VOGUE - Cultural Differences

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ABSTRACT

n this study, my objective was to examine if different countries of Vogue portray a cultural difference since their first publication. The aim is to enlighten editors within the fashion media of these cultural differences to increase diversity. The study looks at five various editions of the fashion magazine Vogue. The five editions are; US, Paris, Italy, Japan and India. To pursue the purpose of this paper, there was both a quantitative and qualitative approach. To find out the differences between the covers, I counted the number of words from two different years; a year where the magazine first published and the year 2020. I also carried out a questionnaire where results showcased individuals response to edited Vogue covers.

I studied photographs where I carried out an image analysis, focusing on clothes, culture and Roland Barthes ‘Rhetoric of Image’. Finally, I created my perspective on how I feel Vogue will be in 30 years. To summarise my findings, I concluded the evolution of Vogue’s overall expression of cultural diversity and how it can improve in the future.

ACKNOWLEDGEMENTS I would like to express the deepest appreciation to my tutor Mark Ingham, who has been very supportive and helpful throughout the writing of this dissertation. He has consistently contributed to creating brilliant ideas and suggestions for me to take into consideration.

I would also like to thank family and friends who have supported me throughout, as well as undertaking my questionnaire that I created.

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INTRODUCTION

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BACKGROUND

ulticulturalism in today’s modern-day society, I find to be the most imperative concept of our culture. Recognising our enriching individualism within various cultures, ethnic and racial groups empowers individuals to bring out their uniqueness.

Culture shapes us as human beings; it paves our behaviour and identity, allowing us to learn from one another.

Having radically contrasting cultures enables us to have thoroughly d i f f e r e n t perspectives, the importance of this lets us embrace acceptance of each other.

The reality is that mass communication can play a role in this, as it influences us as individuals.

When magazine editors are creating their m a g a z i n e issues, they are including information that they believe to be relatable to the readers, they represent what they deem to be trending. What’s advertised in the media can alter the way we behave. Lack of diversity and equality can affect people by making them feel isolated, especially in the fashion industry. From a young age, children are exposed to photos in the media and this can shape their opinion, beliefs and thoughts without any knowledge or understanding between the difference of reality and fantasy

(Dill, 2009). Young girls are targets from media and systematic indoctrination, which can impact their self-esteem and self-image (Wolf, 1990). Social media expanding more and more every day is another reason why diversity in the industry is so important.

Having more diverse models can help to inspire individuals and allow them to be confident w i t h i n themselves and celebrate individuality.

With Vogue’s target audience being young women, I want to investigate how culturally diverse this magazine truly is, as this could make them feel inspired and comfortable in their skin. It will also allow people to have someone that they can relate too. As we become more mu lticu lt u r a l every day, with an exponential rise in diversity over recent years within the fashion industry, I want to see if editions of Vogue show this.

My reason for focusing on my subject is because the discipline I wish to go into is editorial design. With cultural diversity becoming more important in our daily lives I feel that exploring a high-end fashion magazine like Vogue, will be interesting to see if this is portrayed in different countries of Vogue.

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SCOPE OF STUDY

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he purpose of this research question is to enlighten high-end fashion magazines on the use of cultural differences to help increase diversity, targeting Vogue and identifying if this magazine is diverse in the different countries, such as US, Paris, India, Japan and Italy. Conde Nast owns Vogue magazine, which has an extensive network of publications and magazines; I will be looking into these magazine publications to see if there is any difference in visual expression in terms of models, clothing, colours and context. In addition to this, I will also be analysing covers and comparing these different editions to see if there are any similarities or differences, focusing on specific years. Looking closely at the model’s culture, race, ethnicity, disability, physical appearance, body type and sexual orientation will help determine if these editions portray cultural differences. Vogue is a fashion and lifestyle magazine with many years of history and has been around for over 120 years. Vogue has dominated the fashion industry by the use of photography, typography and colour; this combination is what makes it so successful.

TIMELINE When writing this thesis, I will be conducting my research at my desk, in my home and the library. My research began at the start of summer, where I focused on exploring the different editions of Vogue. I focused on discovering articles which spoke about cultural diversity within their countries edition of Vogue; this then allowed me to establish the background story of the cover of the magazine from a variety of issues.

In past research, I have also acknowledged model backlash that they have received, from ‘black-fishing’ to photoshop, such as models Gigi Hadid and Ashley Graham. These columns stood out for me as it demonstrates what models go through when being in the limelight of high-end fashion magazines.

Furthermore, to the remainder of time up until my deadline, I will carry out practical designs which will allow me to discover more knowledge and understanding of Vogue’s cultural differences. I will create my artefact throughout the months before hand in.

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METHODOLOGIES

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hroughout this paper, I will be conducting both quantitive and qualitative methodologies. One of the leading theorists of semiotics, the analysis of signs, is Roland Barthes. Barthes follows Saussure’s approach, the nature of the linguistic signal. Barthes semiotics conducts a theory through the relationship between the sign, signifier and signified.

The sign refers to something that conveys significance, such as a written or spoken word, a symbol or a myth. The signifier is the sound or picture of something.

The signified is the idea or concept of the thing, and the sign is the entity that incorporates the relationship between the signifier and the signified. Roland Barthes also discusses “The Rhetoric of the Image” (1964), which suggests that pictures should only act as conveyors of interpretation because they are simply imitations of something else (or direct analogical representations). Barthes identifies three classes of messages within an image, the linguistic, symbolic and the literal message.

The linguistic message refers to the text or captions; which has two types of messages, denoted and connoted. Denotation refers to the literal sense, where the interpretation or emotion that a word invokes for a person in addition to its literal or primary meaning is the connotation. Using Roland Barthes theory of semiotics and applying this to my analysis is a qualitative research methodology. progression of cultural diversity in Vogue.

I will then do the same for the year 2020. After this, I will count the number of words on each cover every month, from over a year. Doing this will allow me to discover the culture portrayed on the covers from various countries.

I will also be able to identify the evolution of Vogue covers and highlight the similarity and differences. Using graphs and charts is another quantitative research approach that I will be conducting.

These statistics shown through the graphs and charts will show if there has been a progression of cultural diversity in Vogue.

STRUCTURE The structure of this thesis will focus on being split into different sections, where it will cover editions of Vogue from each specific country.

Firstly, I will analyse charts from Vogue US which discusses the skin tones of models from 2000-2015. In the same chapter, I will then showcase how typography has evolved since their first publication to 2020. After this, I will then present my questionnaire that I created with the responses from friends and family. In the following chapter I will take editions of Vogue from each country from a specific year and analyse these covers, like a timeline. The next chapter will focus on delving into US Vogue and I discuss how issues of their covers showcase models and diversity within the last 20 years. Following on, I will structure the following countries Paris, Italy, Japan and India into consecutive sections. Lastly, I will go on to discuss how I feel Vogue will be in 30 years and how the fashion industry will move forward on cultural diversity where I will then come to a conclusion.

A quantitative approach that I will undertake is using a Vogue cover from each month from when Vogue’s publication was released, in each country.

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CHAPITRE D’ANALYSE

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COLOUR SPECTRUM

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Figure No1: Lightness spectrum

Figure No2: Lightness spectrum - years

Figure No3: Lightness spectrum - years & faces

Figure No4: Darkest & lightest cover models

or over a century, Vogue has been publishing 26 international editions. As the magazine continues to evolve, there is a continuous fight for uniformity within the high-end magazine industry. While racial and ethnic diversity is improving in fashion and the media, dark-skinned women still do not get the representation they deserve. Vogue may be employing women of various races, but are they representing women of all shades? The Pudding wrote an article, colourism in high fashion (2019) where they analysed 228 covers from 2000-2019 from Vogue US. The editors and photographers used simple steps to calculate the model’s skin colour. Firstly, they used face recognition to identify the faces of the female models. Using a tool and algorithm, they would then remove background colours. Having just the skin, they would then use the pixels to determine the average colour. Finally, they would then remove any information regarding the hue or saturation. Ultimately, this left an idea of how light or dark the colour of the skin is.

Figure 1 shows a chart of the models on a ‘lightness spectrum’. Visually, I can see that the model’s skin tones are generally lighter.

However, on either end, there are a few exceptions. Figure 2 shows the chart again but adds a time dimension which will allow me to see a conflicting story. From this new chart, I can identify that from 2000-2005 there is not a lot of distinction in how light the models appear. In these five years, there were 81 magazines published, of which only 3 had

black models featured on the cover. After 2005 there was more of a spread. The race of models that appeared on the cover was undeniably the reason for this. Photography, marketing and lighting can also be an attribute towards this. Figure 3 reveals the faces of these women rather than their skin tones. Vogue has focused on featuring more vivid, lush colours as well as expressive, conspicuous lighting. To the far left, model Lupita is part of this spread. In recent years, Lupita took the limelight appearing on four covers of Vogue. Her appearances are accountable for attracting the trend towards the left. When looking at these charts, I observed something inexplicable about the five darkest models. Three of the faces are Lupita Nyong’o.

The other two models are Michelle Obama and Serena Williams. Alternatively, on the light end of the spectrum, I can see five distinct faces; Anne Hathaway, Jessica Chastain, Claire Foy, Amy Adams and Natalia Vodianova. Figure 4 shows the covers with these models on them.

The darkest cover models are all photographed individually, whereas one of the lighter issues features three models. Black models within the fashion industry have been told that using a single person is enough representation of diversity. Chanel Iman in an interview with The Sunday Times (2013) said: “Designers have told me, We already found one black girl. We don’t need you any more”. This is known as tokenism when an organisation uses only one or two members of an under represented community to reach the bare minimum of diversity.

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EVOLUTION OF TYPOGRAPHY

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Figure No5: U.S Vogue, 1893 covers. Left to right Janruary to December

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Figure No6: U.S Vogue, 2020 covers. Left to right Janruary to December

believe that identifying cultural differences can be portrayed through other elements in a magazine. I have analysed the typography used in Vogue US, Paris, Italy, Japan and India, where I have counted the number of words on magazine covers. Throughout the year 1893 (figure 5), Vogue US used a total of 51 words. One key feature I noticed about the type through this year is how small it was. As it was too small-scale, it became difficult to read. I believe there has been an increasing evolution of how typography’s communicated.

During Vogue’s early years of publications, they were consistent in using their traditional serif type. However, there is a variance in 2020 (figure 6) as they now use a sans-serif typeface. Now in today’s world in 2020, Vogue used a total of 309 words. Using more type on their covers informs the reader of what content is included within the magazine.

Their main cover line ‘Vogue,’ has also evolved since the first publication. It wasn’t until the 1940s that they moved from their descriptive type to the iconic Didot typeface.

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Figure No7: Paris Vogue, 1950 covers. Left to right Janruary to December

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Figure No8: Paris Vogue, 2020 covers. Left to right Janruary to December

hrough 1950 Vogue Paris included 204 words over the year. Similarly to Vogue US, the type uses a small point size. In contrast to 2020, Vogue Paris decreased the number of words to 81. Vogue Paris use the French language whiles including, the date and number of publication on the cover. During the beginning years of publicising Vogue,

the magazine used more information on the covers to inform readers of what’s included. In comparison to now, the audience recognises the magazine and understand the content inside. Research proves that we have a quicker stimulus compared to the past. However, Vogue goes against this theory as they use fewer words.

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Figure No9: Italy Vogue, 1965 covers. Left to right Janruary to December

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Figure No10: Italy Vogue, 2020 covers. Left to right Janruary to December

n 1965 Vogue Italia used a total of 148 words throughout the year (figure 9).

Nevertheless, this juxtaposed to 2020 as they then used 56 words (figure 10).

One key component that I recognised was that they used the Italian language.

Subsequently, they now use the English language despite it not being widely spoken in their country. Italian Vogue has consistently used the original Didone type which uses very thin serifs, as this is a trademark of faces that originated from the 18th century.

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Figure No11: Japan Vogue, 2000 covers. Left to right Janruary to December

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Figure No12: Japan Vogue, 2020 covers. Left to right Janruary to December

ogue Japan has been one of the most recent Vogue’s to begin publication in 1999. In 2000, the number of English words used on their covers was a total of 91 (figure 11). Furthermore, the covers used a total of 256 lines of the Japanese language. Vogue Japan uses a combination of both the English and Japanese language.

They continue to use this in our world today, which portrays their culture. On the contrary, in 2020, the magazine then used a sum of 78 English words and 154 lines of Japan dialect.

The use of colour in their typography is bold and radiant, which can become complex to read. Despite this, they’re characterising their culture through their colour and language.

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Figure No13: India Vogue, 2008 covers. Left to right Janruary to December

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Figure No14: India Vogue, 2020 covers. Left to right Janruary to December

astly, Vogue India is the latest magazine to be published in 2007. Looking back in 2008, the glossy magazine used an immense 425 words on their covers. This number dramatically decreased in 2020 as they then

used 125 words. Despite the spoken language to be Hindustani in India, the magazine use the English language. The reasoning behind this is because India is now known to be the secondlargest English-speaking country in the world.

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QUESTIONNAIRE ON VOGUE

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As part of a qualitative methodology, I undertook a questionnaire where the audience answered questions regarding Vogue covers. The majority of the audience were not familiar with Vogue; however, a variety knew about the high-end fashion magazine.

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igure 15 shows a cover I have photoshopped, using a Vogue India background with Vogue US type. I asked the respondents if this was published from either the US, Paris, Italy, Japan or India Vogue and clarify why.

Figure 16 shows a pie chart with the results.

The majority of the public thought that India published this cover, due to the model’s ethnicity and her dark complexion. Model Rani Mukerji also appears to be modestly dressed and portrays a Bollywood feel. Despite this, three participants knew the type was from the US because of the English language. On the other hand, two members thought it was Italy, because of the colour scheme. Towards the end of the questionnaire, I asked if the audience realised that I had photoshopped this cover. Figure 17 shows the results of this question. From this, I can see that a vast

majority believed that it was photoshopped; however, did not point out the differences.

Figure No16: US and India Vogue, graph 1

Figure No17: US and India Vogue, graph 2

Figure No15: US and India Vogue, photoshop cover

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igure 18 is a cover that I edited with an Italia Vogue background with Japan Vogue models. I wanted to see how much knowledge the audience had on Vogue; therefore, I asked what year Italian Vogue was first published. Figure 19 presents my findings, where a majority thought it first published in 1970.

The reason for this was because of the minimal amount of typography and the seriousness it portrays overall. An individual also noticed the celebrities on the cover and how they are all from very different backgrounds, which seemed unusual. Despite this, Italia Vogue began publishing in 1964, only two people got this correct. As this cover showcases the most influential celebrities of the 21st century, two individuals said it released in 2000. In the end, I again questioned if they noticed that I had photoshopped the cover. Figure 20 showcases the results. A predominant amount knew I had edited it; nonetheless, three people didn’t observe this.

Figure No18: Japan and Italy Vogue, photoshop cover

Figure No19: Japan and Italy Vogue, graph 3

Figure No20: Japan and Italy Vogue, graph 4

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he last image I used was a Paris Vogue cover, where I kept the imagery and headline; however I modified the ‘Paris’ and changed this too ‘Italia’. Figure 21 shows the photoshopped cover, where I asked the audience which country published this issue of Vogue. Figure 22 is a chart showing my findings.

A large number said that Italy published this cover, whereas only three people thought Paris did. I then asked if they noticed anything unusual about this cover. The majority commented that it states it is from Italy but uses the French language. One individual also discussed the model’s French ethnicity.

In conclusion, the readers observed the differences between contrasting elements but identified the countries differently. For example, the audience noticed the French language used on the cover but still said it was published by Vogue Italia. The information highlights that these different elements can identify which country published Vogue, whilst portraying cultural differences.

Figure No21: Paris and Italy Vogue, photoshop cover

Figure No22: Paris and Italy Vogue, graph 5

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VOGUE

Timeline of Vogue

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JANUARY 10, 1930

VOGUE

1920-1940’s

JANUARY 10, 1930

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Figure No23: US Vogue July 1920

Figure No24: US Vogue July 1925

ROM the years 1920-1940, Vogue was released in three different countries, USA, France and UK when looking at these covers, I noticed that they were all identical. The reasons behind this are that the U.S publicised them first, which then distributed to Paris, where they translated the type into French.

A century ago, fashion in the Western epoch experienced modernisation. Fashion magazines featured illustrated covers and pages of articles which Figure N 25: US Vogue July 1930 highlighted the latest fashion styles, as described by Delaware Art Museum (2020). Vogue Paris was launched in 1920, the magazine is characterised by its sexy, yet elegant expression and portrays the French fashion culture and aesthetics. The significant visual expression this magazine uses is its colour and western clothing (Elin Alexanderson & Rasha Matlak, 2017). o

Laird Borreli-Persson (2017) described the 1920s as being obscure. People craved light, speed and fun. Women started to cut their hair into neat bobs and wore knee-length tubular dresses. Visually shown in figure 23 and 28, Vogue portrayed Figure N 26: US Vogue Figure N 27: US Vogue this trend during this time as we see a curvy lady with a neat cut September 1935 July 1940 bob, wearing a knee-length tubular dress. Women’s fashion had changed dramatically during the 1920s (Saxony Dudbridge, 2020).

In 1926 the flapper style initiated flapper dresses which followed the natural lines of the body and showed some leg, this created a sense of romance in the popular and more full-skirted looks (Laird Borrelli-Persson, 2017). Figure 24 and 29 show an illustration of a lady with this exact clothing. The trends influenced what Vogue put out into their magazine. The Great Depression overshadowed fashion in the 1930s (Vintage Dancer, 2014). The 1930s were the years of women’s pants, which you could only wear on a variety of social situations; tennis, hiking, picnics, skiing or even just watching sports. These widelegged trousers usually had a front crease or very wide flowing culottes that looked like a skirt when moving. As seen in figure 25 and 30, an Figure N 32: Paris Vogue March 1940 Figure N 29: Paris Vogue Figure N 28: Paris Vogue illustration of a woman August 1925 July 1920 wearing these trousers with the caption “sports number”. As the 1930s progressed, the worst of the Depression had passed. There was a rise in popularity with fashion accessories such as belts, gloves, bags, belts and slouched hats. In the 30s there was a wide variety of hats that were worn. Gauntlet styled gloves had flaring cuffs attached at the wrist or even embroidered with turn-over cuffs (Vintage Dancer, 2014). o

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Figure No30: Paris Vogue August 1930

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Figure No31: Paris Vogue November 1935

VOGUE

1920-1940’s

As seen in figure 26 and 31, a light-skinned woman is wearing a smart blazer with these accessories. The 20s cloche had evolved in the 30s into the ‘slouch’ hat. However, in the 40s, they were exceedingly popular in Paris (Vintage Dancer, 2015). These small hats would sometimes feature a feather, shown in figure 10.

In figure 5 and 10, we can finally see a different direction from both countries of Vogue. The U.S have a photographed image of a white woman on a boat whereas Vogue Paris has created a painting of small hats with a feather with soldiers in the background. In the 40s swimwear began to evolve, Vogue has showcased this evolving trend in their U.S issue.

Women sought to read Vogue as a way to escape the difficult times of the Great Depression. During the 1930s it was known as the Golden ages for Hollywood, as images would give off a desirable and sexual attractiveness according to Fogg (2013). Figure 32 shows the model Toto Koopman who was the first known cover girl on the front of Vogue magazine, which gives us a sense of hyper-sexualisation.

Despite this, the image would help lead the ordinary woman to daydream of an alternative lifestyle.

However, during the time of this publication, no one knew that she was bisexual and biracial. As her sexuality was unknown, this had no impact on society. Neither did it paint a picture of the woman during this period.

Nowadays, magazine industries have a routine in placing models of different ethnicities and backgrounds on their covers (Sofia Arvanius, 2016).

In July 1932, Vogue became one of the first magazines to print a colour photo on its cover.

However, one key element that I found when looking at these Figure N 32: US Vogue September 1933, Toto Koopman editions of Vogue is their logo. Each issue has a different masthead, with a variety of typefaces. In the following decades, this begins to change as we see more of brand identity in Vogue’s logo. o

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JANUARY 10, 1930

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VOGUE, JANUARY 1950

Figure No33: US Vogue March 1941

Figure No34: US Vogue January 1945

Figure No35: US Vogue January 1950

Figure No36: US Vogue January 1955

Figure No37: US Vogue January 1960

Figure No37: Paris Vogue July - August 1947

Figure No38: Paris Vogue September 1947

Figure No39: Paris Vogue November 1949

Figure No40: Paris Vogue October 1950

Figure No41: Paris Vogue October 1950

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There is a juxtaposition between the two countries.

Vogue U.S uses article lines in contrast to Vogue Paris, where there is no type on their covers. Instead, they immerse the reader with their illustrations and photography. Nonetheless, in the 50s Vogue was constant on reaching the possibility of perfection for an American housewife and Vogue readers, as Olivia Muenter (2014) suggests. We can see this through what’s advertised in Vogue, especially in figures 35, 36, 37, 40 and 41, as they showcase what is beauty and fashion.

S we move into a new decade, we begin to see more individuality when it comes to the U.S and Paris covers. We can see the difference in terms of graphic elements from these front covers. Instantly looking at these images, we can see a sense of Vogue brand identity portrayed by its logo. However, in the early years, Paris still used various typefaces for Vogue until 1949.

Woman’s fashion magazines play an influential role as advocates of socialisation. Magazines present a representation of what is trending as the cultural norm (Connie Johnson, 2015). Within the fashion industry in the 1930s up until the 70s, there were no black models at all (George Webster, 2011). Figure 33 and 34 present women of white colour wearing ‘spring’ fashion, with cover lines “spring shopping” and “pre-spring hats”. Editors will use headlines and images as a selling point to attract the audience into purchasing their magazine (Fink & Kensicki, 2002).

Therefore, using this language will engage with the audience as these are the new trends in fashion.

1940-1960’s

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VOGUE, JANUARY 1950

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VOGUE, January 1970

1960-1980’s In 1961 Conde Nast contacted the owner of Novita in Italy to invest in a new fashion magazine, it wasn’t published until October 1964 until November 1965.

A year later it then changed to ‘Vogue & Novita’. In 1966 Franco Sartori then made editor, where it finally published as Vogue (Giada Graziano, 2020).

As I move into the fashion era of the 1960s and 80s, I see an evolution in what fashion trends occurred. Moreover, I see an African American model in figure 44. Beverley Johnson was the first black model in American Vogue and is known to pave the way with a voluminous blow out in 1974.

A decade before this, the Civil Rights Act was signed into law by President Lyndon Johnson and the complexion of mass media began to gradually change, (Unruly, 2013). The Civil Rights Act ended segregation in public places and banned employment discrimination. It outlawed prejudice against race, colour, religion, sex, national origin, sexual orientation and gender identity. No longer could blacks and other minorities be denied service simply based on the colour of their skin (History, 2020), hence why Beverley Johnson was the first black model to appear in Vogue.

In 1980 Brooke Shields (figure 45) was the youngest model to ever grace the cover of Vogue, at just the age of 14. At this young age, this was groundbreaking for her career and is proof that she is a ‘style icon’ (Dana Oliver, 2017). Figure 51 shows the Somalia beauty Amalia Vairelli on the cover of Italia Vogue. As I look back at the transformation from these covers over the years, I can see a revolution within models race, culture and ethnicity.

Figure No42: US Vogue January 1961

Figure No43: US Vogue December 1965

Figure No44: US Vogue August 1974

Figure No45: US Vogue February 1980

Figure No46: Paris Vogue August 1962

Figure No47: Paris Vogue August 1970

Figure No48: Paris Vogue June 1980

Figure No49: Italy Vogue October 1964

Figure No50: Italy Vogue November 1965

Figure No51: Italy Vogue February 1980

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VOGUE, January 1970

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V O G U E J A N UA RY

1990

Vogue 1980’s-2000

During the 20th century, Vogue Japan finally released its first issue in September 1999 after a year of it being delayed. Since the first publications in the 20s, I begin to see a more diverse range of models on the covers. Not only this, but the editors move away from the photographed headshots to full body images.

Examples of this are women who are wearing little to no clothing or placed in a sexual position. The media can also portray objectification; this is when a person is exhibited into an object (Cahill, 2011).

Figure 58 shows a nude model painted in gold, with the caption ‘Body Art Sole Africa’. I believe the model looks as if she is a statue, therefore this is a form of objectification, despite this African tribes do not see this as being sexualisation. In African tribes, body art is known to be a form of artistic expression. Vogue is highlighting the roots of African tribal body art by painting this model’s full body. Some tribes would n 1987 Naomi Campbell featured on the signify a person’s life by full-body painting and is cover of American Vogue. Additionally, the used more like daily clothes (Beth Asaff, 2020).

Chinese-Jamaican model became the first black Figure 60 shows Japanese Vogue’s first issue, where model to appear on the cover of Paris Vogue in 1988. In 1992 the first male to ever grace models Kate Moss and Miki are photographed on the cover of Vogue was actor Richard Gere, the cover. The first overall impression shows Japanese eight years later male star George Clooney then culture by using their language in the headlines, appeared on Vogue in June. Gere and Clooney are which makes it clear it is for a Japanese audience.

Similarly, figure 57 presents Italian Vogue using their pictured looking classy in suits on the beach. language. In contrast to figure 58, as they use the In the media, hyper-sexualisation can be an image English language. On the other hand, the editor of that implies pornification images. These images can be Japan Vogue has chosen to represent the magazine of women presented as a sexual being, versus simply by using a Caucasian model. Correspondingly, figure being a woman that is put on display (Kitch, 2001). 61 also portrays a white model on the cover.

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Figure No52: US Vogue December 1987

Figure No57: Italy Vogue December 1984

Figure No53: US Vogue November 1992

Figure No58: Italy Vogue June 1989

Figure No54: US Vogue June 2000

Figure No59: Italy Vogue January 2000

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Figure No55: Paris Vogue August 1988

Figure No60: Japan Vogue September 1999

Figure No56: Paris Vogue August 2000

Figure No61: Japan Vogue January 2000 V O G U E J A N UA RY

1990

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VOGUE JANUARY 2010

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THE st 21 CENTURY 2000’S-2020 In the 21st century, a majority of people’s identities are shaped by a variety of different cultures, not just Western culture. Individuals are multicultural in both societies and themselves. As I move into a new era, the fashion industry in our modern day world becomes more accepting and aware of cultures, race, ethnicity, religious beliefs, sexual orientation and identity.

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n October 2007, Conde Nast India finally published its first edition of Vogue which is the 17th international edition of Vogue and the first edition in South Asia. Vogue India is characterised by its colourful prints and images that target fashion brightly and boldly. It targets women who want the best of both Indian and Western fashion. As you can see in figure 71, we see two Indian models, captured with a white model wearing western clothing. These models are pictured looking directly at the camera, enticing the audience. Traditionally, Indian women would wear a Sari, which is a long sheet of colourful clothing. Although the models pictured do not wear this type of clothing, India Vogue expresses its culture with its use of bold colours, the colour black was often absent. In figure 72, we see a contrast in their use of colours. The magazine uses a more simple colour scheme of blue and white. Despite being based in India, they are using the English language.

subject of what women ‘can and can’t’ wear. The same article line is used again in figure 64, as Naomi Campbell is captured looking angelic and ethereal in the shot. The icon appears with her eyes closed, and her hands clasped together as she wears all white clothing from Christian Dior (Mark, E 2020).

However, fans were not all glad to see Naomi Campbell making a return to the covers, “No eye contact, static pose, monochromatic colour palette.

It all feels a bit underwhelming”, (Mikel, 2020).

Regardless of this, the context behind this reportage tackles racism in the industry. The supermodel is an advocate for black models, as she speaks about the territorialism she has faced whilst working in the fashion industry. During an interview, Campbell says, “I am quite over it. Is it now that we have permission to speak? Well, I have always spoken” (Ny Magee, 2020). The magazine then uses this powerful quote on the November issue of Vogue. Campbell is one of the biggest fashion icons; however, the supermodel is still facing challenges of being misunderstood.

American Vogue is identified by not only fashion but relevant social topics. The magazine also covers the power of women in particular. The reportages within Vogue will have a story or theme behind them. It would use photographs which have a context to them; by doing this, the magazine conveys a greater expression, which is shown by the fabric of clothing, colours, patterns and the visual expression of the model. As shown in figure 63, celebrity Beyonce is captured looking powerful in a lace dress with the caption, “Forces of Fashion, the rule-breakers defining the way we dress now” (U.S Vogue, 2015 page, 1). Vogue is addressing the

In March 2017, Vogue Paris photographs model Valentina Sampaio. Valentina Sampaio is a Brazillian model, who was born a boy but has since become the first transgender model on Vogue (figure 66). This issue of Vogue takes a stand for both fashion and beauty beyond prejudice. Sampaio appears confident by her expression of body language and is posing wearing western clothing.

This issue of Vogue gives a strong contrast of neon lighting and dark colours. The model appears wearing dark and smoky eye make up, whilst wearing deep red lips and having a glowing face. Sampaio has become a vocal advocate for the rights of trans people in Brazil.

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VOGUE JANUARY 2010

WWW.VOGUE.COM

At present, trans rights in Brazil are almost nonexistent. The discrimination that the trans community face daily in Brazil is disheartening, in particular when it comes to employment, “It is rare to see a transgender person have a public-facing ‘official’ job”, (Janelle Okwodu, 2020). Sampaio wishes to continue using her platform to be a voice in her community, beyond pride month. The models next steps are helping to give opportunities for employment and support within the trans community. Discrimination is a global issue, and since Vogue Paris “La beaute transgenre” issue, Brazil’s Supreme Court made a decision in 2019 to make gender identity discrimination a criminal offence.

However, these laws needed to be respected and enforced. In 2019 Brazil witnessed brutal killings of 129 transgender people. Therefore the authorities need to be enforcing these laws (Janelle Okwodu, 2020).

Since Vogue Japan’s first launch in 1999, the magazine is characterised by its use of modern, youthful and futuristic expressions. This is shown by the designs, materials and modern approach. Models appear to look youthful as they have light makeup and pale faces which enhance this impression.

A visual expression of this is shown in figure 50, where a Caucasian model is pictured next to a dark-skinned model. Both models body positions convey them as looking very fragile. In comparison, figure 69 shows 67 celebrities and influencers on the cover, where most of them appear to be of lighter skinned. Already we can see a considerable difference in terms of look on these covers.

Figure No62: US Vogue March 2001

Figure No64: US Vogue November 2020

Figure No63: US Vogue September 2015

Figure No65: Paris Vogue October 2005

Since Vogue’s first publication in 1892, there has been an evolution in cultural differences. From featuring the first black model in 1974, the magazine now features an array of diversity in its covers. The following structure to my thesis will continue to look at historical covers of Vogue, where I will discuss and analyse the differences in cultures.

Figure No66: Paris Vogue March 2017

Figure No68: Italy Vogue October 2020

Figure No69: Japan Vogue August 2017

Figure No70: Japan Vogue January 2020

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Figure No71: India Vogue October 2007

VOGUE JANUARY 2010

Figure No67: Italy Vogue July 2005

Figure No72: India Vogue September 2020 WWW.VOGUE.COM

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T

he definition of culture is perceived through different meanings. The Oxford Dictionary (2011) defines culture today as “the arts and other manifestations of human intellectual achievements”. Another perception discussed

by Geertz (1973), is the “shared ideas, customs and social behaviour of a particular people or society”. The world we live in today faces some of the toughest challenges within our modern societies where we encounter the varied demands of emerging ethnic groups.

Clothing is often associated with fashion, which is an essential human obligation. The way we express ourselves is through our clothing. It works as a way to communicate our identity; there is a relationship between them. However, our different interpretations of clothing create cultural groups. Our various values and beliefs can portray different meanings of our clothes. When people share the same or identical beliefs and values, they can understand the significance of what clothing and fashion can convey. Barnard (2014), discusses how one of the criteria for belonging to the same cultural community is recognising the nature of clothing, while also expressing the understanding of clothing and why it is worn.

CULTURE

and CLOTHES 31

U.S VOGUE

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Not The

Figure No73: US Vogue March 2017, “Not the Norm”

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NOT THE NORM

Norm

NOT THE NORM

A

s Vogue U.S celebrates 125 years, the first issue I wish to analyse is the March 2017 edition, named ‘The Modern American Women’. This publication made history, which presented women’s diversity and characteristics in the upcoming generation of models by celebrating their ethnicities, skin tones and body types. Front and centre of this cover of Vogue were famous runway models Kendal Jenner and Gigi Hadid.

Posed with these insta-famous models are Liu Wen, Imaan Hammam, Adwoa Aboah, Vittoria Ceretti and first ever plus-sized model Ashley Graham. As these seven models posed in black turtle necks and briefs looking empowered, their demeanour comes fierce and strong. Their body positions and colour of clothing highlights the model’s narrow waists and long legs. Wearing the colour black is associated with sophistication, power and elegance. In Western culture, it’s known that black never goes out of fashion even though it is associated with tragedy and negativity where it’s worn during mourning. As the models pose wearing identical minimalist clothing, it disguises their features. Although this seemed like a powerful and culturally diverse magazine shoot,

not long after viewers began to slam this front cover. Not only were they accused of photoshopping, but the audience believed that this cover could have been more diverse.

Figure No74: US Vogue March 2017, responses on Twitter

Figure No75: US Vogue March 2017, responses on Twitter

As the eclectic group of models pose together in tight fit clothing on a Malibu beach, they are democratising fashion (figure 73). Together, they reflect a profound social shift; no norm is the new norm of beauty. Since their first publication in 1892, Liu Wen is the first Asian model to be on the cover of Vogue. Ashley Graham is the first plus-sized model to grace the cover of Vogue and, has been shaping the way fashion perceives body shapes; she has been a considerable influence. Despite this perception, Ashley Graham, the self-proclaimed body activist was criticised for being photoshopped. On her Instagram, Ashley who is never shy to voice her opinion, responded saying, ”I chose to pose like that. No one told me to do anything.” Nevertheless, viewers suggest that Gigi Hadid’s hand was altered, which sits on Ashley Graham’s waist. Many individuals took to Twitter to express their disappointment and frustration over the attempted diversity as seen in figure 74 and 75.

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NOT THE NORM As Kendall Jenner and Gigi Hadid take the limelight for this cover, Vogue’s lack of authenticity impacted the audience as they were not quick to praise them of cultural diversity. Kendall Jenner and Gigi Hadid are two leading models; it’s no surprise they’re featured on the cover. All the models are wearing polo necks to disguise the disparity in body size between Ashley Graham and the rest of the girls. On the contrary, this juxtaposes “No Norm is the New Norm”, Vogue’s message is to celebrate differences, as these are beautiful. Fashion today has no borders. Detail to the text “Fashion’s Fearless Females” (figure 76) uses alliteration. The audience focuses on this particular section of text where it gives a rhythm and mood, whilst making it easier to read. It has a distinct connotation to its meaning, either positive or negative. The use of alliteration with the letter ‘f ’ in this context makes me feel as if it is fierce and influential as if the models won’t let anything stand in their way of feeling exceptional and confident in their bodies. However, when I take the text away from this cover, I sense a contrasting message.

FIGURE 77 shows the March 2017 cover without any type on it.

This image visually communicates four caucasian, one Asian and one mixed-race model; in minimal clothing on a beach. It looks as if they are promoting a swimwear range.

However, they are all dressed in black turtle necks with their hair slicked back into a bun. All the model’s body positions stand the same, with their hands around each other’s waist. Liu Wen and Gigi Hadid both have their hands over Ashley Graham, but why is it that she has her hand positioned downwards?

Figure No76: US Vogue March 2017, Typography

Figure No77: US Vogue March 2017, Imagery - no type. From left to right models Liu Wen, Ashley Graham, Kendall Jenner, Gigi Hadid, Imaan Hamman, Adwoa Aboah and Vittoria Ceretti

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BEAUTY WITHOUT BORDERS

Figure No78: US Vogue April 2020, Typography

BEAUTY WITHOUT BORDERS 36

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BEAUTY WITHOUT BORDERS

oday’s generation of young females continues to fight the ‘beauty myth’. Vogue’s US April 2020 issue, “Beauty Without Borders” aims to debunk these beauty myths as females inherently compare themselves physically to others. Figure 78 shows the type from this edition of Vogue. As Vogue values beauty, what is the meaning of beauty? The Oxford Dictionary (2021) defines beauty as “a combination of qualities such as shape, colour or form, that places the aesthetic senses, especially the sight”. In our current society young woman are tied to this idea of the ideal image of how they should look. The Beauty Myth by Naomi Wolf (1990) tackles the effects of patriarchy, mass media and the systematic indoctrination that targets young girls. From Vogue’s text from this cover, I sense that they are tackling the myths of what beauty is.

Is this portrayed through the imagery on this cover?

Figure No79: US Vogue April 2020, Imagery - no type

Figure No80: US Vogue April 2020

Now if we visually see the image Vogue has used, does this represent what the type depicts. From left to right (figure 79), this cover features Somalian multiracial model Ugbad Abdi, Sudanese-Australian model Adut Akech and American caucasian model Kaia Gerber. Ugbad Abdi wears a hijab, which is worn to preserve the beauty of herself, so not everyone gets to see it. Abdi is best known for modelling wearing a hijab which is part of her Islamic culture. The definition of hijab is ‘to cover,’ a Muslim woman in our modernistic world today will be influenced by model Abdi, as she expresses her cultural background.

Although Vogue has conveyed diversity through models and the hijab, they fail to communicate difference through clothing. All three models are wearing a piece of denim clothing; whilst dressing in other floral garments. I feel Vogue could have characterised their individuality by enhancing their culture through their clothes. Not only this, Vogue has failed to showcase women of various shapes.

Figure 80 presents the cover of Vogue with both imagery and typography, as they celebrate models individualism.

Our modernised world seeks acceptance in young women, as they believe that they must either conform to beauty standards or stay ugly. However, Vogue is fighting against the beauty myth and showcasing models from different ethnicities and backgrounds. These three models create tension as they fixate into the camera as they embrace the idea of beauty encompassing the globe. Vogue is creating a generation of diverse international characters with multilayered identities; this has changed since its first publication. Anna Wintour continues to succeed in American Vogue evolution to tackle cross-culture.

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PARIS VOGUE

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Figure No81: Paris Vogue February 2008, Imagery

WANTED

Wanted!

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oday’s progressive world should subconsciously use woman of colour on their covers. Vogue is making an effort to shape a culture of diversity, but are they genuine or is this tokenism? Iconic British duo Naomi Campbell and Kate Moss shine on the cover of Vogue Paris in February 2008. Supermodel Naomi Campbell appears svelte as her body position portrays a protective manner over Kate Moss. Model Campbell is now one of the most recognisable supermodels in the fashion industry. Model and fashion designer Moss became a fashion icon after collaborating with Calvin Klein in the mid-1990s. Figure 81 shows the pair on the cover of Vogue, both pictured with dark eye make-up and angular bone structure. Kate Moss’s career has been a life filled with non-stop partying as the model looks barely recognisable after drinking and doing drugs. However, the bond between these fashion models has grown stronger, as Campbell always jumps to Moss’s defence. Is this why Campbell’s demeanour is portrayed like this through the cover? I perceive Vogue Paris as commercialising woman of colour as they continue to use Naomi Campbell on their covers. It is empowering to see dark-skinned women, but it is always the same faces.

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WANTED

Figure No82: Paris Vogue February 2008

FIGURE 82 shows the cover with both the imagery and type which portrays the denoted meaning. Vogue Paris features the french cover line, “Beaute Les Nouvelles Lois” which translates to ‘Beauty the new laws’. I have discussed the definition of beauty as a combination of qualities that aesthetically pleases a person. The word ‘law’ I interpret as a set of rules that must be obeyed and forced. Using this language conveys beauty standards must be implemented, in our progressive world of equality. However, in the expression of the fashion industry; they are promoting the new styles and beauty for the spring season.

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HOPE

D

uring a year of crisis which was unforeseen and unpredictable, 26 international editions of Vogue have united and created publications to celebrate and question hope. Vogue Paris released an edition in September 2020 named ‘HOPE.’ Vogue Paris uses french typography on their covers.

“Hypnotique, Optimiste, Paris, Espoir” translates to ‘Hypnotic, Optimistic, Paris, Hope.’

Looking at the type from this cover (figure 82), Vogue has used the colours of the French flag. In French culture, these colours symbolise various meanings. Their tricolour flag symbolises the French Revolution, nobility, clergy and bourgeois. However, in other cultures, these colours can signify a different interpretation.

The Middle East see the colour blue as a way to ward off the evil eye; it also relates to depression in the West. It is also known as a colour of trust, authority and security in the Western culture.

Additionally, it is a representation of new beginnings and happiness in India. I believe the text on this cover communicates belief in going back to normality after a year of struggle.

is pushing diversity in fashion as she represents her home country in the industry. In her first magazine debut, Louback’s photographed wearing bright and bold clothing; which is very in your face.

Photographer Mikael Jansson was aware of the placing when photographing this cover. The dark background creates a contrast between the clothing and the black backdrop. Black model Louback is channelling icons Prince and Michael Jackson on this cover. The compelling expression and body language allows the reader to focus on the model, as she poses with both hands on her hips. This position creates an illusion to make your waist look thinner; while also looking superior and dominant.

H O P E

Throughout this dissertation, I have perceived Vogue Paris as communicating individualism as they use one model on their publications. Using one model allows the reader to assimilate the information that’s shown to them. Furthermore, this is also cost effective as Conde Nast is known of not paying models who appear in its magazines very much. On the other hand, using more than one model on the cover will perceive community. Not Hope is part of the path and a feeling to work for, only this but in comparison to other countries, Vogue as Vogue collectively pursue a bright, unifying future. Paris use the French language and continue to do so.

Malika Louback is the first Dijbouti model to appear In juxtaposition, Vogue Italia has previously used on the prestigious cover of Vogue Paris Louback their language but now use the English language.

Figure No82: Paris Vogue September 2020

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ITALY VOGUE

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V

THE BLACK ISSUE

ogue Italia broke history in July 2008 as ‘The Black Issue’ sold out immediately meaning that it had to go for a second reprint. In 129 years, Conde Nast has never had a sell-out like this before.

This shining issue portrayed Vogue as who they openly are; challenging the fashion community’s notions of cultural and racial diversity.

This publication celebrated black models in the world of art, entertainment and politics. Naomi Campbell’s feature on the cover had a visceral and cultural influence on readers; helping fix the uncomfortable issue of underrepresentation in fashion. Black models in the fashion industry continue to struggle to get on magazine covers while also finding it difficult to sign big contracts. The ‘Black Issue’ is electrifying the market and compelling the world of modelling to rethink its aversion to utilising non-white models. Despite this, it is continually downgrading to a ‘special issue’ to be non-white, while the standard version remains determinedly white.

Figure No83: Italy Vogue July 2008

People around the world are commemorating Franca Sozzani, editor-in-chief at Italia Vogue, for her revolutionary issue. The colourful and classic edition is fresh and compelling where Campbell’s pictured with tasteful makeup and free-flowing hair (figure 83). This issue featured multiple covers which celebrated black models in different industries. All models were wearing flamboyant hats and turbans.

The three other supermodels that appeared on the magazine were Liya Kebede, Jourdan Dunn and Sessilee Lopez. Each were photographed in a classic and colourful portrait with bright, bold typography.

On Campbell’s cover, it featured the colour pink; this represents universal love for others and oneself.

Jourdan Dunn presented the colour purple; this depicts nobility, power, pride and ambition. The typography showcased on Liya Kebede’s cover displayed red; best known to represent passion, love and joy. Lastly, Sessilee Lopez publication used the colour green.

This tranquil colour portrays new beginnings, harmony, hope and peace. All these colours suggest a positive step towards tackling racial discrimination in the modelling industry, as each of these models has encountered prejudice during their careers.

the black issue

Figure No84: Italy Vogue July 2008, from left to right models Sessile Lopez, Liya Kebede and Jourdan Dunn

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BELLE VERE

I

BELLE VERE

Figure No85: Italy Vogue June 2011

sensuality, as the main image is elegant in black and white; whilst the typography ‘Belle Vere’ contrasts in red. The colour red represents passion, sexuality, anger, love and joy, each relevant to what this edition shows. Using black and white imagery allows the reader to focus on the other aspects of the image, such as the subject; in this case, the curvaceous ‘plus-sized’ models. It also allows the audience to feel a particular emotion. It’s difficult to understand why Vogue Italia have moved away from using the Italian language, but in this case, they have, ‘Belle Vere’ translates to ‘Real Beautiful’. I believe Vogue Italia is fighting towards diversity, showing an array of body types and woman of colour. Unfortunately, Vogue publishes these as ‘special issues’ when they should be normality. Why don’t they publicise this on a standard edition?

n June 2011 Vogue Italia tackled the fashion industry’s lack of body diversity with their ‘Belle Vere’ special issue. This issue featured three curvy models, Tara Lynn, Candice Huffine and Robyn Lawley; dressed in lingerie. These models were discussed and admired by readers of Vogue Italia. Editions such as these inspire thoughts about how the feminine figure is represented in the fashion world, as people are criticising them for the eating disorder, anorexia. Another way to deal with the lack of diversity is to concentrate directly on people that have been neglected. As part of her crusade, Franca Sozzani gathered signatures for a petition to close down blogs promoting eating disorders.

This publication portrays a soft and sinuous 44

JAPAN VOGUE

45

CHRISTY TURLINGTON

Figure No86: Japan Vogue October 2000

Figure No87: Japan Vogue October 2000, Christy Turlington colour shades

FIGURE 86 shows Vogue Japan’s October 2000 issue, featuring American model Christy Turlington. As you can see, Vogue Japan is known as Vogue Nippon, therefore known as the Japanese name for Japan which originated from the seventh century. From the research I have gathered, and my knowledge, I perceive Vogue Japan as somewhat culturally diverse as they use the Japanese language. On this cover, Vogue has used the colour orange for their type. In Japan, this colour represents happiness and love whilst it is also known as the colour of civilisation and knowledge. However, I have discovered that most models highlighted on the covers are Caucasian. Vogue Japan continuously use white backdrops on their publications; this allows Vogue to have a clean slate. Furthermore, they stick to using one or two models on the cover, never a group.

Figure No88: Japan Vogue October 2000, Christy Turlington colour shades

A fundamental element used when photographing for magazines is lighting. Figure 87 and 88 show the American model, Christy Turlington, on the cover of another two Vogue Japan magazines. In my view, Turlington looks like a different shade of colour. The key light in the lighting affects the brightness and contrasts in images. To establish the colour I used photoshop to allow me to select the model’s skin tone. As I can see, there is a contrast in the darkness of skin colour. It is known in Western culture, that having tanned skin is deemed more beautiful. In comparison, Japanese culture considers having fair skin more attractive. An article from The Festival Snobs (2019) says Japanese beauty standards for women need to be slender and small, with curly eyelashes, double eyelids, long legs, and a calm personality. This issue of Christy Turlington juxtaposes from these beauty standards.

CHRISTY turlington 46

PERFECT ICONS

Figure No90: Japan Vogue September 2014, foldout

PERFECT ICONS

F

Figure No89: Japan Vogue September 2014

which means the Asian country rarely sees people with blonde hair. However, when they do, citizens find it beautiful and fascinating. The majority of models who appear on this issue have blonde hair and bright blue eyes. Many Japanese individuals are in the dark-brown eye category, but certain Japanese individuals may naturally have medium to light brown eyes. I am curious why Vogue Japan hasn’t portrayed Japanese beauty through their covers, as I find it unique. The models appearing on the magazine do not convey the Japanese culture.

or Vogue Japan’s 15th-anniversary issue supermodels Claudia Schiffer, Nadja Auermann, Stephanie Seymour, Linda Evangelista and Naomi Campbell featured on the cover. Vogue Japans September 2014 edition (figure 89) ‘Perfect Icons’ includes a fold-out with 90’s models Carolyn Murphy, Eva Herzigova, Guinevere Van Seenus and Maggie Rizer. It also features 2000s models Saskia de Brauw, Tao Okamoto, Malgosia Bela, Mariacarla Boscono and Natasha Poly (figure 90). September is a crucial month for magazines as it’s their most important time for attracting advertisers.

The language used in this publication is intriguing.

Using the word ‘perfect’ makes the audience think about what this ideal image is. The Cambridge Dictionary (2021) defines perfect as ‘complete and correct in every way, of the best possible type or without fault’. Vogue Japan is showcasing the faultless idols in the fashion industry, each representing a set of beliefs. The use of the colour red through typography also displays strength, passion and peace in Japan. Substantially, this cover unites individuals from all backgrounds and celebrates the evolution of fashion within the industry.

I have gathered an understanding of the Japanese ‘beauty standards’ where fare skin is more beautiful.

Supermodels spotlighted on this cover meet this standard. Despite this, Campbell is one of the few dark-skinned models to appear in the publications. As this is a ‘special issue’, Vogue Japan has presented 15 models on the magazine; in which 13 are Caucasian, 1 Japanese and 1 Jamaican. Each model is wearing a black turtle neck top with minimal makeup. In Japanese culture, the natural hair colour is black, 47

INDIA VOGUE

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“

THE DAWN OF DUSK

THE DAWN OF DUSK

T

he Dawn of Dusk was a ‘special issue’ released in April 2010 by Vogue India, which featured models Gia Johnson, Nethra Raghuraman, Tinu Verghis, Ashika Pratt and Esha Gupta dressed in bikinis. These five bikini-clad models all have a dark-complexion (figure 90). The Indian culture has always been very diverse; it has many mixed cultural systems that aims to eliminate the triumph belief in sub-continent that pale skin equals beauty. Priya Tanna, the editor of Vogue India, has the purpose of tackling colour prejudice. The ‘beauty standards’ for women in India, is having a medium complexion, large eyes, narrow waist but wider hips, long black hair and full lips.

Indian culture is one of the most culturally diversified

Figure No90: India Vogue April 2010

countries, where they speak many different languages and follow many different beliefs and religions. As the English language is spoken nationally, this could be the reason as to why Vogue India uses it on their covers.

The language on this cover made me reflect on the beauty myths that individuals have worldwide.

Every generation has its share of misconceptions about appearance. On this publication, states “Vogue India celebrates the skin tone the world covets”. I believe Priya Tanna is celebrating the ‘desired’ skin tone the world wants; it’s time to mention that, as a publication, we love the beautiful colour of Indian skin, and have always loved it.

ZeeNews (2010), wrote an article and I came across the term “Snow White syndrome”. In India, the market sales of whitening creams have risen outstripping coca-cola and tea.

Residents of India now believe the fairer the skin, the more attractive you are. Figure 91 published by the BBCNews (2010), shows an advertisement from the number one whitening creams in India, which uses the slogan ‘Fair and Handsome’. Discovering that individuals are unhappy with their skin colour, resulting in them wanting to change their appearance makes me downhearted. Colour prejudice has influenced this. I hope this edition of Vogue has opened the eyes of the readers to the fact that their dark complexion is a feature that’s loved!

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Figure No91: Indian whitening cream advertisement

VITILIGO

Vitiligo

Figure No92: India Vogue March 2020, Winnie Harlow cover - imagery

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VITILIGO

W

Figure No93: India Vogue March 2020

innie Harlow is a Canadian model who featured on the cover of Vogue India in March 2020 (figure 93). Winnie is a Jamaican model who has the skin condition vitiligo. Vitiligo is an autoimmune disorder where the skin loses pigment in the cells, causing discoloured patches in different areas of the body.

Winnie Harlow uses her platform to raise awareness of this condition while empowering others to embrace their differences; she is one of the first models to appear on Vogue with Vitiligo. Winnie is continuing to redefine beauty standards as she believes, “Beauty is in the eye of the beholder” (Keyes-Bevan, 2021). Winnie Harlow strives to be her true self and to inspire people around the world, aiming to make beauty less aspiring and more exciting. It’s known that 2-5% of people in India suffer from Vitiligo, living with this disease in India is considered unattractive, (Sengupta, 2017).

In Indian patients, Vitiligo has particular meaning because depigmentation is visible on darker skin and

the extensive stigma associated in the community with the condition.

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Similarly to other Vogue publications, Vogue, India uses one model on their covers. You will rarely see a group on the front cover unless it is for a ‘special issue’. Winnie Harlow appears elegant and powerful in this cover, as she is not afraid to show off her skin. As Winnie Harlow poses in mellow lighting, looking care-free, not all readers were impressed with this cover. Figure 94, 95, 96 and 97 show comments written onto The Fashion Spot.

I understand individuals are entitled to their own opinion; however, I distinguish this as internet trolling.

An Internet troll will start an argument online, having the intentions of hurting their feelings. Commenting on this openly online, the model can see this. I believe Vogue has successfully addressed the stigma around this disease, and Winnie Harlow is an ideal role model for those who are struggling in India.

“

VITILIGO

Figure No94: India Vogue March 2020, Comments from The Fashion Spot

Figure No95: India Vogue March 2020, Comments from The Fashion Spot

Figure No96: India Vogue March 2020, Comments from The Fashion Spot

Figure No97: India Vogue March 2020, Comments from The Fashion Spot

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FUTURE OF VOGUE

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FUTURE OF VOGUE

Future Figure No98: A photoshopped cover I created for Vogue in 2051

of VOGUE 54

FUTURE OF VOGUE

2051 Vogue

0

In 3 years from now, I am interested in how the magazine industry, especially Vogue, will continue to evolve. As our world continues to progress in technology, will the world of magazine publications prevail?

F

igure 98 shows my take on what I feel Vogue will look like in the future. I believe magazine publications will become more technology-based. In 2051 I imagine that Vogue will begin to use 3D projection. In the bottom left of the image is the letter ‘V’ which is a button. When holding this button down, it will allow the reader to say a request for the magazine. For example saying, “3D model” will project Naomi Campbell.

The individual will then see a 360 image of the supermodel. The magazine will also allow you to select if you would like the typography to project 3D. Vogue will also have other settings, allowing the reader to appoint if they would like the magazine to read. The reader will be able to specify their language of choice. Allowing readers to choose their language is significant, it’s a critical role in our identity whilst also contributing to a positive self-perception.

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CONCLUSION

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CONCLUSION

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conclusion

his paper has explored how countries portray cultural differences; I have discovered distinct variance between the magazines in the US, France, Italy, Japan and India. When reflecting on cultural diversity, each publication expressed the importance of uniqueness in the high-end fashion magazine. Since their first editions, it’s clearly shown an increase in the evolution of Vogue. From typography, clothing, culture, the first black model, plus-sized models, male models and models of different ethnicities, there has been a progression towards equality.

were the least diverse. There are Indian-looking characteristics in the models of Vogue India, whilst Vogue Paris had more western-looking models. When reflecting on Vogue Italia, it wasn’t until recent years that they became more diverse. In their beginning years, most models were light-skinned. In comparison to now, the magazine now features dark-skinned models as well as plus-sized models.

This study has taught me about the content behind Vogue publications and how this affects what is published. Discovering Vogue in other countries and learning about their communities has allowed me to develop a deeper understanding of cultures. In further research, I would wish to delve into additional countries to learn about their civilisations. Not only this but explore Vogue page spreads and assimilate the evolution from their first publications. I would also be captivated to learn about supermodels personal experiences in the fashion industry with interviews.

Vogue US has shown development through its identity in its iconic Didot typeface between the 1940s-1960s. This groundbreaking typeface helped shape Vogue’s identity today and it’s easily recognised worldwide and used in Vogue publications internationally. Vogue Paris is clearly distinguished as they’ve used the French language since their first release in 1920. In comparison, Vogue Italia use the Italian language; however, 21 years ago it began to use the English language. Vogue Japan present originality, as they consistently use the Japanese language. In contrast, Vogue India have been using the English language since 2007. Across all countries, there has been a distinct perception of cultural differences within typography.

To enhance diversity in the representation of clothing, models and context for the various editions; the fashion media has to discuss better these cultural terms. It would allow them to face globalisation in the modelling industry by portraying more dark-skinned models and other models with diverse looks. For example, one underrepresented When it came to clothes and models, each Vogue issue is the representation of transgender models; magazine had its own ethnic expression; some editions they could feature more in Vogue. represented individuality more than others. Among the looks of models, Vogue US and Vogue Japan have Global cultures are in themselves ethnic, diversification. There were light-skinned and dark- encompassing a variety of diverse modes of life skinned models in the spectrum of fashion models. In and people’s lifestyles. Each culture is beneficial and the usage of transgender people, Vogue Paris featured deserving of non-interference. Cultural diversity is a transgender model which made them more diverse acknowledged, judging from Vogue, especially the in this category. However, when it comes to the way globalisation affects culture. Culture, without a presentation of models, Vogue Paris and Vogue India. doubt, is and will still be distinct, but equal.

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DESIGN RATIONALE

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DESIGN RATIONALE

DESIGN

rationale

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n our modern-day society, the fashion industry lacks multicultural models, especially in Vogue. My artefact showcases the models that are under-represented in this industry.

These series of covers highlight the evolution and cultural differences between the US, Paris, Italy, Japan and India Vogue covers. It reflects and shows distinct elements from these different countries since their first publications from 1892-2020. This artefact keeps the same aesthetic from Vogue, as it uses a combination of their typography, imagery, layouts and style. Showcasing Vogue’s evolution whilst combining features from each Vogue will question the audience to see if they observe the differences. Demonstrating this is fundamental as it shows a form of identity and recognises diverse cultures. The models that are presented in my artefact come from different ethnicities, genders and sexualities.

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BIBLIOGRAPHY

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BIBLIOGRAPHY

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