Concept Development
Introduction Second Store has secured its niche within the market of womenswear and the female sneakergame, boasting to be “the UK’s first female-only” online footwear retailer (Secondsex.com, n.d), catering to the needs of women globally to make them feel ‘second to none’. I was drawn to Second Store as I saw opportunity to capitalise on the brand through the creation of an editorial style contract magazine. A key benefit of contract magazines being that they effectively help “blur the distinction between entertaining customers and selling to them” by establishing a more personal level of communication towards sales, whilst still offering similar content found in consumer magazines in terms of editorial and writing styles (Cook, 1998). Ultimately the aim of the magazine being to raise awareness of Second Store and drive sales using marketing tactics including word of mouth and buzz marketing which effectively, lures in consumers to advertise your brand by spreading the message to others (Nortarantonio and Quigley Jr., 2009). I chose to create a print publication for the brand as there is an already existing online journal and I saw the opportunity to create something more unique for the brand that could be sold alongside their products, this being in the form of a printed magazine that celebrates the feminist slant of Second Store. The over-saturation of information online is driving more and more consumers towards print as digital platforms continually fail to adequately recreate the tangible and tactile experiences of connecting with paper as something physical (Jabr, 2013). Therefore, I saw an achievable gap in the market to optimise by using research and my prior knowledge on the previous attempts from other competitors such as ASOS, whom I cross-reference and analyse in this concept development portfolio.
Aims and Objectives -To create a publication synonymous with Second Store’s brand -To create a publication that is both appropriate and engaging for current and potential customers of Second Store, as well as using the publication as a marketing tool to drive consumers to the online store and increase sales -To explore and define the existing feminist slant of the brand -To create a publication that is both realistic and suitable for its current market -To use this project as an opportunity to collaborate with other like-minded creative females in a celebration of womanhood and female emancipation
Refined proposal “For my final major project, I wish to collaborate with Rosie Lyness to create an in-house print publication for Second Store, the first female only online sneaker retailer. Second Store, the magazine, will be a contract magazine celebrating women’s fashion and the feminist slant of the company. It will be tailored to suit an all inclusive audience however, there will be a certain element of focus on Second Store’s current customer demographic consisting of young mothers and professionals in the age bracket of 25-35 years old. This magazine will be an extension of the content already covered in the stores online journal, as well as a platform to promote products sold on the online store. I hope to explore marketing tools, street style trends for women, develop high-quality and professional editorials, specifically focusing on women’s sneakers and the ranges stocked on Second Store. I will also be covering a wide range of topics that are important to the brands existing consumers, women and the LGBT+ community, such as sustainable fashion, self-care, street-style and equality. Working with Second Store will be a great experience to create an industry level publication and explore my editing, management and design skills.”
Whittaker (2009), Magazine Production
The Editorial Workflow Whittaker’s editorial workflow (2009), outlines the key processes behind magazine production from the start/planning to pre-press and print. Applying this model of theory to my own production meant that I was able to break down each process I encountered and follow the workflow to complete my publication to an appropriate, industry-level standard. The following portfolio will evidence how I approached each step of the work-flow model during the creation of Second Store, the magazine.
RESEARCH AND PLANNING
Audience: Initially, as stated in my proposal, the print edition of Second Store would target predominately millennials as they are said to be the largest generation regularly engaging with print media now, “Contrary to popular belief, Millennials read more than older generations do-and more than the last generation did at the same age” (Howe, 2017). After meeting with Rosie Lyness (Owner of Second Store), to discuss my content and layout ideas, I realised that I should be targeting a more inclusive audience. Lyness informed me that her average consumer was of a slightly older bracket of around 25-35 years old, the “yummy mummy” or “young professional”; women who still had a passion for fashion, culture and current affairs, but whose interests on each topic had shifted to a more mature perspective than that of the typically younger market. However due to the feminist slant of the brand, I understood it was also important for this publication to be all-inclusive of women of all ages. Therefore, I covered a range of articles that I felt would be engaging to younger and older generations. Considering this, my content genres did not change (fashion, culture, society and so on), but I did modify the content within these sub-sections in terms of tone and subject, to cover topics relevant to a wide target audience.
The Client and the Brief In preparation for the initial meeting with Rosie Lyness, I used Second Store’s Instagram account to gain a brief concept of the consumers that actively engage with the brand and, whom the brand engages back with. To the right are a few examples of the typical consumer profile. I was lucky to find that when Rosie and I met, we were very much ‘on the same page’. We spoke about the sort of content she would like to see in the magazine highlighting key themes such as feminism, culture, self-care or personal development and of course, fashion/street style. I was also given some direction on the brands that were relevant to Second Store such as Vans, Stussy, Carhartt, Veja, Saucony and brands of the H&M Group, to name a few. Lyness was very subjective and seemed to hold confidence in my abilities to combine these themes together in the publication.
Initial meeting with Rosie Lyness-
Brands-
Instagram: @Secondstore220
After meeting with Rosie Lyness, I discovered that a lot of Second Store’s consumers were like-minded individuals who share the same desires over brands such as Veja (which is stocked on Second Store), for their brand ethos. Veja is an ethically and ecologically focused brand with sustainability at the forefront of all business decisions; whether it be sourcing materials, production, packaging and distribution through to the energy used to power their headquarters (Drummond, 2015). As a brand, Veja attempts to offer consumers “a different vision which combines fair trade and ecology together” whilst being mindful of social, economical and environmental initiatives (Veja, n.d). Second store appreciates this level of consideration and encourages their consumers to engage with brands such as Veja, which is why it is one of their most desired shoe and often features on Second Store’s social media platforms. Despite the amazing considerations from brands such as Veja, the products are not cheap and therefore it is apparent that consumers who regularly shop from these brands tend to have higher disposable income, such as the customers of Second Store. From a brief customer profile using social media as a research tool, I found that these consumers were also regularly purchasing from higher-end high-street stores such as Zara, Cos and & Other Stories. All of these brands are synonymous in their brand ethos, Cos and & Other Stories are both owned under the H&M group umbrella and are brands that are “driven by great design(s), available to everyone in a sustainable way” (H&M Group, n.d.). Cos encourages consumers to make more conscious purchasing decisions to act more sustainable with their brand moto “Buy better. Keep forever” (Cos, n.d.). Their garments are underpinned with craftsmanship which connotes a level of luxury, therefore drawing in consumers. The products are crafted to live beyond the season, through timeless design, and have been highly praised by Vogue and The New York Times (Tyler, 2019). & Other Stories is a more creative and fun brand, still with a sustainable mind set (Stories, n.d.), “The brand’s designs are ageless and inclusive- previously [featuring] transgender women and women over seventy years old” (Carreon, 2018), this is attractive to customers of Second Store due to the feminist slant of the brand and consumer understanding of LGBT + struggles. Lastly, Zara is a brand that, despite starting as one of the world’s first fast fashion lines in 1975, greatly acknowledges the delivery of sustainable perspective and sets an example for fashion houses around the globe. In doing this, Zara offers four simple core values; beauty, clarity, functionality and sustainability (Roll, 2019). These core values are what Second Store’s consumers believe in, highlighted through their buying behaviour and habits. They value brands that consider sustainability and often invest in higher quality, affordable and timeless pieces that can last them a lifetime, therefore shopping more consciously. As many of these women are mothers or working women, they crave style and practicality, therefore this is directly reflected in their desirability of sneakers in their daily wardrobes and Second Store’s secured place in the market. It is no longer mandatory for women to wear high heels in order to seek respect and professionalism in their position, sneakers have had the approval from high-fashion and are now a great way for women to stay classy yet comfortable at work, without compromising their power (Wade, 2019). There is now a lot of information on how to professionally style trainers in the workplace, including Harpers Bazaar’s advice on “simple, minimalistic silhouettes that compliment tailoring” (Southan, 2019), signifying the rise in popularity of brands such as Veja who offer this.
Market research: competitors A core component of market research is identifying your competitors (Gur and Greckhamer, 2018). “Competition is considered a driving force of marketing” (Medlin and Ellegaard, 2015), as identification has an impact on everything from pricing of your product, design, brand positioning, communication and distribution (Bergen and Peteraf, 2002). It was important for me to analyse the existing market and understand current competitors in order to successfully deliver a product that consumers will actively engage with. “Ensuring there is an actual market for your intended business will include understanding your competitors stake in the market” (Shepard, 2014). A few existing print (and online) publications feature below, I classified these as key competitors of Second Store: the magazine, due to their aesthetic, content and brand ethos.
Consumer Magazines:
Gal-Dem is a thought-provoking female magazine that covers a whole host of content similar to that of Second Store’s; including interviews, opinion pieces, sisterhood issues alongside gorgeous photography (www.stackmagazines.com) Gal-Dem is an “online and print publication committed to sharing perspectives from women and non-binary people of colour” (https://galdem.com), they aim to address misrepresentation in the editorial and journalistic industry. This voice echo’s what Second Store’s brand ethos is all about as an all-inclusive, feminist brand.
Girls Like Us celebrates creativity, graphic design and culture. It is an independent magazine created in Europe and focuses on female activism through features and personal pieces. It feels genuine, down to earth and a bit rough round the edges. Girls Like Us mixes “politics with pleasure, mapping collaborative routes towards a nonpatriarchy” (www.girlslikeusmagazine.com). This magazine is probably the most similar to the plan for Second Store in terms of design, pattern and features.
Both of these magazines are types of consumer magazine, targeted and available to the general public and often with wide audiences (Tapia, 2018). These magazines are competitors of Second Store due to their feminist slants and article content covering similar topics of fashion, equality and self-care. These magazines are also independent publications part of the growing rebllion against technology, the fast pace of the digital age and the dying of the print industry (Thorpe, 2018). These are the cool new brands that are keeping the print idustry afloat by targetting the many consumers who still enjoy engaging with the physicality of paper and are willing to invest more in these products. This is a similar approach I plan to take but to remodel it as suitable for a contract magazine.
ASOS MAG ASOS is a prime competitor for Second Store as it follows a similar contact magazine model as I am adopting. ASOS ran its inhouse publication for twelve years, during which time it had a distribution of 453,287 and reined as the UK’s most read fashion title, ranking above the likes of Cosmopolitan and Grazia in 2017’s women’s magazine ABC list (Tobitt, 2019). Second Store is being born into a time where consumers are shifting back to print, frustrated at the over saturation of information online and with the understanding that a digital publication “may never recreate the tactile experience we derive from a printed one. It goes beyond areas of concentration, visual dynamics and the physicality of locating text” (Garcia, 2013). ASOS failed to maintain its publication in 2018 due to the consumer shift to digital platforms, turning its focus to social media in order to captivate and retain the younger audience (Tobitt, 2019). Where ASOS failed to stay afloat due to lost profit (Biondi,2019), Second Store will benefit by not only marketing the brand but also earning a profit from each subscription to keep the publication afloat. ASOS adopted this marketing tactic too late on, only beginning to charge and widely distribute its in-house magazine online in 2018, beforehand it had been distributed free on a quarterly basis only to existing customers (Biondi, 2018). In order to gain and entice consumers, Second Store will be giving away a free copy of its publication to current customers during its first quarter but from there on after there will be a charge of £1.50 per subscription to help cover the cost of print, production and distribution.
The similarities between ASOS and Second Store, The Magazine, falls down to range of like-minded content, house-style and editorials. There are even similarities in the adopted style of front-cover with ASOS putting focus into the star of each publication rather than an abundance of “inside information� and my choice to have predominant focus on the artwork on the front cover of Second Store.
Full page editorials, emphasis on the products
Similar placement of logo/masthead but more conventional than Second Store
Similar editorial style, optimising white space
product pages engaging customers with their products, remaining loyal to the purpose of contract magazine.
Solo image on front cover
Marketing Plan. A market plan or strategy serves as an organizational tool to understand all marketing thought, in this instance highlighting and outlining advertising and distribution themes (Zinkhan and Pereiram, 1993). The plan should “identify the most promising business opportunities for the company and outline how to penetrate, capture and maintain positions in identified markets” (Westwood, 2016, pp. 1), this includes any promotional activity or persuasive incentives used to reinforce consumer engagement. Second Store’s marketing plan includes the use of online social media platforms to create awareness and increase desirability of our product, “as most advertising is geared to direct towards the website” (Westwood, 2016, pp 94), the purpose of this magazine should successfully drive consumers towards the existing website and increase sales. During the first month of the launch, any customer who orders from Second Store will receive a free publication in the post with their purchase. This free edition will also be offered and distributed to any new customers who sign up to the website within that same month. The magazine will have a large presence on all of Second Store’s social media pages, especially Instagram where a competition prize give away will be hosted in order to celebrate the release of the new magazine. The magazine typically comes in A5 measurements in order to fit into the shoe-boxes of customer orders as well as for the convenience of reader, as many are on-the-go or mothers then I wanted the magazine to be easy to take along with them wherever they go. However, the competition winner will receive the first, personalised, copy alongside a free pair of trainers of their choice, this will create hype and desirability following the tactics of buzz marketing. (reference)
Social media presence I decided to create a mock-up Instagram post to demonstrate a marketing tactic outlined in my marketing plan. I did this in order to demonstrate how Second Store could communicate with its audience to entice and create hype for the new magazine. I also decided to include this as part of my development to signify the importance of social media as a marketing tool, especially for smaller businesses. Social media platforms are a really effective way of connecting with your consumers, to increase awareness and drive sales (MIG, 2018). This is a cost effective method that can increase customer engagement and satisfaction, it is a simple way to convey your brand message and to develop a relationship with customers in order to build brand loyalty (Nelson, 2018). Social media is also a really good way of carrying out market research. By being present on these platforms it can help you gain a better perspective of your industry, scope out potential competitors and collect information on consumer interests and opinions that would be unknown otherwise (Nelson, 2018), which in turn can help to develop a stronger product, publication for my customers to engage with. Second Store is already quite an active account, specifically on Instagram, therefore I think by using this platform to create buzz marketing for the magazine, as well as running some more promotional activities on social media, this could really drive sales for the website and increase customer engagement with the brand.
Social media post mock-up’s
Action plan: The purpose of an action plan is to clarify what resources are needed within a specific time frame to successfully reach a desired goal, it is essentially a stronger version of a to-do list which motivates the user to organise the actions required to complete a task (Janse, 2018). During conduction of the action plan, it is imperative to monitor any new changes or problems encountered and adapt in order to prevent unnecessary labour and avoid any time restrictions (Janse, 2018). Therefore, when forming my own plan, it took a several attempts to finalise. This included adjusting the time frame so that it was appropriate in order to complete the magazine, also taking into consideration any changes that needed to be made following COVID-19. In order to reach this finalised action plan, I had to reflectively process each step, the most simplistic approach to this reflective learning is Ramsey’s cycles of inquiry (Ramsey, 2006), see figure 1 below. This method of reflection allowed me to actively consider each new action and determine if they had made a difference, then going forth consider how each would ultimately reach the desired result with the tools I was providing (Ramsey, 2006). Consumer/ Contract mag research
1)
2)
Market Research
Contract Magazine Figure 1: Cycle of Inquiry, Ramsey, 2006 Here are some examples of how I actively use models of reflective thought processes. Starting with research and how that develops into decision making, then deciding on a brand and liasing with the owner when setting the brief before production can commence.
3)
Initial Proposal
Meeting With Rosie Lyness, Owner.
Second Store 4)
Action Plan
Refined Action Plan and timeline
This was my initial time-line, submitted alongside the first draft of my proposal. The main problem with this time-line was that it was lacking in organisational skills and presented poor time management. A lot of the work-flow process had not been accounted for in this action plan such as sub-editing, competitor research and appropriate time frames to set live briefs when commissioning other creative’s. I received feedback from my tutor regarding this action plan and from there I began reflecting on my decisions. From this experience I was able to critically evaluate my time-line in the present moment. Schon summarises this process as “reflection in action”, where we may reflect in the present to actively shape what we are doing and the direction we are headed in, reflecting on an action whilst we are doing it rather than stopping to look back (Heyler, 2015, pp. 22; Schon, 1987). This active level of reflection allowed me to continue with the production of my action plan in reference to my publication whilst learning from my real-world experience.
Final Action Plan This was my improved action plan which took into consideration the sub-editing process, pre-production research time and commissions. This version of my action plan also took into consideration changes to my time-line due to the Corona virus pandemic, highlighting that reflection is an on-going practice of adjusting and improving by using external knowledge gained from the experiences that we face (Heyler, 2015). Understandably reflective thinking and learning is a continuous process, if we adopt this ethos then we are constantly changing and adapting to fit our surroundings and circumstances (Heyler, 2015). In this instance even once reaching the pre-press section of my editorial work-flow, I had made minor changes in my active time-line/action plan, such as drafting in an additional commission at the same time as my artist and tweaking some of my articles to better suit the resources I had access to given the state of lock-down that the UK entered following the announcement of the global pandemic. Dewey (1933), suggested that this level of reflection results from an individual’s position of difficulty due to a problem that occurs, this generates the thought process behind solution searching (Shavat and Moshe, 2019). I overcame problems that I encountered through my action plan through “self-evaluation, clarifying events, forming conclusions, and adopting changes to meet [the] specific criteria� (Zimmerman, 2000).
Commissions In terms of professional practice, commissioning someone successfully, as I have done with local artist Erin Wardingham, has highlighted important leadership skills. By effectively communicating my ideas, delegating responsibility, defining expectations and putting my trust into another individual, whilst gaining the results desired, shows cooperation and management skills that are favourable to employers (Doyle, 2019). “Leadership; in its essence, is the capability to explicitly articulate a roadmap and to motivate others to focus their efforts on achieving the desired goals” (Khoshhal et al, 2016, n.p; Matthews 2016), I have shown clear direction and a clear vision for the publication which has allowed Wardingham to successfully follow my goals and objectives, this level of cooperation is essential for the organisation and running of a business (Hao and Yazdanifard, 2015). I chose Wardingham because she has many years of graphic design experience, creating fun and colourful patterns for fashion use and quirky stationary, her designs matched the aesthetic that I had envisioned for Second Store’s magazine. It was a great opportunity for us both because as a fellow student, when I approached her looking to collaborate it was a chance for her to build her own portfolio too. Commissioning another writer, Eleanor Jenking’s, also allowed me to set a live brief. However, this particular commission meant that I was also sub-editing a written body of work to fit with the house style of this publication, therefore assuming the position of chief-editor and publisher, as a higher authority with a “clear understanding of the ‘mission’ of the magazine, its purpose and aims” (Whittaker, 2016, pp. 34). In doing so, I was conforming to the typical roles within magazine production as outlined by Whittaker. This experience portrays my industry-level skills and ability. Jenking’s is a graduated sociology student and creator of online blog, The Luminary Studio’s. As a new writer, this was another great opportunity for us both to collaborate and help each-other in our work. In an unforeseen way, these commissions have felt like an ode to the feminist slant and ethos of Second Store by women supporting women.
Flat plan: “A flat plan is a map of the magazine, detailing where everything will go, its preparation is an extremely important part of the editorial process” (Whittaker, 2009, pp. 74). The flat plan is an integral part of organising content, editorials and advertising before production commences, doing so strengthens efficient work-flow, communication and helps to avoid unwanted errors before publication (Barrington, 2016). My flat plan, as seen below, maps out my front and back page including everything that will go in between from contents page, editorials, articles and advertorials. This map enabled me to determine a specific content flow, so that all articles fit into appropriate sections of the publication. These sections consisted of “Woman”, “Work”, “Style” and “Mind”.
Writing: The content
To make an all-round engaging and interesting publication it is important that there is a vast range of content including, editorials, features, news stories and fashion pieces. The best feature articles are compelling for their audience when telling a story whilst also remaining appropriate for the publication (Pape and Featherstone, 2006). Taking this into consideration, the content must engage Second Store’s target audience and also conform to the brand’s ideology. To do this I studied the online journal and conversed with Rosie Lyness, discussing the range of content that she would like to provide her customers with. However, this is my project therefore although I am working to a loose brief, I must also gather a lot of information myself to make informed decisions on how the magazine should look, feel and read in order to appeal to the target audience. To gain a wider perspective of what our customers and potential consumers are interested in, I carried out some research via social media by connecting with brands and accounts that actively engage with Second Store online. In doing this I could gather information on the likes and interests of these consumers and tailor my content, aesthetic and fashion to make it appropriate for my publication.
Writing: Profile piece:
To write a successful profile piece, the article must have “distinct meaning, a compelling theme that provides value-added effect and cover a story that provides insight into character, their motivations or personal endeavors” (Benson and Whitaker, 2014). As Simone de Beauvoir’s Second Sex, (1949), was the inspiration behind Second Store, I felt it only appropariate to dedicate a profile piece to her and give current customers and potential new consumers insight into the foundations of the brand’s ethos. In doing so I successfully delivered a compelling article that had distinct meaning and purpose. It also successfully provided insight into the character of Beauvoir and her personal endeavors to captivate the audience. This article was also purposed to ease the reader into this publication, almost as an introduction for what is to come, exploring tone and direction in a “snapshot profile” (Miller and Summer, 2011).
Writing: Feature Articles
A good feature article captivates the audience in a way that differs from hard news, magazines have a lot more freedom and often these articles are closely related to the niche topics of interests of their specialised audiences (Summer and Miller, 2011), therefore effective at inspiring and engaging their readers. I included feature articles that covered topics of self-care, sustainability, personal development and equality as these were key themes highlighted in my content meetings with Rosie Lyness when the brief was set. These are the themes that Second Store’s current customer demographic are most likely to find captivating and interesting. Feature writing is the exploration of storytelling, “narrative is key: it allows feature writers to use any tool available to them to tell their stories� (Graham and Ricketson, 2019; Topping, 2014).
Writing: Product Piece
Creating a product piece for Second Store was a really important tool to showcase some of the best sneaker silhouettes that are sold online. This page was ultimately produced and purposed to drive sales, these pages embody the importance and essence of contract magazines, “to build awareness and loyalty of a brand, products or services among consumers� (Sharpe, 2006). This article presents information and products to the consumer audience in a non-pushy or drab way as many in-house magazines often do, with product features that are simply vehicles for extended methods of advertising and marketing (McKay, 2013). I wanted to steer away from this aspect of contract publishing by merging aspects of consumer magazine styled editorials that work to entice the reader and subconsciously encourage consumer purchasing powers.
Writing: Interview
The decision to conduct my own interviews for this magazine was inevitable. From research I conducted, it became apparent that the best content came from people and almost all variations of new stories, no matter how they are conducted depend on some from on interview (Lee-Potter, 2017). I wanted to include an interview that linked to levels of personal development and business as Lyness had highlighted these topics as key themes necessary in the publication. It is understood that face-to face interviews are the best method of establishing rapport with the interviewee and making them feel at ease (Pape and Featherstone, 2006). Unfortunately due to COVID-19 affecting the ability to conduct a face-to-face meeting in person, I had to carry out some aspects of this interview either over the phone or via email. If I could improve anything, I would have conducted this interview earlier to avoid the disruption of the pandemics lock-down as I feel conversation flows much easier face-to-face and it would have given me the chance to build a stronger relationship before the interview commenced. Despite this, I was pleased with the outcome of the article and the style of interviewing skills that I evidenced throughout.
Writing: Advertorials I knew it was important to include both adverts and advertorials in my publication as magazine business models must take these into account as essential methods of gaining revenue (Whittaker, 2008). The profit from sales alone often does cover the cost price of production, print and distribution. Therefore, advertisements presented as editorials drive revenue in magazines due to the increased level of reception in consumers towards adverts in this environment (McKay, 2013; Consterdine, 1997). This is often down to the presentation of advertorials in magazines, “at a time when digital technology has re-imagined the scope and scale with which an artist can create a vision and reach an audience “ (Lockwood, 2011), meaning magazine adverts are far more likely to be perceived as artwork and therefore more enjoyed in this format.
DESIGN
House style “The house style determines such things as spellings, punctuation and use of numerals” (Whittaker, 2009, pp. 180), meaning that it controls how every page must flow accordingly, including font, body copy and stand firsts. The house style specifically refers to the editing conventions agreed upon by the writers and editors to achieve stylist consistency (Nordquist, 2020). This usually takes a whole team of employee’s who will agree upon a guide before production and will regularly check back on this guide throughout sub-editing, however, as I was working solo on this publication I had to determine my own house style. To do this I broadly used previous experience from prior publications I had worked on such as Spoiled Nation. I also referred to the popular guide set out by the guardian (The Guardian, 2015). The house style can be followed throughout with more ease by using a template that can be created before production, the template ensures that all text, columns or media will be uniform throughout (Whittaker, 2009).
Colour palettes From a design perspective, colour is “the most immediate form of non-verbal communication” (Ambrose and Harris, 2005) and can be used to attract the attention of consumers, or portray a message to elicit an emotional response. Colours can be defined by their hue, saturation and value, which when adjusted determines these emotional responses. Ambrose and Harris (2005) outline the connotations of specific colours and, in response to Second Store it is suggested that light pinks and lilacs are both feminine, refined and elegant; dusty pink offers sentimental value, and vivid pinks, like those prominent on the publications front cover, simultaneously grab attention and suggest passion. Second Store’s existing branding consists of soft pinks and I decided I wanted to continue this theme in the magazine to strengthen the brand image. However, to keep the publication modern and creative, we incorporated bold, block pastel patterns or more vivid pinks alongside the dominant pale pink of the logo. Second Store is a brand and publication with a feminist slant, so why is the use of pink so prominent, after years of stereotyping its connection with femininity as a weakness? During forth-wave feminism, women and men have reclaimed the colour pink, despite its negative connotations, bravely embracing both its positive and negative historical connotations (Lawley, 2018). Pink is a colour that is rarely prominent in nature and can be used as a significant metaphor for the “patriarchal hierarchies that suppress women every day, [offering] spectacular contradiction” (Bucknell, 2017). The use of pink from a feminist perspective, is a backlash at society that teaches women that they can be anything; but if only they strip themselves of all femininity and adopt masculine traits to portray strength and
power (Theriault, 2018); “Gender equality doesn’t mean everything needs to be androgynous, it is not about teaching girls to be more like boys, [that is the] patriarchal privileging [of] masculinity over femininity” (Theriault, 2018, n.p). Pink can be used to communicate “independence, financial and professional power without conforming to masculine norms” (Koller, 2008, pp 416), it positively represents femininity as a powerful tool for self-confidence and therefore should be celebrated as it is by Second Store. Most feminist literature is now re-branded using pink for all of the reasons stated, including Simone De Beauvoir’s Second Sex, (1949), which is the inspiration behind Second Store, and which now boasts a modern pink makeover that redefines it within its feminist setting (Lawley, 2018). Considering this, it only made sense to aid the cause in redefining feminist literature by conforming to this powerful pink palette.
FBEAE4
D2EAF4
D28FAE
F4CDCB
https://second-store.com
E98B14
D22139
Front cover I set Wardingham the brief, sharing with her my Pinterest mood-boards and colour swatches that I wanted to include. A common theme was the pink, to link to the existing branding of Second Store. I also wanted to give the publication flair, I was really drawn to bold, abstract patterns and I thought these would work really well in the publication, it allowed the print to remain feminine but the boldness and bright colours also felt like a nod to the feminist approach of the brand by not conforming to strict geometrics or templates.
https://pin.it/MjiQuQY
Wardingham got back to me with her own inspiration board, as featured below, and from there we communicated with each-other every step of the way. I was able to change colours and patterns to fit the brand and aesthetic, keeping lots of shades of pink and pastels to tie together the logo and the brand’s online presence.
With artistic help, I came to the decision to use the front cover of the magazine in an unconventional way, putting less emphasis on the brand and more emphasis on the creativity and artwork. This allows the front cover to remain ambiguous and intriguing by using vibrant and youthful colours, which can be presented in a dynamic way to attract the attention of the consumer (Ambrose and Harris, 2008). In doing this the magazine doubles up as an amazing piece of art, with the intention to channel creative inspiration for its audience. Forward thinking, I would like to commission a new artist each publication to design a new front cover, this inspires and connotes a level of uniqueness which could increase desirability for the product. According to social theorists, people desire uniqueness, and one way in which consumers can satisfy these needs is by “acquiring and possessing unique consumer products” (Lynn and Harris, 1997, pp. 5; Brock, 1968). These unique products are also likely to connote a level of status aspiration and therefore desirability over niche and unique products is higher (Lynn and Harris, 1997). Conventionally the masthead is usually positioned wide across the top of the page (Whittaker, 2006). Its job is to be instantly recognizable in a sea of other magazines, essentially the masthead is the anchor of the cover and projects the brand or logo to the audience (Hubbard, 2017). I conformed to this area when positioning mine, however because I wanted the artwork to be the main body I placed the logo in the top right-hand corner. Usually the masthead is placed here from a sales perspective, because it allows the brand to remain visible when stacked in a magazine rack in a store for example. By keeping my masthead at the top of the page, the logo and branding is still visible if stacked and therefore easily identifiable, however as the magazine is not being purposed for store sales I did not feel the need for it to conform to typical masthead placement. By creating an “effective visual hierarchy” (Hubbard, 2017, n.p) the publication still stands out and does not deter away from the artwork, again reinforcing its ability to be appreciated as a decorative piece and in true Second Store style; celebrating the work of a local female artist.
A
B
D
C
E
F
I was really pleased with the outcome of the front cover variations I received, these were a few in which the colours and patterns were adjusted until the desired result was achieved. For instance, in cover E the colours were great however it was missing that definition of the black edges which made the other designs stand out so much. The pink backgrounds were synonymous with the Second Store branding and therefore I narrowed it down between A and B. Finally, I decided upon design A, as the pale pink in the logo stood out more against the darker pink setting which I thought was important from a marketing and branding perspective. These were the correct colour combinations that I felt made the cover pop and successfully conveyed the “mood, aesthetic and overall ‘feel’ of the magazine” (Hubbard, 2017).
Other potential pattern Swatches
Final Design Upon reflection, I later decided that this design was more appropriate for the brand. Despite the previous design being attractive from a consumers perspective, this design was more fitting with the brand. The design follows the same colour scheme as the other potential patterns, with the colour pink prominent throughout and synonymous with Second Store. Yet I felt that the use of the repeated trainer pattern was a more appropriate use of art-work that specifically linked to the service that Second Store offers as an online female trainer retailer, meaning this design was more suitable for a contract magazine by reminding consumers of its purpose. This moment of reflection ultimately lead me to making a more justified and intelligent design decision during production (Heyler, 2015, which I think successfully resulted in a better outcome for my publication.
Layout “Layout is the management of form and space in which the design components of work are arranged” (Ambrose and Harris, 2008, pp 23). I started brainstorming potential layout idea’s by creating mood boards on Pinterest that I found enticing as a consumer myself. To expand on this research I looked at the layout of my key competitors, specifically focusing on ASOS as another contract, in-house magazine. I purchased Magazines from new-stands in my local area and began to annotate their layout styles, drawing inspiration from magazines such as Grazia and Elle, taking notice of house-style, image placements and page layouts. The goal for the layout of a magazine is to capture the reader’s attention from the get go, even before making a purchasing decision. The content and design of a magazine is important, but the way in which it is assembled and presented to the audience acts as a tool to “add value and meaning, to illuminate, to simplify, to clarify, to modify, to dramatize, to persuade, and perhaps even to amuse,” (Garron, 2011, p.1; Samara, 2007). Layout can also aid in the readability of the publication for the audience, deciding on where to break up text, where to embed images and where to utilise the white space, which actually gives readers a better chance of digesting the information being presented to them in the same way that shapes and boxes can help break up a text and separate certain elements on the page (Garron, 2017).
https://pin.it/tIEBD95
GRAZIA
ELLE ASOS
ELLE
ASOS
Font
Krungthep
Helvetica
Futura
Didot
The selection of a particular print type style leaves a lasting impression on the reader because it influences the readability and message of a publication and also helps with the selling power of advertising (Tantillo et al, 1995). The two type faces for all fonts are Serif and San-Serif, Serif being the most traditional form of typography in magazines, newspapers and books as it is the oldest form of type. However as Ambrose and Harris (2011) discuss, San-serif fonts connote levels of modernity that can be attractive to consumers of the digital age, used to reading from screens where San-serif fonts prevail. As I wanted my publication to be tailored to be all-inclusive for women of all ages, I wanted to make sure I had a font that was both modern and readable. The first font I trialed was Krungthep, this font looked cool and edgy, fitting with the street-style fashion of the magazine but it was difficult to read in the body copy where the font was smaller. Didot is the font used in classic publications like Vogue so I tried it just as a comparison between serif and San-serif. I liked this but felt it did not match the overall aesthetic of my branding. Futura was decided on over Helvetica as it was the font that best suited the branding and tied in the best with the logo’s font for Second Store.
Imagery High definition imagery is important in any printed publication and it can be hard to maintain quality when working digitally. High quality RAW images are preferred in production because they “contain all the information present when the photo was taken” (Ambrose and Harris, 2008, page 33), meaning they are least likely to distort or pixilate unlike JPEGS. Images that are saved and imported as JPEG’s compress the original raw document which can mean they distort easier when scaled up, this can be difficult to manage hence why raw imagery is mostly used. Due to the recent pandemic I was unable to take a lot of my own imagery, therefore I had to mostly rely on high quality stock images online from websites such as Unsplash. Although this wasn’t my original intentions and in some instances it meant I had to adapt my ideas, there were ways in which I could ensure the imagery could still fit in with my aesthetic and they were still compatible to be scaled up without pixelating in production. When working with online images, they have all been adapted to RGB format which is web-suitable, however, for printing purposes images need to be printed in a CMYK format, as this is the best correspondent of the dyes in the printer (Ambrose and Harris, 2008). RGB images also run the risk of dulling when re-formatted to CMYK, to avoid this I adjusted all of my images on Photoshop to adapt the saturation and contrast, this allowed the images to appear more vibrant and luminous. In following with printing requirements as highlighted by Ambrose and Harris (2008), in order to gain the highest resolution with images for print they must be formatted to between 100-300dpi during production and all image sizes should be 300 pixels/ inches in resolution to avoid said pixelation. It is also important for all full-scale images to have a bleed around the border of the page. This ensures that all full-page images actually fill this perimeter when printed and do not leave any white gaps around the edge of the paper which will cheapen the finish, and because my publication will be printed in A5 the dimensions of the bleed should be 154mm x 216mm to ensure that I am optimising my pages (Digital Printing, 2013).
Example:
Pre-press & Print Paper/print requirements I want my magazine not only to be sustainable and environmentally friendly, due to the buying habits of Second Store’s consumer, but I also want it to feel luxurious. With unlimited budget, Second Store Magazine would be printed on thick 250-270gram recycled Woodstock paper, as “consumers now find this form of print more desirable as opposed to the consumerism, glossy and mass-produced print from the likes of Vogue or Grazia” (Andrew Cottam, 2020, spokesman of Leeds printing company Pression). For the insert, the paper grammage would need to be reduced to around 140, to ensure ease of reading, to remain lightweight for user convenience and to keep the cost of distribution through postage and packaging low. As highlighted by guest speaker, Cottam (2020), Woodstock paper can be expensive to import as usually this comes from abroad, therefore that specific type of paper would probably be problematic to use for a small, independent, start-up business like Second Store so any FSC approved paper would be appropriate to provide my audience with knowledge and appreciation of where the paper pulp was ethically sourced from. Traditionally small magazines or publications would be bound using saddle stitch as “it is a highly economical technique for booklets with short-term use” (Philipson, 2017). However as my magazine will be printed with the aim of providing consumers with a publication that they can keep and present as artwork in their chosen environment, I would opt for a singer sewed stitched binding for the magazine. I think this form of binding connotes a level craftsmanship and hard work which is admirable, especially for a magazine that is targeted towards the interests of strong females and independent hard-working women. The benefit of this finish is that the publication will also lie flat and will be more hard wearing than some other classic forms of magazine/ book binding such as ‘perfect binding’ , a cheaper version of hard back binding that uses strong adhesive (Philipson, 2017). I really enjoy the aesthetic and creativity of silk and translucent insert printing, one printed piece that does this really well is the Albert Schloss Kultur menu, their insert acts as a contents page for the menu and this is a concept I would really love to bring to the magazine. The inserts don’t cost much more to print and this would be a great avenue to explore as a method of heightening the immersive and tactile experience that I wish to offer my readers, by enagaging more of the consumers senses through textures and finsihes (Fernandes, 2017).
Comment From The Client“Firstly I am so honoured that you have chosen to do your project on Second Store! I am so impressed at
how it has all come together. The artworks and styling are fantastic, you’ve totally nailed the taste levels of Second’s demographic. The themes you have chosen to write about are spot on, totally in tune with the themes and sentiments that underpin Second Store and why I do what I do! I would happily publish Second Store Magazine and pass on your empowering message. You’ve done a fabulous job”Rosie Lyness, Owner of Second Store.
BibliographyAbout Us: H&M Homepage: https://hmgroup.com/about-us.html Alderton, D., and Sykes, P., (2017), The High Low, [Podcast], Available at: https://play.acast.com/s/thehighlowshow[Accessed April 2020] Ambrose and Harris (2008) The Production Manual, AVA Ambrose and Harris (2011) The Fundamentals of Typography, AVA Ambrose and Harris, (2005), Basic Design 05: Colour, Ava Publishing. Appel, G., Grewal, L., Hadi, R. et al.(2019), “The Future of Social Media in Marketing”, Journal of the Academy of Marketing Science, 48, pp. 79-95. Avey, C., (2019), “Is the print industry really dying out?”, Available online: https://keap.com/business-success-blog/marketing/advertising/is-print-really-dying-out[Accessed April 2020] Barrington, T., (2016), “What is a flatplan?”, Available online: https://www.magazineproduction.com/how-to/what-is-a-flatplan/[Accessed March 2020] Benson, C. D., and Whitaker, C. F., (2014), Magazine Writing, Routledge Bergen, M and Peteraf, M. A., (2002), “Competitor Identification and Competitor Analysis: A Broad-Based Managerial Approach”, Managerial and Decision Economics, John Wiley & Sons Ltd, pp. 157-169, DOI: 10.1002/mde.1059 Biondi, A., (2019), “ASOS magazine shutters after 12 years”, Available online: https://www.voguebusiness.com/companies/asos-magazine-shutters-operations[Accessed May 2020] Bourn, J., (2010), “Colour Meaning: Meaning of the colour pink”, Available online: https://www.bourncreative.com/meaning-of-the-color-pink/[Accessed March 2020] Bradford, (2014), Fashion Journalism, Routledge, 1st edition Cook, R., (1998), “The Glossy World of Contract Publishing”, Available online: https://www.independent.co.uk/news/media/the-glossy-world-of-contract-publishing-1149192.html[Accessed April 2020] COS Homepage: https://www.cosstores.com/en_gbp/explore.html Dibb, S., (2001). “Marketing planning: best practice”, Marketing Review, 2(4) pp. 441–460. https://doi.org/10.1362/1469347012863871. Digital Printing, (2013), “The importance of bleed when designing for print” Available online at: https://www.digitalprinting.co.uk/blog/importance-bleed-designing-print/[Accessed May 2020] Doyle, A., (2019), “Important Leadership Skills for Workplace Success”, Available online: https://www.thebalancecareers.com/top-leadership-skills-2063782[Accessed April 2020].
Drummond, J, (2015) High Snobeity,”Meet the Most Ethical Sneaker Brand in the World”, Available online: https://www.highsnobiety.com/p/sebastien-kopp-francois-morillion-veja-interview/ [Accessed April 2020] Elliot A. J. (2015). Color and psychological functioning: a review of theoretical and empirical work. Frontiers in psychology, 6, 368
Feron, J., and Streri, A., (2005), “The development of haptic abilities in very young infants: From perception to cognition”, Infant Behaviour and Development, Elsevier, Volume 28, Issue 3, pp 290-304. Fernandes, L, (2017), “Print renaissance: The value of print in the age of distraction”, Available online: https://www.louellafernandes.com/2017/09/26/print-renaissance-value-print-age-distraction/ [Accessed May 2020]. Garcia, M., (2013), “Print versus screen and the physicality of paper”, Availble online: https://www.garciamedia.com/blog/print_versus_screen_and_the_physicality_of_paper/[Accessed May 2020] Garron, N. R., (2011) “The influence of layout and design on purchasing behaviour: examining print advertisements for sneakers”, Theses and Dissertations. 68. https://rdw.rowan.edu/ etd/68 Gettins, (2006), How to write great copy: Learn the rules of copywriting, Kogan Page, 2nd Edition Gibson, E., and Thorn, H., (2017), Scummy Mummies, [Podcast], Available at: http://www.scummymummies.com/podcast[Accessed April 2020] Goedluck, L., (2018) “The New ASOS Magazine Is Here”, Available online https://www.asos.com/men/fashion-feed/2018_09_03-mon/the-new-asos-magazine-is-here/[Accessed May 2020] Gur, F. A., and Greckhamer, T., (2018), “Know Thy Enemy: A Review and Agenda for Research on Competitor Identification”, Journal of Management, Sage Journals. doi. org/10.1177/0149206317744250 Hao, M. J., and Dr. Yazdanifard, R., (2015), “Global Journal of Management and Business Research: Administration and Management”, Global Journals Inc, Volume 15, Issue 9. Heyler, R., (2015), “Learning through reflection: the critical role of reflection in work-based learning”, Journal of Work: Applied Management, Emerald Group Publishing Limited, Vol. 7, pp. 15-27, DOI 10.1108/JWAM-10-2015-003 https://www.highsnobiety.com/p/sebastien-kopp-francois-morillion-veja-interview/ Hubbard, T., (no date), “8 Elements of a Catchy Magazine Cover”, Available online: http://www.traceyreneehubbard.com/8-elements-catchy-magazine-cover/[Accessed May 2020] Howe, N, (2017), “Millennials A Generation of Page Turners”, Available online: https://www.forbes.com/sites/neilhowe/2017/01/16/millennials-a-generation-of-page-turners/#58d2e2231978 [Accessed May 2020] Jabr, F., (2013), “The Reading Brain in the Digital Age: The Science of Paper versus Screens”, Available online: https://www.scientificamerican.com/article/reading-paper-screens/[Accessed April 2020] Janse, B., (2018), “Action Plan”, Available online: https://www.toolshero.com/personal-development/action-plan/,[Accessed March 2020]. Khoshhal, K. I., & Guraya, S. Y. (2016). Leaders produce leaders and managers produce followers. A systematic review of the desired competencies and standard settings for physicians’ leadership. Saudi medical journal, pp. 1061–1067. Koller, V., (2008), “’Not just a colour’: pink as a gender and sexuality marker in visual communication”, Lancaster University, Sage Publications, Vol 7, pp. 395- 423. Finnigan, K., (2017), “How Cos changed the way we dress”, Available online: https://www.telegraph.co.uk/fashion/brands/cos-changed-way-dress/[Accessed April 2020] Lawley, H., (2018), “Think Pink, Think Feminism” Available online: https://thestray.org/2018/11/20/think-pink-think-feminism/,[Accessed March 2020] Lee-Potter (2017) Interviewing for Journalists, Routledge.
Lockwood, C., (2011), “Where Art Meets Advertising”, Available online: https://www.campaignlive.co.uk/article/art-meets-advertising/1106992[Accessed May 2020] Lynn, M., & Harris, J. (1997), “The desire for unique consumer products: A new individual differences scale”, Cornell University, School of Hospitality Administration, site: http://scholarship.sha.cornell.edu/articles/183. Medina, M., (2019), “Print Still Matters in 2019”, Relevance, Available online: https://www.relevance.com/print-still-matters-in-2019/[Accessed April 2020] McKay, J., (2013), The Magazines Handbook: Media Practice, Routledge. Medlin, C. J., and Ellegaard, C., (2015), “Conceptualizing competition and rivalry in a networking business market”, Industrial Marketing Management, Elsevier, Volume 51, pp 131-140. DIO: 10.1016/j.indmarman.2015.05.009 MIG, (2018), “Why Social Media is Important for Business Marketing”, Available online: https://marketinginsidergroup.com/content-marketing/why-social-media-is-important-for-business-marketing/[Accessed March 2020] Napikoski, L., (2019), “Simone de Beauvoir and Second-Wave Feminism”, Available online: https://www.thoughtco.com/simone-de-beauvoir-and-second-wave-feminism-3530400[Accessed May 2020] Nelson, S, (2018), “7 reasons why social media marketing is important for your business”, Available online: https://www.digitaldoughnut.com/articles/2018/february/7-reasons-why-social-media-marketing-is-important[Accessed April 2020] Nordquist, R., (2020), “Conventions of Editing House Style”, Available from: https://www.thoughtco.com/house-style-editing-1690842[Accessed May 2020] Notarantonio, E.M., & Quigley Jr., C, J., (2009) The Effectiveness of a Buzz Marketing Approach Compared to Traditional Advertising: An Exploration, Journal of Promotion Management, 15:4, 455-464, DOI: 10.1080/10496490903270174 Pape and Featherstone (2006) Feature Writing: A Practical Introduction, Sage Parker, R., (2006), “Customer magazines- Crossing the contact magazine divide”, Available online: https://www.campaignlive.co.uk/article/customer-magazines-crossing-contract-magazine-divide/603289[Accessed April 2020] Philipson, S., (2017), “WHAT’S IN A BIND? 4 TYPES OF BOOK BINDING – PROS AND CONS”, Available online: http://blog.ironmarkusa.com/4-types-book-binding [Accessed May 2020] R. Heyler, 2015, “Learning through reflection: the critical role of reflection in work- based learning”, Journal of work-applied management, pp. 15-27, Emerald Group Publishing Limited. Ricketson, M., and Graham, C., (2019), The State of Feature Writing Today, Sage Jounrals, Volume 28, pp. 205-217 Sharpe, R., (2006), “Contract Publishing), Available online: https://maglab.org.uk/contract-publishing/ [Accessed April 2020] Shavit, P., and Moshe, A., (2019) “The contribution of reflective thinking to the professional development of pre-service teachers”, Reflective Practice, pp. 548-561, DOI: 10.1080/14623943.2019.1642190 Shepard, R., (2014), “The Importance of Researching Business Competitors”, Available online: https://www.business2community.com/strategy/importance-researching-business-competitors-0752149[Accessed: April 2020] Smith, K. T., (2011) “Digital marketing strategies that Millennials find appealing, motivating, or just annoying”, Journal of Strategic Marketing, pp. 489-499, DOI:
10.1080/0965254X.2011.581383 Sumner, D. E., and Miller, H. G., (2011), Feature and Magazine Writing: Action, Angles and Anecdotes, John Wiley & Sons. Tapia, A., (2018), “The Difference Between Consumer and Trade Magazines” Available online: https://www.thebalancesmb.com/consumer-magazine-or-trade-magazine-1360435 [Accessed April 2020] The Guardian, (No Data), Guardian and Observer style guide, Available online: https://www.theguardian.com/guardian-observer-style-guide-a, [Accessed March 2020] Theriault, A., (2018), “Real Gender Equality Includes Femininity (and the colour pink)”, Available online: https://www.yesmagazine.org/health-happiness/2018/06/13/real-gender-equality-includes-femininity-and-the-color-pink/[Accessed March 2020] Thorpe, V., (2018) “Smart, cool … and in print: how indy mags became all the rage”, Available online: https://www.theguardian.com/media/2018/jul/22/independent-magazines-buck-trend-for-print-decine [Accessed April 2020] Thurman, J., (2010), “Introduction to Simone de Beauvoir’s ‘The Second Sex’”, Available online: https://www.nytimes.com/2010/05/30/books/excerpt-introduction-second-sex.html[Accessed May 2020] Tyler, J., (2019), “H&M is struggling to keep up with its sister stores Cos and & Other Stories. We shopped at all three and saw why”, Available online: https://www.businessinsider.com/ hm-cos-and-other-stores-compared-photos-2018-12?r=US&IR=T[Accessed April 2020] VEJA homepage: https://www.veja-store.com/en/content/8-about-us Westwood, J., (2016), “How to Write a Marketing Plan”, Kogan Page. Whittaker (2006), Magazine Production, Routledge, 2nd edition Whittaker, J., (2009), Magazine Production: Media Skills, Routledge Whittaker, J., (2016), “Magazine Production: Media Skills”, Routledge. Wiley, N., (2019) “What Kind of Paper are Magazines Printed on?”, Available online: https://www.printivity.com/insights/2019/07/02/what-kind-of-paper-are-magazines-printed-on/[Accessed March 2020] Wright, E., (n.d), “What Are the Benefits of a House Style Guide?”, Available online: https://erinwrightwriting.com/in-house-style-guides-for-small-businesses-benefits-preparation/[Accessed April 2020] Zinkhan, G. M., and Pereira, A., (1994), “Review: An overview of marketing strategy and planning”, International Journal of Research in Marketing, Volume 11, Issue 3, pp. 185-218. https://doi.org/10.1016/0167-8116(94)90001-9
Unable to access: Carter, D. E., (2003) The big book of colour in design, Harper Design. Barber and Glover, (2000), The Penguin book of journalism: secrets of the press, Penguin. Hanna, et al (2012), McNae’s Essential Law for Journalists, Oxford University Press Stone, T. L., Adamsand, N., Morioka, N., (2008) Colour design workbook, Rockport Publishers.
ALL IMAGERY has been referenced within the document The images within this publication were sourced online using Unsplash.com (https://unsplash.com), were my own photography or were comissioned pieces Contributing photographers: Adam Thirtle Katie O’Rourke Contributing artist: Erin Wardingham Myself, Lauren Campbell