progressively searching for diversity and inclusivity, or will it yet be another endeavour to pose a black models face on a glossy cover to settle the status of ethnic inclusiveness whilst the topic remains raw?
The world of style, trend and beauty has promulgated upon lavishly illustrated pages of magazines since the 19th century, disseminating fashion news, gossip and creating an educational space and luxury fantasy for its consumer. The revolutionary, monthly issues of Vogue have widely encompassed this and become the worlds most sought publication due to the embodiment of distinguishable photographs and supremacy of editorial quality compared to competing magazines. First manifested in 1892 by Arthur Baldwin, Vogue celebrated “a dignified authentic journal of society, fashion, and the ceremonial side of life” (Borrelli-Persson,2017) and was targeted towards the New York upper class. It has since been endorsed by Condé Nast media publishers and launched in 26 countries calling upon some of the most influential names in fashion, film, music, and activism. Despite the glory to its name, Vogue has too, faced backlash concerning diversity- both in the publication and its workplace environment. In today’s article, an exploration into the magnitude of representation and responsibility within the Vogue US and British Vogue editions will be discussed, summarising whether the “fashion bible” of the nation entitles the name it entertains.
As the current illustrious Editor-in-chief, Anna Wintour, has devoted her life to the whims and fancies of the catwalk, serving for Vogue since 1988. As Artistic Director of Condé Nast too, Wintour is positioned as one of the most powerful figures in the industry and holds an assertive possession over a vast preponderance of fashion publications. So, with such power and great eminence to her name, it is believed she would respond appropriately to the diversity issues cascaded over the fashion industry and inflicts inclusivity and cultural equity within her organisations- this may not be the case. As a woman of thin physique, pale complexion and assimilated for her trademark bob haircut and dark sunglasses, Wintour is the epitome for her brand; with her wardrobe often scrutinised and praised by onlookers. It is of no surprise then, that she idealises her image as the targeted model for the majority of Vogue covers AND employee recruitments. Is this even conventional? Former Creative Director of Vogue, Andre Leon Talley, has previously revealed “[Wintour] she’s part of an environment of colonialism. She is entitled and I don’t think she will ever let anything get in the way of her white privilege”. Needless to say, Ms Wintour has certainly stood her ground surrounding this matter and has patently demonstrated it within the covers of the Vogue US issues too which have collected a burden of indictments relating to racial insensitivity. For years, she has set a standard of favouring, white, Eurocentric beauty- which today, veers from any traditional, societal norms since we live and breathe a multicultural and acceptive world.
VOGUE U
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Examined figures from online data publisher, The Pudding, who performed a study using algorithms for an analysis of Vogue archives, have been compared alongside statistical references collected by blogger Caroline Hirons, to reveal outcomes which emphasised a notorious lack of diversity in Vogue US covers. From years 2000-2005, a disappointingly shallow 3 out of 81 publications featured a black model. Not to mention, the beautiful models selected (Marion Jones, Halle Berry and Liya Kebede) all had a lighter skin complexion and two were of American descent. Furthermore, from April 2012 to June 2020, there was a total of 96 US volumes produced- in the 8 years of periodical issues, a shallow 24 of these front pages promoted black representation. This equates to a lousy 25%. If these figures were not startling enough, over half of these women were employed multiple times to grace the covers instead of a range of diverse models. Hiron’s records proved Rihanna adorned 5 front pages, Lupita Nyong’o appeared in 4 and Beyoncé and Serena Williams surfaced on 3- equalling to 15 of 24 covers. This is saddening to say the least. As the world’s most popularised fashion phenomenon, you would believe Vogue US would hold a platform open to every culture, every ethnicity, every being. Unfortunately, not. Yet even so, for the celebrities selected, is this not an offensive remark? To be denoted as the same token black figure employed to please audiences.
US
A documentary we have looked at titledCodes of Gender: Identity and Performance in Popular Culture, favours in recognising the repeated feature of the same POC within Vogue front-pages. The 2010 factual applies the late sociologist, Erving Goffman’s, pioneering analysis of advertising and explores his claim that “the way the body is displayed in advertising, communicates ‘normative’ ideas about masculinity and femininity” (unknown,2009). This relates to Vogues slight endeavours to incorporate black communities, yet their over-use of white models builds people to believe this is “normal”. It further highlights their efforts to bypass the controversy that has been hauled at them associated with racial representation too.
The Pudding statistically rationed the 5 darkest and lightest complexions in the preceding 19 years of Vogue US magazine. Is it of any surprise at this point that 3 of the 5 darkest skin tones was proclaimed to be of the same individual- a significant spy of tokenism here? Lupita Nyong’o is of no doubt fit to be queen of Vogue front covers, but when it can only be assumed she is being utilised to appropriate the role of “black”, it is very disturbing. Nyong’o herself has since voiced her concerns in a meeting with Vogue, admitting she did not want to be perceived as a cultural ‘prop’ and preferred herself, and her ancestral home, to be showcased for the beauty they are. And rightly so.
This is not the first time an individual has came forward broadcasting cultural depreciation. Under the workforce of Ms Wintour, employees have discussed her predilection for welcoming a particular niche market of staff. Numerous members expressed how they were compelled to feel inapposite, to an extent they felt reconditioning their dress sense and personal style to establish a white alter ego, would prevail the “thin, white and wealthy” fantasist Anna Wintour desired and make them feel wanted. This was reflected on the casted models too, where employees avowed, they would review a shoot, and affirm whether it was “Vogue” enough to fit the criteria of rich, skinny and white. Nonetheless, in the light of Black Lives Matter, a low and behold sudden apology by Ms Wintour arose, as prompted by outraged onlookers. Within this, she addressed the mountainous issues raised on Vogue US and its disreputable lack of diversity and shocking cultural insensitivity towards its staff and models. Wintour exclaimed “the publication has not found enough ways to elevate and give space to black editors/writers/photographers/designers and other creators” continuing by saying “we have made mistakes too, publishing images or stories that have been hurtful or intolerant. I take full responsibility for those mistakes.” This (predictably) influenced a rally of questions, remarks and disagreements by spectators who, majority, did not seem convinced or overly satisfied with her response. With masses of experience under her belt and decades of possessing a reputable name in the fashion industry, it is not quite plausible to insist Ms Wintour hasn’t yet found a platform to encompass black communities. Not in the audience’s opinion anyhow! Employees agreed with them and felt a similar impression in calling out the email to be “hypocritical” and “part of a calculated play to gauge the public mood”. The Editor-in-Chiefs motive behind the email will never be understood; whether it was to protect her brand and utilise it as a publicity stunt to maintain custom, or if it was, in fact, a call for forgiveness and a genuine attempt to unearth a better workforce and publication in the near future- but what the public do know is, there are amplified expectations on what they want to see/ expect now, Anna Wintour has made slight progressions (September 2020 issueFIG 5 Hope) following her announcement and they can only judge her apology by how she conveys diversity within the coming issues of Vogue.
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Under the reigns of former Editor-in-Chief, Alexandra Shulman, British Vogue accommodated a bustle of complaints surrounding diversity and inclusivity too. Within the 25 years of her authoritative role, Shulman selected a handful (quite literally) of POC to represent black culture for the worldwide magazine. Upon departing her position in 2017, she was interviewed intensely of her reasonings behind the incredible absence of black models and employees under her
discern such significant lack of inclusiveness at the period of Shulman’s role through ALL the staff members being of white complexion in the post. Alexandra Shulman responded to this by arguing Campbell was the most featured cover-girl after Kate Moss during her tenure. This was far from accurate. If you’re attempting to defend your actions Ms Shulman, at least make your figures statistically correct! It was confirmed that Gisele Bündchen appeared on a
BRITISH
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control. The Guardian newspaper provided a much-detailed article of her reactions, especially a question tackling black supermodel, Naomi Campbell’s statement, which shamed Vogue for diversity deficiency. This emerged after Campbell shared an Instagram post of an employee group photo at British Vogue and commented “looking forward to an inclusive and diverse staff now that @edward_enninful is the editor” (Campbell, 2017). Followers can remarkably
vast number of 11 British Vogue covers, followed by Natalia Vodianovo and Kate Moss displaying on 8. Naomi Campbell was promoted on 5 and was the only black feature alongside Jourdan Dunn. This could be viewed just as disappointing as Anna Wintour’s efforts, if there was any in the first place!
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It is not the first time Shulman has encountered observations of racial insensitivity either. A tally totalling 12 times over her 25-year reign of British Vogue, she has endeavoured to advocate her decisions behind the lack of black culture. Funnily enough, her excuse was very familiar to the public eye “I didn’t know any black people famous enough”- does Anna Wintour come to mind for anyone? Vogue readers could have certainly led her in the direction of MANY black influential figures! She extended this poor justification by quoting “Well, I guess I have to hold my hand up and say I don’t encourage positive discrimination in any area” which seems like a nonchalant approach to the remarks and quite discourteous as she continued by verbalising “black people don’t sell magazines”. Edward Enninful would undoubtedly dispute this as his takeover has seen some of the best-selling issues of Vogue’s timeframe!
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Stepping up as Editor-in-Chief of British Vogue in 2017, Enninful exquisitely shown that no magazine should have a paucity of diverse models and employees within their organisation, and sincerely proved the likes of Wintour and Shulman erroneous in their vindication’s. Beginning his title at a duration in the magazine industry which saw a 3% drop in circulation, Enninful had a great deal of complications to tackle. Notwithstanding this, he championed the matters of diversity and inclusivity almost instantly with his first publicised release of the December 2017 issue proving of great triumphant with British Vogue readership. As an openly gay male of Ghanaian origin, black culture is a meaningful topic for him, and this is reflected upon the choices he fabricated in the foremost beginning of his journey. Consumers gazed upon the breathtaking December release with pride as mixed-race feminist activist, Adwoah Aboah, modelled a stunning silk dress by eponymous fashion brand Marc Jacobs and matching turban by leading British milliner Stephen Jones. This was accompanied by an outrageously daring makeup look by the talented Pat McGrath too, a corresponding reminiscent to the Italian 1971 January issue featuring Donna Jordan.
FIG 11 Dissimilar to other publications which concealed their covers with promotional trends and beauty products, this issue simply had the beautiful portrait of Aboah abreast a list of “power players” in politics and the arts. This was a bold account from Enninful as it demonstrated to its reader his manifesto to not only “represent the world we live in, regardless of race, size, ethnicity, gender, sexuality and economic background” (Enninful,2021) but to, also, show he wasn’t afraid to make political statements in his work and in the models/ employees he selectively chooses. This was further evinced by his hiring of American fashion photographer, Stephen Meisel, who he collaborated alongside for the Italian “All Black” issue in 2008. This edition attributed a series of Vogue covers, each with black models of different skin tones, and over 100 pages solely comprised of black culture and celebration; hence giving audiences hope for his variations!
Edward Enninful has been recognised as the new “influential figure in the communities of Fashion, Hollywood and music” (Newhouse, 2017) and has acknowledged the necessity for a business to understand its staff and purchaser so they can adapt and accommodate for their needs. A case study from the Royal Academy of Fine Arts in Antwerp, Belgium, assisted in showing this. Originally an institution principally focused on art curriculums, the college was challenged to interpose a fashion course in the 1960’s. Being an art-based academy, the fashion course was obviously mentored by art tutors with differential backgrounds, concepts and meanings to fashion. What was the conclusion to this? A collective of students driven by greater innovativeness, who designed like artists. Some of the best designers worldwide graduated from this institution including Dries Van Noten, Haider Ackermann, Raf Simons and Martin Margiela. So, what does this mean for Enninful as Editor-in-Chief? It is evident that employees hired for their roles must have a branched approach of learning in all industries to address a diverse audience; in listening to his readerships wants/ needs from his organisation he will succeed to provide British Vogue with the championing diversity and inclusivity it needed as reinvigoration for over 105 years.
CONCLUSION
Looking at the argument between the two editions of Vogue, it is undeniably clear that the matters regarding diversity remain unrefined and something of which each country should continue to improve- US more so. Many of the figures mentioned are evidently shocking and emphasise a lack of integrity towards black communities and as new generations, with even greater requirements for diversity, approach promptly, it is compulsory for publications to reflect on their brand choices and how they ruminate on their organisation.
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We have conducted a short survey on Instagram, as a method of conferring with a vast volume of generations to understand their opinion respecting Vogue’s diversity issue and how it could be enhanced to cater for their needs/wants of the industry. We began by querying how many of our followers know of/ have read a Vogue edition before- a fundamental question to evidence to our audience just how influential and dominating the publication is to this day. A colossal 96% answered yes. We continued by asking “do you believe diversity is present enough within the magazines?” in which, paradoxically, received a 50/50 response! This, in our opinion, reflects uncertainty or perhaps a lack of acknowledgment as to what diversity could define as within the question. Maybe due to the differing editions perhaps? We, therefore, followed this by requesting which version of Vogue (between US and British) they assumed highlights better inclusion; interestingly revealing a paramount 82%. Nonetheless, we did believe it was appropriate to question whether our followers sought a more diverse magazine as opposed to Vogue, concluding to 82% agreeing, with some noting Vogue lacks an integral part of diversity in such sections like physical disabilities and would prefer these to be spotlighted greater within the covers- and we couldn’t agree more!
The world of journalism may take a knock within coming years, as technology is leading to the forefront of consumer mindsets; therefore, the world of media must grasp every opportunity to modify and enhance their workspace to strengthen the industry and continue its prosperous journey- considering their system in doing so. It is disheartening to witness individuals creating their own publications as a result of feeling inferior to the Vogue corporation and a “minor” to the fashion industry. We have looked upon the MaeJones magazine as an outcome of this, to survey how a POC believes a magazine should cater to an everyday audience and serve as a source of inspiration and discovery for such matters. Founded by Kristen Turner (of whom we have tried to contact and are still awaiting a reply), the bold, media publication “refocuses the narrative of luxury and presents it through a more diverse lens” thus, embodying areas of fashion, beauty, art and travel to establish a community alike Vogue but ‘black’- a communal environment, amplifying black voices and celebrating black societies, their culture, style and glamour. The edit was instituted as a way for them to speak to the world even if society had “muted their voices” which, despite, being immensely inspirational, should not have been concluded as a form of someone being heard. And, although, distinct efforts are being implemented to adjust to the diversity matter; it is needless to say that one edition can’t be taking monumental steps whilst the other is lethargic in its stride.
CLUSION
REFERENCES
Aitkenhead, D. (2017, November 10). Former Vogue editor Alexandra Shulman: 'I find the idea that there was a posh cabal offensive'. Retrieved from https://www.theguardian. com/media/2017/nov/10/former-vogue-editor-alexandra-shulman-find-idea-thatthere-was-a-posh-cabal-offensive B. (2017, April 10). British Vogue: Edward Enninful has been hired as the new editor. Retrieved from https://www.bbc.co.uk/news/entertainment-arts-39553525 Corner, N. (2018, April 01). Vogue UK magazine cover applauded for diverse cover. Retrieved from https://www.dailymail.co.uk/femail/article-5566719/Vogue-UKmagazine-cover-applauded-diverse-cover.html Deighton, K. (2018, May 16). British Vogue plots next phase of diversity drive as ethnicity focus courts bigger ad budgets. Retrieved from https://www.thedrum.com/ news/2018/05/16/british-vogue-plots-next-phase-diversity-drive-ethnicity-focuscourts-bigger-ad Ellis-Peterson, H. (2017, August 22). Naomi Campbell criticises lack of diversity at Vogue. Retrieved from https://www.theguardian.com/fashion/2017/aug/22/naomicampbell-criticises-lack-diversity-vogue Graham, C. (2021, November 02). How Anna Wintour has reinvented herself as a champion of diversity. Retrieved from https://www.dailymail.co.uk/femail/ article-10148395/How-Anna-Wintour-reinvented-champion-diversity.html Hargrove, C. (2019, December 09). Vogue Is Aiming To Champion Diversity In 2020. Retrieved from https://www.refinery29.com/en-gb/2019/12/8989080/vogue-valuesdiversity-2020 Hewitson, S. (2020, June 28). American Vogue's diversity problem: What can it do to improve? Retrieved from https://www.concrete-online.co.uk/american-voguesdiversity-problem-what-can-it-do-to-improve/ Ladhad, K. (2020, June 11). Anna Wintour issues an apology for race-related mistakes at Vogue. Retrieved from https://www.republicworld.com/lifestyle/fashion/vogueeditor-anna-wintour-apologizes-for-race-related-mistakes.html Lee, E. (2020, October 24). The White Issue: Has Anna Wintour's Diversity Push Come Too Late? Retrieved from https://www.nytimes.com/2020/10/24/business/media/anna-
wintour-vogue-race.html Nittle, N. (2017, November 12). Alexandra Shulman's 'Guardian' Interview Is a Case Study on White Privilege. Retrieved from https://www.racked. com/2017/11/12/16641058/alexandra-shulman-guardian-interview-british-vogueracism Ojo, O. (2020, August 14). Has A Lack Of Diversity Shackled The Growth Of British Vogue? Retrieved from https://www.thefashionarchivemag.com/home/blog-post-titletwo-lm5rs Turner, K. (n.d.). Fashion, Beauty Inspiration. Retrieved from https://www. maejonesmagazine.com/ Turner, K. (2020, June 19). I created Mae Jones, a magazine like Vogue, to represent Black style and glamour. Retrieved from https://www.latimes.com/lifestyle/story/202006-19/i-created-mae-jones-magazine-vogue-represent-black-style-glamour-los-angeles Young, S. (2017, April 10). British Vogue just announced their first ever black editor. Retrieved from https://www.independent.co.uk/life-style/fashion/britishvogue-edward-enninful-alexandra-shulman-first-male-editor-in-chief-conde-nastobe-a7676506.html
IMAGE REFERENCES FIG 1 UNKNOWN
FIG 2 https://maggiesemple.com/wp-content/uploads/2019/01/Vogue-Africa11024x788.jpg FIG 3 https://news.artnet.com/app/news-upload/2020/06/GettyImages-1218644435.jpg FIG 4 http://cdn.cnn.com/cnnnext/dam/assets/170209125725-march-vogue-cover2017-super-tease.jpg FIG 5 https://media.vogue.co.uk/photos/5dfc9d5cda7d6000083a6d19/master/pass/ Cover%20Lupita.jpg FIG 6https://media.vogue.co.uk/photos/5d5449e7c877eb0008097287/3:4/ w_1242,h_1656,c_limit/original FIG 7 https://3.bp.blogspot.com/-g2a61qdBKQc/Vd2y4O1UBsI/AAAAAAAABaI/ tzwMIcvQw1Y/s320/June_Gisele_Bundchen_by_Patrick_Demarchelier.jpg FIG 98http://www.designscene.net/wp-content/gallery/102012/natalia-vodianovavogue-uk-01.jpg FIG 9 https://media.vogue.co.uk/photos/5d5483e602199b000807b413/master/ w_1280,h_1920,c_limit/aug02_bt.jpg FIG 10 https://www.google.com/url?sa=i&url=https%3A%2F%2Fwww.theguardian.co m%2Ffashion%2F2017%2Faug%2F22%2Fnaomi-campbell-criticises-lack-diversity-vo gue&psig=AOvVaw37W0vUHlao5Eo3kmsZzND2&ust=1641482941307000&source= images&cd=vfe&ved=0CAgQjRxqFwoTCMizi8_2mvUCFQAAAAAdAAAAABAE FIG 11 https://media.vogue.co.uk/photos/5d5480e1120ed20008b8c4dc/master/pass/ Edward-Enninful.jpg FIG 12 https://cdn-www.thefashionspot.com/assets/uploads/2018/04/ukvogue-may18diversity-portrait.jpg FIG 13 https://i.guim.co.uk/img/media/ a232432bfd667a488e0a4741281e81d4415d9a10/0_0_2250_3000/master/2250.