Clique

F R E E

E D I T I O N

CLIQUE L I M I T E D

M A G A Z I N E

Could you make the cut? take a look inside ...

J U L Y

2 0 1 3

1

2

Fashion magazines have been very popular for hundreds of years and are very popular within the young female target audience.

Many read through the pages and take what is given and use it to influence their lives.

This publication will talk throught the different aspects of magazones and how it could influence the readers, without them necessariily realising.

It will also discuss certain techniques that are used most commonly and how the y also can adapt the view of the audience.

introduction.

3

contents

Rosalind Coward A british academic, jour nalist and writer. Who is known for her writing on feminist issues and in cultural semiotics.

4

Michael Foucault

Naomi Wolf

Was a French philosopher, social theorist and literar y critic. His philosophical theories addressed the nature of power and the manner it functions, controls knowledge and how it is used as a for m of social control.

An American author and for mer political consultant.

With the publication of the 1991 bestselling book The Beauty Myth she became a leading spokesperson of what was later described as the third wave of the feminist movement

8.

18.

26.

What they wore.

For love and Lemons.

Beauty.

14.

25.

30.

What does it mean?

Fantasy Women.

Take to the Stage.

16.

Clara Paget. Into the light.

contributors

5

“Freud casually added to his account of the development of all humans that women were, however, ‘more narcissistic’: nor does their need lie in the direction of loving, but of being loved.”

6

7

8

A c o m m on oc c ur re nc e w it hin fa shion ma ga z ine s i s t h e use of c e le br it ie s t o promot e ne w t re nds a n d e n cour a ge t he a udie nc e t o buy int o t he m.

T h i s i s a suc c e ssful t e c hnique be c a use t he c e l e b r i t ie s use d w ill a lre a dy ha v e a la r ge f o l l o wi ng w ho a re int e re st e d in w ha t t he y a re we a r i n g , w hic h me a ns t ha t t he group w ill la t c h o n t o t he t re nd a s a w a y of ge t t ing c lose r t o a n d re plic a t ing t he ir idol. This le a ds t o t he c l o t h i n g it e ms t o ha v e c onnot a t ions of suc c e ss a n d g l a mour t ha t t he t a r ge t a udie nc e w ill c r a v e a n d b e lie v e t ha t in purc ha sing t he it e ms w ill b e t h e only w a y t he y c a n put a c ross t he sa me p e rc e p t ion a nd be one st e p c lose r t o liv ing t he l u xu r y, c e le br it y life st y le t he y c r a v e .

I t c a n a lso be sa id t ha t hounding c e le br it ie s i n su c h a ma nne r w it h t he t hre a t of pa pa r a z z i l u r k i n g a round e v e r y c or ne r c ould c re a t e a p a n o pt ic e ffe c t on t he fa mous w ome n in q u e st i o n. I t c a n be sa id t ha t t his c ont inuous p h o t o g r a phing for e dit or ia l a nd online pur pose s i s t h re at e ning for t he c e le br it y, ‘v isibilit y is a t r a p ,’ B e ing c onst a nt ly in t he light me a ns y o u r a re a lw a y s de t e c t a ble a nd t he re fore y our

what they wore. e v e r y mov e me nt c a n be c r it ic ise d a nd judge d.

B e c a u se of t his c onst a nt sur v e illa nc e simila r t o t h a t of t he Pa nopt ic on’s inma t e s, it forc e s c e l e b r i t ie s t o a c t in a c e r t a in w a y t ha t fit s w it h so c i e t i es be lie f of how t he y should be be ha v ing.

T h e y will ne v e r know if t he y a re be ing w a t c he d o r n o t whic h le a ds t o a se lf fulfilling prophe c y.

‘U n v e r i fia ble : t he inma t e must ne v e r know wh e t h er he is be ing looke d a t a ny one mome nt ; b u t h e must be sure t ha t he ma y a lw a y s be so.’

T h i s si t ua t ion c re a t e s ‘doc ile bodie s’ a c t ing in a wa y t o ple a se t he inst it ut iona l e xpe r t s, w ho a re i n t h i s c a se jour na list s.

9

“Where women’s behaviour was previously controlled directly by state, family or church, control of women is now also effected through the scrutiny of women by visual ideals.”

10

11

12

13

what does it mean?

14

We liv e in a vis ua l l y d o mi n a t e d so c i e t y wh e re

mode l looking ba c k a t t he m. This a v e r t ing o f the

‘cu lt u re h a s b e c o me o b se s se d wi t h l o o k i n g

e y e s me a ns t ha t t he a udie nc e c a n look w it hout

an d re c ord in g im a g e s o f wh a t i s se e n .’ To da y

e mba r r a ssme nt or fe a r of be ing judge d. I t al s o

ev e r yw h ere you l o o k se x u a l l y c h a r g e d i m a ge s

ha s de e pe r c onnot a t ions, a s t he fe ma le s a ppear

are fla s h ed b a c k a t y o u , e sp e c i a l l y t h ro u g h

blind t he ma le looks ov e r t he m his body le ani ng

the glos s y p age s o f a f a sh i o n ma g a z i n e . T his

ov e r t he ir s. ‘I n t his soc ie t y, looking ha s be com e

is b e c a u s e e v e n wi t h t h e f e mi n i n e a u d i e n c e

a c r uc ia l a spe c t of se xua l re la t ions, not be caus e

of t h e s e p u b lic a t i o n s c u l t u re i s g e n d e re d a nd

of a ny na t ur a l impulse , but be c a use it is one of

m en d om in at e t h e e n t e r t a i n m e n t i n d u st r y, t his

t he w a y s in w hic h domina t ion a nd subordinati on

the refore en s u re s t h a t v i s u a l i m a g e r y i s a i m e d

a re e xpre sse d,’ t his posit ion a nd ga z e of t he

to w a rd s t h is . It c a n b e sa i d t h a t ‘e n t e r t a i n me nt

ma n is a n a c t of domina t ion ov e r t he fe ma le

as w e k n ow it is c r u c i a l l y p re d i c a t e d o n

for ms. ‘The re la t ions inv olv e d in looking e nmes h

a m a s cu lin e in v e s t i g a t i o n o f wo me n , a n d

w it h c oe rc iv e be lie fs a bout t he a ppropr ia t e

circu lat ion of wo m e n ’s i ma g e s f o r me n .’ T his

se xua l be ha v iour for me n a nd w ome n.’ The refore

ki n d of im ager y e ff e c t s h o w wo me n b e h a v e

ima ge r y like t his forc e s ge nde r s int o dominant

an d act b ecau s e ‘t h e re ’s a p re o c c u p a t i o n w it h

a nd submissiv e role s.

the vis u al im age - o f se l f a n d o t h e r s - a n d a con c om it a n t anx i e t y a b o u t h o w t h e se i m a ge s

So w it h t he he a v ily ge nde r bia se d me dia

m eas u re u p t o a so c i a l l y p re s c r i b e d i d e a l .’ This

influe nc e , a dv e r t ise me nt s like t his c ont inue

h a s ta k e n p lace f o r h u n d re d s o f y e a r s, so in t his

in a bunda nc e . I t ha s be e n a r gue d by me n

d a y an d a ge w o m e n n o w b e l i e v e i t i s h o w t he y

t ha t t he use of t his ima ge r y is be c a use of

sh ou ld a c t.

t he ir pre fe re nc e of t he be a ut iful fe ma le for m, a lt hough, ‘t he sa t ur a t ion of soc ie t y w it h images

“The saturation of society with images of women has nothing to do with men’s natural appreciation of objective beauty.”

of w ome n ha s not hing t o do w it h me n’s na t ural a ppre c ia t ion of obje c t iv e be a ut y, t he ir a e st heti c a ppre c ia t ion, a nd e v e r y t hing t o do w it h a nd obse ssiv e re c ording a nd use of w ome n’s im ages in w a y s w hic h ma ke me n c omfor t a ble .’ Me n pre fe r t his ima ge r y, a s it is a c onst a nt re minder of ma le domina nc e .

So t o c onc lude , on t he sur fa c e t his ma y se em a s gla morous w ome n a dv e r t ising t he de signer ga r me nt s t he y a re w e a r ing. B ut in fa c t , it is c e me nt ing t he c ult ure d be lie f in t he dominant a nd submissiv e role s of me n a nd w ome n. Maki ng w ome n fe e l a nxious t o c onfor m, br inging t he ma le fa nt a sy t o life be c a use t he w ome n fe el t he y ne e d t o a c t t his w a y t o be a c c e pt e d. Whi l s t me n ga in c onfide nc e , ‘c le a r ly t his c omfor t i s c onne c t e d w it h fe e ling se c ure or pow e r ful.

And w ome n a re bound t o t his pow e r pre c isel y

F or e x am p le if y o u t a k e t h e p re v i o u s

be c a use v isua l impre ssions ha v e be e n e le v ated

ad v e r t is em e n t, b o t h o f t h e f e ma l e mo d e l s ha v e

t o t he posit ion of holding t he ke y t o our psychi c

the ir e y e s c los e d , t h i s i s a c o mmo n t e c h n i que

w e ll- be ing, our soc ia l suc c e ss, a nd inde e d to

w it h in ad ve r t is ing a s i t a l l o ws t h e v i e we r t o look

w he t he r or not w e w ill be lov e d.’

at t h e im a ge w i t h o u t t h e a c c u s a t o r y g a z e of t he

15

Clara Paget.

into the light...

This style of interview in magazines is designed to make a connection with the audience. The subjects are usually stated as being up and coming models in the fashion industry and highlight their lives as they are breaking through into the elite. Their age and former life fit well with the audience, which means that they can automatically make a connection them. Throughout the information it goes on to discuss an exotic lifestyle that will be in demand with the readers and what they will aspire to have themselves. As well as this new life it also portrays the more ‘normal’ attributes, again linking her to the audience giving them the belief that this is something they could achieve too.

16

T h e d a u g h ter o f a writer mo ther a n d p a i n t e r fath e r, 24 -ye a r-o ld.

P a g e t i s a stap le o f th e s o cie t y c i rc u i t b a ck h o me , flittin g fro m t h e Can n e s F ilm F e s tival to c h a ri t y be n efits to fas h io n e d i t o ri a l s with o u t miss in g a b e a t . I n b etwe e n , sh e’s ma n aged to s n a g ro le s in films , a ll w h i l e ma i ntain in g h e r fas h io n c re d e n t i a l s .

i n London!

W ho ar e your favor ite m odels?

My fel l ow London gi rl s Suki Waterhouse, Car a D el evi gne, Georgi a Jagger and A l i ce D el l a l.

W hat’s the best piece of advice you’ve e ver been given?

N ot to take l i fe too seri ousl y…no one makes it out al i ve anyw ay!

You’ve been descr ibed as a London It-Gi rl

by B r itish Vogue. H ow do you feel about t hat title?

W h at ’s yo u r f i r s t fa s h io n m e m o r y – y o u

kn o w, t h e f i rst tim e wh e n y o u th o u g h t, “This lo o ks g o o d o n m e ” ?

I had a p ret t y c o o l fri l l y s w i ms u i t w i th fl o a ts stit ched ins id e i t w h e n I w a s a b a b y.

W h at t h ree t h i n g s d o y o u a lwa y s c a r r y with yo u w h en t rav e lin g ?

Peopl e al w ays w ant to pi geon w hol e you. I appreci ate any admi rati on, but I don’t really i denti fy w i th that ti tl e.

Finally, wher e do you see your self ten years fr om now?

A l i ve and happy i s a good pl ace to star t!

A p illow, an iP o d , a n d a b i g b a g o f s w e e t s.

W h at ’s yo u r b e a u ty r e g im e ?

Cleans e wit h B i o d e r ma : i t’s re a l l y g e n tl e . Then so m e ros ehip o i l o r s o m e C l a ri n s , e s p e c i al l y their b eaut y f la s h b a l m.

W h o are yo u r fa v o r ite d e s ig n e r s ? W h a t

sp eci f i cal l y d o y o u lik e a b o u t th e m /th e ir wo rk?

Ac ces s or ies wi s e , I l i k e D o mi n i c J o n e s : H e does t he b es t j e w e l r y a n d I l o v e C h a rl o tte Oly m p ia s hoes. I mo s tl y w e a r v i n ta g e o v e r new stuff f rom d es ign e rs – b u t e v e n b e tte r i f you can m ix t he t wo , l i k e o l d s c h o o l Gu c c i o r bi g M ed us a head Ve rs a c e p ri n ts fro m th e N i neti es.

I really d res s d e p e n d i n g o n m y mo o d a n d what ’s nice, no ma tte r w h a t th e l a b e l s a y s .

W h at t h i n g ab o u t y o u wo u ld m o s t o f y our fa n s b e su rp ri s e d to le a r n ?

M y f ir s t job inv o l v e d h a n d i n g o u t fl y e rs fo r an Ind ian t ak eawa y a n d a d ru m ‘ n ’ b a s s c l u b ni ght

17

for love & lemons 18

Va c a n t s tare, a c t in g o u t o f hab it r a t h e r t h a n c h o ice.

Ly in g o n t h e b ed s e d u c t iv e ly, p re s e nting h e r s e lf a s a s e x u a l o b ject.

19

“For looking is not a neutral activity.

Human beings don’t all look at things in the same way, innocently as it were.”

20

Po in t o f t h e f in g e r s co uld b e s e e n t o b e h ig h li g hting t h e m o d e ls b o o ts . But o t h e r s w o u ld b e d r awn to t h e s e x u a l p o s it io n o f the m o d e ls o p e n leg s .

21

“Women in the flesh, often feel embarrassed, irritated or downright angered by men’s persistent gaze.”

22

23

24

fantasy women.

Th is is a n oth e r e xa m p l e o f a f a s h i o n

t he ma le ge nde r. ‘Me n de fe nd t he ir sc r ut iny

ad v e r t is em e n t t h a t l i n k s t o t h e t h e o r i e s o f ‘t he

of w ome n in t e r ms of t he a e st he t ic a ppe a l

ga z e . ’ Th e m ode l h e re i s a l o t mo re a s se r t iv e ,

of w ome n. B ut t his so- c a lle d a e st he t ic

alth ou gh t h e u s e o f g l a sse s i s st i l l a t e c h nique

a ppre c ia t ion of w ome n is not hing le ss t ha n a

u s ed to b re a k t h e l i n e o f v i s i o n wi t h t h e

de c ide d pre fe re nc e for a ‘dist a nc e d’ v ie w of the

vi e w er. Th is ty p e o f i m a g e re p re se n t s a s i gn

fe ma le body,’ t he re fore ma king ‘re a l’ w ome n

of eager n e s s fro m t h e wo ma n , ‘t h o se f a n t asy

unobt a ina ble . The pre ssure of liv ing up t o t he

w om e n s ta re off t h e wa l l s wi t h a l o o k o f u r ge nt

ma le e xpe c t a t ion of ha v ing pow e r a nd be ing i n

av a ila b ility, ’ cre a t i n g a n e n d l e ss f a n t a s y f or me n.

c ont rol c a n c re a t e a nxie t y, ‘Pe r ha ps t his se x -at-

You m a y w on d e r wh y i ma g e s l i k e t h i s a re pr int e d

a - dist a nc e is t he only c omple t e se c ure re la ti on

in s id e w om e n ’s e d i t o r i a l p i e c e s wh e n t h e y ha v e

w hic h me n c a n ha v e w it h w ome n. Pe r ha ps o ther

b e e n clear ly cre a t e d f o r m e n ? A l t h o u g h i n fa c t

for ms of c ont a c t a re t o unse t t ling,’ t he re fore

the y are u s e d t o se n d a m e ssa g e t o t h e f e ma le

me n se t t le w it h t he re la t ionship w it h w ome n on

vi e w er of w h at i s e x p e c t e d o f t h e m, wh i c h giv e s

t he pa ge s of ma ga z ine s. B y be ing t he v ie w er

m en c on fid e n c e i n t h e i r d o mi n a n t ro l e . ‘Cl e a r ly

giv e s me n ult ima t e c ont rol, ‘Voy e ur ism is a way

this c om for t is c o n n e c t e d wi t h f e e l i n g s e c ure or

of t a king se xua l ple a sure by looking a t r a t her

p ow er fu l. An d w o m e n a re b o u n d t o t h i s p o w e r

t ha n be ing c lose t o a pa r t ic ula r obje c t of des i re,

p recis e ly b ecaus e v i s u a l i m p re ssi o n s h a v e be e n

like a Pe e ping Tom a nd Pe e ping Tom’s c a n

ele v a te d t o t h e p o si t i o n o f h o l d i n g t h e k e y t o

a lw a y s st a y in c ont rol.’

ou r p s yc h ic w e l l -b e i n g , o u r s o c i a l su c c e s s, a nd in d e e d t o w h e th e r o r n o t we wi l l b e l o v e d ,’ it

So ha s t his ide a of domina nc e c re a t e d a n

m ak es m e n feel c o n f i d e n t b u t i n c o n t r a st m a ke s

e nv ironme nt w he re bot h ge nde r s a re disc ontent?

w om e n an x iou s t o c o n f o r m. B r i n g i n g t h e f ant a sy

‘Tur ning ba c k t he she e t s on t he t w e nt ie t h-

to life b ecau s e wo me n f e e l t h e y n e e d t o a c t t his

c e nt ur y be d, se xology found a spe c t a c le of

w ay t o b e a c c e p t e d .

inc ompe t e nt fumbling a nd r a mpa nt disc ont ent w it h ‘doing it .’’ A pe r v e r t e d v oy e ur ism of sex has

I n con t r as t t o t h i s i d e a i t c a n a l s o b e a r g u ed

c onst r uc t e d a n unobt a ina ble ide a w he re ne i ther

tha t t h is h e igh te n e d b e l i e f o f d o m i n a n t a n d

c a n liv e up t o t he ir soc ia l e xpe c t a t ions a nd both

su b m is s iv e role s c o u l d b e a h i n d r a n c e t o

ge nde r s e nd up disa ppoint e d.

25

This c onst a nt sc r ut iny of w ome n ha s le d t o a boom in t he be a ut y indust r y, ‘As t he unc onsc ious ha lluc ina t ion grow s e v e r more influe nt ia l a nd pe r sua siv e be c a use of w ha t i s now c onsc ious ma r ke t ma nipula t ion; pow e r ful indust r ie s – t he $33- billion- a - y e a r die t indust r y, t he $20- billion c osme t ic s indust r y, t he $300- million c osme t ic sur ge r y indust r y a nd t he $7- billion por nogr a phy indust r y – have a r ise n from t he c a pit a l ma de out of unc onsci ous a nxie t ie s, a nd a re in t ur n a ble , t hrough t he ir influe nc e on ma ss c ult ure , t o use , st imula t e and re inforc e t he ha lluc ina t ion in a r ising e c onomi c spir a l,’ ( N, Wolfe ) . Fe ma le v a nit y c ould be sugge st e d for t he se big busine ss indust r ie s Fre ud sugge st e d t ha t w ome n a re ‘more na rc issist ic ’ w it h se lf- obse sse d qua lit ie s.

“These images do not give back a glow of self-love...

The faces that look back imply a criticism.”

How e v e r R , Cow a rd c ont r a dic t s t his w it h ‘Adv e r t ise me nt s, he a lt h a nd be a ut y a dv ic e , fa shion t ips a re e ffe c t iv e pre c ise ly be c a use some w he re , pe r ha ps e v e n subc onsc iously, an a nxie t y, r a t he r t ha n a ple a sur a ble ide nt ific a ti on, is a w a ke ne d. We t a ke a n int e re st , y e s. B ut thes e ima ge s do not giv e ba c k a glow of se lf- lov e . . .

The fa c e s t ha t look ba c k imply a c r it ic ism.’ (R, Cow a rd) . This implie s a pre ssure upon w omen t o be pe r fe c t , t he y a re not inna t e ly v e in but are

beauty.

26

pushe d int o be ing so. The se a dv e r t ise me nt s pl ay on c ont e mpor a r y a nxie t ie s suc h a s ha ir c olo ur a nd fla w le ss skin. The y sugge st t o w ome n that in orde r t o ha v e a ha ppy life t he y must st ic k to a be a ut y re gime a nd buy t he produc t s in order to ha v e a ha ppy life .

BE ON TREND:

violet youth

27

"So many small theatres, in which each actor is alone, perfectly individualised and constantly visible."

28

29

take to the stage.

30

A com m on s egm e n t t o a p p e a r wi t h i n f a sh i on m agazin e s rece n t l y i s wh e re t h e g e n e r a l p ublic ca n feat u re w it h i n t h e p a g e s. I t g i v e s t h e au d ie n c e a ta s t e o f h o w t h e o t h e r h a l f l i v e a nd fo r a s h or t p er io d o f t i m e t h e y b e c o m e t h e t re nd set te r s . It give s t h e a u d i e n c e f a i t h i n wh a t t he y are read in g, as i n b y f o l l o wi n g t h e g u i d e l i ne s w it h in t h e p u b li c a t i o n t h e y t o c a n m a k e a s t e p in t h is d irect ion o f f a m e a n d re c o g n i t i o n . I t giv e s the id ea th a t ind i v i d u a l s c a n b re a k o u t o f t he ir n or m a l live s a n d m a k e a n i m p a c t wi t h i n t h e fa s h ion in d u s tr y. T h e sh o t s a re u s u a l l y t a k e n w it h in t h e s tree t e n v i ro n me n t si mi l a r t o t h at of the celeb r ity p a p a r r a z i s h o t s , t h e o n l y d i ff e re nc e b e in g t h a t t h is t i me a ro u n d t h e su b j e c t i s w illin gly b ein g p h o t o g r a p h e d r a t h e r t h a n c a ught off gu ard .

31

32