JOURNALISM STYLE PORTFOLIO
CONTENT 1. LIVE REVIEW Live review, Yona, Helsinki Valkoinen Sali, December 2018
2. ARTIST PROFILE: LOTTA SIREN An interview/profile of an young painter, Lotta Siren.
3. CASE STUDY: CRITICALLY CONNECTED A case study of whether fashion influencers are the new critiques of fashion journalism
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January 2019
LIVE REVIEW: YONA Yona – Naiivi Tour Valkoinen Sali, Helsinki Target audience: Clash UK Online
YONA IS A WARM SUMMER BREEZE IN A COLD SPELL IN SPRING
A Finnish singer-song writer Yona fills Valkoinen Talo in chilly Helsinki with hopes and dreams through unconventional, yet beautiful sounds and experimental use of music genres.
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The uneasiness that penetrating wind from far North had created melted as soon as any living soul entered into famous Valkoinen Sali at the heart of Helsinki. Soft hazy lighting and silken flickering of candles created an intimate yet private ambiance while red wine danced on tongues with dusky oaken tastes.
Johanna Pitkanen, known as Yona, is the embodiment of a romantic quiescent Finnish countryside scenery. Few artists are able to take the audience into their childhood by the meadows and to the time of bare feet innocence full of hopes and dreams. However, expressive lyrics such “As the mid-summer roses waste their scent, so does the fire of our dance free us in the morning haze” and Yona’s dusky melancholic sound joined with a live clarinet band did nothing less than that.
Yona’s new album Naivi (Naïve) is a combination of poetic lyrical play and instrumental experimentation touching the distress of presence and the purity of youth. It is not the first time when Yona challenges the norms of composition, however the cutting-edge combination of Jazz and Rap is breath-taking. The live experience of the single ‘Aina ku Aira’ (link below) that has been a collaboration between Yona and a notorious rapper Pyhimys, left no one bitter or mundane. Yona proved that the rules in music exist as a guide how to break them.
Even though Yona’s lyrics are in Finnish, the comping sound scape syndicating base, strings and murmur could have had an impact on any listener. She does to Finnish jazz scene what Patti Smith did to Punk by transforming music into poetry in which the instruments act as a medium to deliver further psyche. Although these two extraordinary female figures operate in extreme ends of the music tier, both have a 4
haunting sense of unconventional beauty that encourages to individual interpretation of lyrics and melodies.
During the performance audience was allowed to get lost in Yona’s effortless stage presence and voice that floated throughout the venue. Yona’s fire red hair and scintillating green jumpsuit encaptivated the strong female character, yet her delicate lambent presence radiated vulnerability that every one of us hold inside.
An empowering yet emotional pop-ballade ‘Kesken’ (unfinished) as an encore felt like a warm hug from a friend spreading strength to return back to the challenges of a busy week. What was poignant was the silent yet united agreement of calmness among audience when the performance was over. After all, this was a space of naïve hope, childlike innocence and curiosity: a combination of something we all should carry with ourselves in our daily lives. Ends. Words: 432 LINKS: Pyhimys ft Yona – Aina ku Aira https://www.youtube.com/watch?v=uhrf6N40T8Y Instagram: Yona: https://www.instagram.com/yonalalala/ Website: Venue (Valkoinen Sali [white hallroom]): http://www.valkoinensali.com/
NOTES: Picture from: https://www.hameensanomat.fi/avainsana/johanna-pitkanen/ 5
April 2019
ARTIST PROFILE: LOTTA SIREN HKOSUN/ARTIST PROFILE: LOTTA SIREN Target publication: The Skinny
Lotta Siren did what most of us only dream of - quit her job and started to do what her heart really desired
Sensitive, honest, intelligent. These are the words Lotta Siren used to describe her personality. What is more, these characteristics can be found in her abstract, yet peaceful paintings she currently makes in her own kitchen. She is the embodiment of the modern paradox between society’s expectations and pure happiness. Half a year ago a young economics graduate Lotta Siren had a classical movie-like awakening moment. Even though she had a stable job, steady relationship and a wellplanned future ahead, she felt that something was not right. Nine to five job did not generate joy and the pressure and expectations of what she was supposed to achieve were constantly weighing on her shoulders. On her free time she dove into the radiant and endless world of YouTube: “I enjoyed watching videos of fluid art, because it was so relaxing and helped with the anxiety I was having”. Then one day, she walked to an art store and decided to give painting a change. And from the first stroke of paint she was hooked. 6
Lotta Siren’s relationship with social media is symbiotic. It has enabled her to expand her awareness among art fans without traditional gatekeepers of rather rigid art world. Now she has fans all over the world and in the future she hopes to open a global website so that everyone anywhere in the world can get hold on her charming yet exquisite pieces. She first started to paint in the evenings, but it soon became evident that painting was the sole thing she wanted to do. She moved back to beaming Helsinki, and Marie Conde’d her whole life: she erased everything from her life that did not generate joy, beginning with her job and relationship. “I left the office in the middle of a regular Tuesday, went home and painted until well past mid-night just feeling pure joy and happiness”. Now she paints full-time and the demand for her individualistic paintings has become so high that she can fully support herself just by doing the thing that generates her the most pleasure in life. Sometimes the best plan is not to have a plan at all and Lotta Siren’s paintings are the best case in point of this. The idiosyncratic use of shapes and surprising play of colours reflect her inspiration that arises from her dreams: “The shapes usually just appear on canvas when I start to paint…I hardly ever have anything planned other than a few colours”. She has an incredible ability to play with colours and techniques creating inventive yet serene results. Experimentation and the joy of playing with colours and techniques generates individualistic and unique pieces of art: “Every painting is different…I like experimenting and that is why I love abstract, there are no expectations how the results should be”.
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Lotta Siren operates from her own kitchen in Helsinki, Finland. Finland is notorious of its effervescent Northern lights, endless incandescent summer nights and vivid lake scenery. However, Finnish young artists are yet waiting their global discovery. As its nature, Lotta Siren’s paintings are not loud but effective in terms of beatitude. Although every piece has its little part of Lotta’s own style, the combination of abstract shapes and colours leave space for interpretation for any viewer. The next adventure for her awaits in Vietnam where she is going next summer. Being able to work in her own terms is the core motivator in her life at the moment, and even though she cannot pinpoint where she will be in few years, or even few months she can finally say that she is happy and excited of what the future holds: “Don’t do what people expect you to do, do more what makes you happy”. Ends. Words: 641 Notes & Appendix: 1. The transcription from face to face interview 10/04/2019: Lotta Siren What is your background? -I’m an only child from a very basic family background. I used to be always the best in school and excel in logical subjects like math and went to Business University. My family didn’t go to University, but I always felt it was somewhat expected of me since studying had been so easy for me.
How would you describe yourself in 3 words? -Sensitive, honest, intelligent.
What are the most important things in life for you? 8
-Family and friends. Having a husband and a child has always been the most important thing for me. I don’t have them yet, but I seem to be on the right track now. Everything else I value has changed completely during the past six months or so. I used to want a successful career in some large international company, a lot of money and nice things. Now the most important thing for me is the freedom from all of that. I love how I can do what I want, when I want. And nowadays material things just give me anxiety. I’m currently getting rid of half of my stuff and starting a one-year shopping strike.
Do you have a life motto you follow? -Don’t do what people expect you to do. Do more of what makes you happy.
What Finland means to you? -Home. Where my family is. I want to travel and spend winters abroad, but Finland is the place where I want to raise a family of my own one day – soon I hope.
What motivated you to start painting initially? -I have never felt like I wanted to be an artist. I have found myself many times looking at paintings and thinking I could do the same, so I never even bought art. It was six months ago when I wanted a change in life. I broke up with my ex because it didn’t feel right. I moved back to my hometown. Suddenly I had a lot of free time during the evenings. I enjoyed watching videos of fluid artwork, because it was so relaxing and helped with the anxiety I was having. I decided to buy paints and try it myself and ever since I have had a huge urge to paint almost every day. I have never been happier and so truly myself.
Where do you find inspiration for your art? -Videos and pictures on social media is what got me started and are still a huge inspiration for me. I find color inspiration from paintings, decorations, beautiful photographs and sometimes the inspiration just hits me from nowhere when I close my eyes and try to sleep. The shapes usually just appear on canvas when I start to paint. I hardly ever have anything planned other than a few colors.
How would you describe your style? Why do you think you like this style? 9
-I think my style is just abstract art. All my paintings are very different, and I don’t think I have a specific style yet. I like experimenting and learn new styles everyday while painting and that’s why I love abstract – there are no expectations on how the result should be.
Do you have a painting that has special meaning for you? -Only my first acrylic painting. For me it’s the symbol of totally changing my life from a wrong relationship, wrong home and wrong line of work to a life that I love more and more every day. I’m sure there will be other special paintings too along the years.
What was the motivation to take the leap and become fulltime painter? -At my office job I found myself very anxious everyday thinking about painting. I felt like it was a waste of time to sit there when I could be home painting. When I realized I had enough customers to support my living, I literally felt like I was going to explode if I don’t tell my boss I have to quit. So I left the office in the middle of one regular Tuesday and went home and painted until well past midnight just feeling pure joy and happiness. I was surprised that there has been no fear or anxiety. I know everything is going to turn out how it’s supposed to.
What is next on your plate? -A month long backpack holiday in Vietnam and first free summer without having to work all the time. Also, creating my own web store and having my first art exhibition!
May 2019 10
CASE STUDY: CRITICALLY CONNECTED Critically Connected: Are social media influencers the new cultural critics of fashion? By Hilda Kosunen
Fashion week. The busiest time of the fashion calendar gathers people from every tier of fashion into cultural capitals to share and find inspiration for the upcoming season. Traditionally, runways, the celebrations of the designers’ creative minds have been mystical gatherings meant only for the critical eyes of the fashion elite. Although the fashion industry has always relied on change (Brannon et al. 2015), its conventional, hierarchical structure has been acting as a critic and gatekeeper of new styles and trends (Steorn, 2019), since the father of couture, Charles Frederick Worth (1825-1895) introduced the pre-form of the fashion industry we know today (Miller, 2018). However, the rise of digitalization has challenged the traditional understanding of information and communication (Brennen & Kreiss, 2016) and led us to inhabit a rather chaotic public sphere in which the order and stability of the analogue era have become more or less salient (McNair, 2018). The debate, whether people overlooking from the ivory towers have lost their leadership position in terms of fashion (Casalo et al. 2018) has been unenviable, especially when recent studies show that fashionistas all around the world are currently more likely find their fashion information online (Cho & Workman, 2015) and trust the opinions of a new kind of “fashion leaders” recognised as fashion influencers (Casalo et al. 2018). Yet, it is still uncertain whether digital democratisation has actually strengthened or weakened the alleged democracy of communication (Stoycheff et al. 2018). Although the digital environment has enabled individuals outside of media organisations to establish a voice (McWhirter, 2016) when old structures falter, new ones arise (Karlsson, 2015) and in relation to Taylor and Gibson (2016), digital 11
democratization does not entail all the actors online. However, digital technologies have created the base for “a new circuit of cultural critic” for various kinds of opinion leaders (Kristensen & Form, 2015) and its influence cannot be ignored.
The theory of fashion hierarchy and the actors that influence the diffusion of trends has been widely studied (i.e. Rogers, 1962: diffusion of trends and Veljgaard, 2012). Traditionally, fashion journalists have held the reins as opinion leaders (Brannon et al. 2015) that can be defined as individuals, such as columnists, artists and commentators (Mourdoukautas & Siomkos, 2009: Zietek, 2017) that shape public opinion and provide guidance through objective knowledge (Vigar-Ellis et al. 2015). In relation to Mendelsohn (2012), only a few people have the rare ability to “mediate intelligently and stylishly between a work and its audience [and] to educate and edify in an engaging and, preferably entertaining way”, allowing them to act as legitimized critics (Kristensen & Form, 2015 p.853). However, social media has enabled anyone to share their opinions and influence other members online (Kristensen et al. 2018), which has increased the discussion whether the “age of critics” is over (i.e. The Guardian, 2011), because now any ordinary cultural consumer can exchange “subjective amateur reviews” via digital media and hence become a critic of their own (Kristensen & Form, 2015). Furthermore, in relation to Klein (2005), “when the object of criticism [fashion] is popular and accessible, every consumer feels qualified to be a critic”. Yet, according to Nouri (2018) social media influencers that are the most connected individuals online are perceived as an authentic information source and are actually presented as more reliable in terms of fashion trends than traditional sources such as print (Holmsted, 2017). As a result of the modern-day influencers ability to evaluate and legitimize the respectability of cultural objects and opinions [trends] (Kammen, 1999: Klein, 2005), they can be perceived as cultural critics that successively shape public’s beliefs (Nip, 2016). Although according to Kristensen & From (2015), cultural criticism is characterized by specific forms of authority and expertise that includes norms and practises of professional journalism that social media generally lacks, social media influencers are nowadays perceived as the most powerful force in the fashion industry (Silverman, 2001: Zietek, 2016).
What complicates the discussion is that fashion journalism and especially its position as a cultural critic, has been under scrutiny as a result of its evident bias in consumerism 12
(Nelson Best, 2017). Fashion journalism can be seen to be creating an illusion of the newest trends through the production of images and writing that creates unnecessary needs for consumers (Barthes, 1990: Titton, 2016). In fact, the leading fashion publication Vogue, that was established in 1892 in New York, was a collaboration between fashion retailers and fashion journalists constructing advertising as a programmatic direction for the magazine (Hill, 2007). However, fashion journalism is slowly gaining recognition among the traditional categories of journalism, that include subjects such as sports, science and investigative journalism (Miller & McNeil, 2018) and is becoming a legitimized form of cultural criticism (Choi & Lewis, 2018). Evidence of this traces back to 2006, when the Pulitzer Prize was given for the first time to a fashion critic, Robin Givham then working at Washington Post (Granata, 2017). Journalism in general is highly linked to social construction where it captures the current Zeitgeist in various forms of text helping to “define the contemporary, outline possible futures and shape our understanding and memories of the past” (Bodker & Sonnevend, 2017: Carlson & Lewis, 2018). The influence of fashion as a cultural presenter is significant throughout society (Choi & Lewis, 2018) and the presence of fashion reports in press, television and online, is unavoidable (Miller & McNeil, 2018). In lines with Steorn (2019), “each period of history has its own manner of apprehending fashion and clothing in history which is in turn, indicative of how that period lives and perceives its fashion culture”. For instance, when we refer to a style as “retro”, we use our knowledge of history and how fashion relates to that specific era (Barnard, 2007). Furthermore, fashion reflects the current trends not only in clothing but also in beliefs, values and even politics (Brannon et al. 2015). This is seen on runways when designers take political stances towards current issues (i.e. Vivienne Westwood in Spring/Summer 2019 against climate change, Brexit and Capitalism: Hall & Petter, 2019) and when the power of fashion reaches the red carpet, which acts as the platform for celebrities to express their values and beliefs (i.e. #MeToo movement in Oscars in 2018: Bloomberg, 2019). In addition, fashion is increasingly treated as a form of art, where designers are referred to “artists” and their designs as “art” (Geozy & Karaminas, 2019) that have individual exhibitions in major museums all around the world (Vanska & Clark, 2018). This suggests that fashion is essentially a form of journalism, relevant as any other high cultural category, such as art, literature and classical music (Klein, 2005) that can be culturally critiqued. Even though fashion critics are still looking for a complete acceptance among high culture criticism (Granata, 2017), it is safe to say that they share 13
elements of legitimized cultural critics that shape the public realm (Kristensen & From, 2015).
As discussed earlier, the definition and perceived authority of a critic has been challenged as a result of digital democratisation (Klein, 2005). Authority is embedded in the definition of critic, because it legitimizes their position as an opinion leader for the public (Wang, 2016). The academic literature is still scarce concerning the impact of fashion influencers (Nouri, 2018) although the gap on the establishment of critical authority has been applied to other forms of cultural criticism such as music, investigating the paradox between contemporary media culture and “high” culture criticism (i.e. Kristensen & Form, 2015 and Klein, 2005). Empirical investigation presents fashion as a high culture, in which trends act as contemporary cultures that are both critiqued by various actors. Kristensen and Form (2015) suggest that the definition of cultural critic is relatively heterogeneous and can actually be categorized by different kinds of authority and expertise.
Firstly, writers define critics that are connected to a traditional and institutionalized cultural capital as “the intellectual cultural critics” that historically have framed the cultural debate, reviewing opinions of the public. Yet, “intellectual criticism” is essentially referring to the elite (Saikat, 2017) that gains authority through academic or artistic credentials (Kristensen & Form, 2015). The impact of fashion influencers is relatively subjective and relies on social influence (Loureiro et al. 2017) instead of the discursive construction of authority, suggesting that they rarely hold authority in a form of institutionalized cultural capital, such as titles, certificates and awards. However, the impact of intellectual criticism can be seen to be marginalized (Kristensen & Form, 2015), especially in fashion as a result of the decreased power of the fashion elite (McCreesh, 2016).
Secondly, Kristensen and Form (2015) identify “the professional cultural journalists” whose authority as a critic is embedded in professional logic and education. Fashion influencers often gain their following and position as an influencer solely through connecting with individuals online (Nouri, 2018) and lack the formal training 14
characteristics of higher critics. According to Klein (2005), in order to establish cultural authority as a critic, lack of qualifications has to be overcome through a constant display of other assets such as “proficiency as a writer, breadth of knowledge, and balanced judgment regardless of personal preferences”. Social media has enabled fashion influencers to share their content instantly (Zhang et al. 2018), increasing their connectedness with their followers (Nouri, 2018) and their perceived trustworthiness as an information source. (Maqamman & Jin, 2018). In this sense, fashion influencers can increase their authority in the industry by producing consistent, relevant content on their social media platforms, reinforcing their position as an opinion leader. However, this perceived authority is not based on affiliation with the institutionalized media and media logic that defines a professional cultural journalist (Kristensen & Form, 2015), questioning whether fashion influencers can be perceived as professional cultural journalists altogether.
However, according to Kristensen and Form (2015), the authority of the critic can be additionally connected to “practical experience with cultural production and repeated media performances: she or he thus draws on both professional customs or skills and personal charisma”. The writers refer to this critical agent on public realm as “mediamade arbiter”, which is a combination of professionalism and media performances. The definition is further embedded in cultural production that refers to the actual production of arts that is based on skills, knowledge and expertise (Kristensen & Form, 2015). This presents a question whether fashion influencers are in fact closer to cultural producers instead of critics. The connotative scope of “cultural producer” includes writers, artists, filmmakers and researchers that produce cultural objects (McIntyre, 2008) that shape cultural values (Beswick et al. 2015). It could be argued whether fashion influencers essentially create values and further gratification as an “artist” for their audience rather than influence beliefs through authority and expertise. Their power arises from their creative input and how they interpret fashion items into their own styles. This paradox arises from the fact that fashion influencers are judged by their audience, who become the critics of an influencer, because s/he is also a self-brand itself (Khamis et al. 2015). In this sense, it could be argued that fashion influencers act essentially as mediators between cultural producers (in this case fashion designers) and critics (fashion journalists and audience) because they tend to create and symbolize the fashion trends that emerge – in other words they adapt a cultural object created by an 15
artist (fashion item) and interpret that through their own personal judgement. This unique mix of garments creates a new form of self-expressive art that is in line with McIntyre (2008), who argues that a cultural producer must acquire a specific set of knowledge that is relevant with the cultural practise [fashion] that subsequently influences on audiences’ values and perceptions of the object [trends]. Furthermore, judgement of fashion brands and trends includes processes of being a critic and opinion leader because in relation to Kammen (1999), “cultural expertise as a social force conveyed to people who function as authorities, has the capacity to bestow legitimacy or respectability upon a cultural custom or product [trend]” (Klein, 2005). Trends diffuse nowadays though fashion influencers that alleges that the fashion influencer can actually shape public opinion as an authorised cultural critic of fashion.
Lastly, indicated “every-day amateur experts” offer subjective opinions and represent the experience-based cultural taste of the public (Kristensen & Form, 2015). The Cambridge Dictionary defines amateur as “taking part in an activity for pleasure, not as a job” and in the digital age anyone can share their passions online via amateur reviews (Weeks et al. 2015). In relation to Benkler (2006), amateurs are essentially the fulfilment of digital democratisation and subsequently suggests the end of authority for traditional experts (Jenkins, 2006: Beaudoin & Pasquier, 2016). This is further supported by Krisentensen & Form (2015) indicating that the authority as a cultural critic of amateurs arises from their subjective opinions and experience-based cultural taste, rather than institutionalized expertise. In regards to fashion influencers, many of them have started their career for recreational pleasure (Nguyen, 2018) yet now they can work on social media fulltime and get paid through promotional activities and various collaborations with fashion brands (Abidin, 2016). Hamilton (2013), highlights the intersection between amateurs and professionals indicating that while amateurs can get paid for their efforts, professional also volunteer in terms of their services, blurring the boundary between the definitions. This indicates that fashion influencers that have engaged with their audience online (Nouri, 2018) and gained their authority through subjective opinions, instead of strict professional conducts, can act as a legitimized opinion leader in terms of fashion, therefore s/he can be perceived as a cultural critic. Nevertheless, whether fashion influencers hold the same authority as traditional experts, opinion leaders and critics is yet debated among professionals and the public. 16
Eliot T.S stated in 1920 that a great critic has an ability to instead of forcing opinions, elucidate the topic and allow the reader to generate personal judgements (p.23). This suggests that being a great critic is embedded in subjective experiences and personal verdicts of the public rather than through strict institutionalized expertise. Therefore, this indicates that an online fashion influencer that lacks professional expertise can gain as strong, if not even stronger, position as a cultural critic. However, like popular music critics, fashion influencers are bonded to their fans, meaning in order for their opinions, authority and judgements to be viewed with validity and credence, they need to receive feedback (Klein, 2005). After all, fashion influencers position as cultural critics arises from their connectedness with their audience that fundamentally defines their success and legitimizes them as opinion leaders. The impact of fashion influencers as opinion leaders is yet to be explored, however it seems that their presence and position in fashion journalism is inevitable. Ends. Words: 2443
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LINKS: Bloomberg (2019) “Fashion with a dash of politics at the Oscars” News & Analysis, Business of Fashion. Available at: https://www.businessoffashion.com/articles/newsanalysis/fashion-with-a-dash-of-politics-at-the-oscars Cambridge Dictionary (2018) “Amateur” Available at: https://dictionary.cambridge.org/dictionary/english/amateur Hall, H & Petter, O (2019) “London Fashion Week: Vivienne Westwood stages as activists including Rose McGowan perform speeches on the catwalk” Life, Independent. Available at: https://www.independent.co.uk/life-style/fashion/vivienne-westwood-londonfashion-week-activists-rose-mcgowan-aw19-catwalk-a8783716.html The Guardian (2011) “Is the age of critics over?” The observer. Available at: https://www.theguardian.com/culture/2011/jan/30/is-the-age-of-the-critic-over
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