FAGUE

FA G U E Spending & Commerce within the gay subculture

Photography Gemma Doyle Cover James william Meacock

CONTENTS Chapter One: Introduction & Historical Context Chapter Two: Contemporary Magazines GQ, Attitude and GT Chapter Three: sex, Masculinity & Spending Chapter Four: The Close

COCK SELLS (BALL SACK DOES NOT)

300 MEN WERE INTERVIEWED FOR THIS PIECE INCLUDING:

GAYANDSTRAIGHT

SLUTSANDVIRGINS

RURALANDURBAN

RICHANDPOOR

(YOU GET THE IDEA)

This is a statistic from my extensive research across the whole gay spectrum of straight male subjects. The question of branded underwear was the first question to be asked in these surveys.

From a fashion and social angle it is a solid question which had both interesting results. These results became the deep rooted foundation of my dissertation research. The idea of how much gay men in comparison to straight men actually spend in society be it high street or commercial and how valuable it is in a community.

This urban contemporary styled essay establishes how useful the ‘pink pound’ influeneces society as a subculture and how they are saving Britain through fashion and iconography.

22% OF HETEROSEXUAL MEN WEAR DESIGNER BRIEFS

87% OF GAY MEN WEAR DESIGNER BRIEFS

ABSTRACT

In contemporary society the male homosexual has an ever growing role to fulfill due to finical aspects. The social intercations of a gay man’s lifestyle are varied but with both traditional and religious standards waning and becoming more tolerant for the subculture.

It is my question as to what drives and influences the subculture forward through a more diverse and openly accepting society.

Analysing recent printed magazines (2006 - 2012) to discover what contemporary and popular culture means to the recent gay lifestyle. How history has effected the identity of the stereotype, those who rebel against it and the impact on male fashion through the years. The historical formalities of early empires such as Egypt and Greece, to the controversy of Oscar Wildes trial and climaxing through to the present. Exploring how diverse a subculture gay social circles are. How the everyday homosexual interacts with brands and society, thoughts on social and global politics, daily happiness and general finances in regard to fashion iconography.

The effect of area in regards to iconography and appearance, is the more stereotypical homosexual happier through the more feminine and flamboyant aspects of homosexual lifestyles or should the stereotype behave as history has dictates a heterosexual male in society must behave to uphold ‘civilised’ order.

‘Sometimes I would buy Vogue instead of dinner, I felt it fed me more’ - Carrie Bradshaw, Sex And The City

chapter one

HISTORICAL

CONTEXT + introduction

INTRODUCTION The contemporary homosexual male is a prime target worth appealing to as of the 1980s and since then has become one of the fastest growing contemporary niche audience for marketing, advertising and print based media such as magazines. This is in conjunction with a rise in generalised spending and a contemporary larger disposable income, reasonably more independence and a more assertive well informed view on contemporary culture, fashion and society. Encumbering a more radical growth of the gay subculture spending habits despite of a hugely influential econimic recession. The research compiled in this essay is designed to probe how the demographic spend said disposable income, with the constraint ideology of printed media expressly advertising/marketing campaigns.

How printed adverts work, the history behind the gay stereotype and how relevant the gay subculture is to the economy, is the flamboyant stereotype helping save the highstreet stores in the process.

In comparison to the average homosexual’s spending patterns compared with the spending patterns of heterosexual males with similar financial information. Which pieces spark interest with individuals inside the gay subculture and have growing brand loyalty in contradiction to the dying magazine industry undertone.

Also the inclining question which poorly designed adverts are not selling products. In contrast which pieces assert the idea of better more lavish brands symbolising the age old idea of class through iconography.

With society today both higher and lower class can be established through clothing brands. This idea is reassessed constantly due to a perpetual modified and reinvented zeit geist.

From an aspect of masculine dominance. Nature and science research and observation have established a solid theory on the importance of physical appearance through evolution and intstinctive mating patterns.

Appearance being vital if a species is to survive or assert power or control.

In the animal kingdom male peacocks display their tail feathers to attract a mate or to scare of a potential threat. The contemporary image of a man who is able to support himself by being physically fit visibly wealthy, stems from the primal attraction of a high ranked and strong mate.

In a contemporary lifestyle fashion iconography or image in society is the catalyst for a variety of social interacts, this is supported through a recent scientific experiments conducted on test subjects with the use of electrodes and monitoring brainwaves when expensive merchandise is brought into view. The research revealed that parts of the brain which sensed pleasure were stimulated when the expensive pieces were viewed and the less expensive pieces resulted in less stimulating brain activity.

The brain stimulation shown was proven to cause compulsive shopping and the idea of attraction towards iconography. Another more simple theory would be that psychologically clothes act as a form of protection, by hiding flaws and enhancing more attractive features. A prime example would include high heels in women, not only do they bring the individual eye level with an average male but they also tense the leg muscles making the buttocks more toned, tighter and attractive. This is also used in nature and is a sign to confirm that said female is ready to mate.

The cheapest everyday outfit found through research was five pounds worn by a gay hair dresser Proving that the stereotype is not always accurate

2

Picture the image of a man totally bare skin naked and totally odourless.

Beginning to define him would be impossible on simplistic inherited looks.

Both his hair and eye colour are genetic and not there by any choice, also race and skin tone are not available to alter. The idea of fashionable and unfashionable iconography and branding that the wearer envisages for themselves that defines them. Examples such as a pair of expensive shoes from a new company, a highly recognisable unusually branded bag.

Are believed to be expressive iconography of that persons thoughts and perceptions upon life. By wearing a label or a colour it is easier for other people in society to make an assumption about an individual.

With fashion a whole pandoras box of semiotics is opened as if to suggest that all aspects such as inner soul, personality, religion or morals of an individual are available information from the outside shell through self expression. As such certain aspects of clothing can depict a widely accurate range of aspects in someones life. In order to learn more I have been surveying the contemporary style conscious homosexual male across the United Kingdom and how they are represented, how they represent themselves and which aspects appeals to them with in recent printed media. Then in some examples comparing them with a cross section of heterosexual men to link similarities and note differences between stereotypes and those who rebel against any idea of stereotype.

MAN ABOUT TOWN

IN THE CURRENT ECONOMIC CLIMATE IT MAKES SENSE TO MANIPULATE YOUR IMAGE FOR MAXIMUM EFFECT AND INSTANT RESPECT In accordance to the longest running best selling British fashion magazine ‘In the current economic climate it makes sense to manipulate your image for maximum effect and instant respect. Sharp dudes have known when it comes to a show down nothing steals the scene quite as effectively as a well cut whistle, but even hardcore wildboys have started to tumble that “style” does not necessarily equate with excess and outrage. The smart money is suddenly on menswear.’ (i-D September 1986) However dated this statement may be with the always adapting and changing contemporary it holds highly valid points to contemporary standards. Mens fashion is becoming less of a basic necessity is becoming more of an extravagant investment of semiotic codes and iconography for the wearer. Representing both status and wealth, usually creating a generally false illusion of wealth. In reality the less flamboyant appearance of an individual the wealthier they are and vice versa. The fact being individuals who have spent a copious amount on a wardrobe will not have an equal amount of financial assets to those who have saved money through not indulging in the sometimes unnecessary fashionable iconography of a recent standard.

4

WHAT IS

THOR DNA MAGAZINE

AQUAMAN DC COMICS

Through clothing and designer labels a theory has been reoccurring and reworking itself even before Victorian era. Without historical foresight it is easy to conclude that the contemporary styled male evolved gradually from the multitude of post-modern female orientated merchandised, publishing and fashion iconography growing through the past decades.

This being the vast assumption towards the ‘kitsch’ stereotypes which addresses the public on a daily basis. This is not the case entirely but is not without influence. The eccentric style of male fashion was once seen as a signifier that the wearer was a homosexual and in the contemporary United Kingdom pieces are still symbolic. Aspects of which were used to create an identity in order to be recognised by other homosexuals.

Around the time of 1895 men who dressed in such a flamboyant highly visible manner were of leisurely class, as such only the very wealthy could afford to be perceived obviously as a homosexual, by having the finances to emulate such an image. In the 1890’s poorer working class homosexual would be mocked and considered a figure of ridicule. With regards to the earlier comments on women’s fashion and various social behaviours, they hold validity in the historical background of the homosexual identity.

In New York circa 1920 homosexual would wear make up to imitate females and attract a more masculine heterosexual male. The idea of a more female appearance, is by today’s standard is one of the most recognised gay stereotypes through my own research is seen as repugnant.

There are many homosexual men featured that reject the current gay stereotype as oppose to embracing it, a mixture of contempt for fashion dictation and comfort with their own sexuality.

MASCULINITY? 6

lust

Historical probing into homosexuality has proven interesting in the early empires such as Greece, Rome and Egypt the gay man is depicted and documented in knowledged cultures.

Particularly in the Greek olympic games, it was a greek theory involving sex with a man was for pleasure and sex with a female for procreation. Time and ideas have evolved as documentation of the subculture is more lucid, newspaper articles, art exhibitions, political acts and photography, intellectual journalism and lifestyle advice. The young urban male now has a plethora of magazines to choose from when it comes to contemporary and or popular culture. The transgression of the 1980s homosexual lifestyle publications such as Attitude and Gay Times evolved from the low brow filth publications as 1970s pornography magazines. This is supported by some of the more sexually provocative covers and issues, examples include ‘The Naked Issue’ and ‘The Sex Issue’ featuring a fold out flamboyant cover featuring seventeen porn stars in little more than underwear and trainers, failing that a member of the popular band McFly in a pair of small briefs. It seems to be an effective marketing campaign as Attitude is now ranked the UK’s best selling gay magazine.

Gay Times and Attitude both rely heavily on the simplicity of the male form for advertising and marketing, the term ‘sex sells’ has always been one of the most simplistic yet highly effective in advertising. These publications grew dramatically in circulation throughout and beyond the mid 1980s and 1990s and it became gradually more acceptable to be an outed homosexual in society through the media.

DECADENCE HEDONISM GLUTONY

In contrast the oldest and most famous homosexual figure within history is Oscar Wilde, being not only a flamboyant and eccentric Victorian, he was on trial numerous times for the crime of being a homosexual as it was illegal during his era. He is still written about in a number of biographies for being such and interesting exuberant character. However, in his later years he lived in exile and was socially alienated, despite his acclaimed literacy work. It is interesting to see how in a contemporary education curriculum how the written work upon a lifestyle considered such an abomination is now studied and revered. Individuals even now make pilgrimages to Wildes grave, being considered a pioneer of the homosexual subculture. Recent media publications are now embracing a variety of lifestyle choices and doing so without prejudice or stigma.

A new more informed society is growing with every generation, in the future this could result in an end to homophobia.

A man who does not think for himself, does not think at all.

Oscar Wilde

THE PICTURE OF DORIAN GRAY (FILM) 2009

6

OSCAR WILDE’S GRAVE, PARIS

The published works of Wilde and his production, the social culture of the Victorian era similar to magazines based conversation topics or social events today. In the Victorian years the theatre was considered a place to be seen (hence the seats facing away from the stage in older theatres) it signified culture and class for those privileged enough to be able to see a production. To gather a broader historical background I went to see a production of The Importance of Being Ernest, and reread the The Picture Of Dorian Gray. Both pieces of work depict highly decadent lifestyles and emulate the idea of wealth inside the leisure class, in particular males. The central character and protagonist in The Picture of Dorian Gray possesses a ensuite bathroom tiled with a semi precious stone and yet spent large amounts of his time in opium dens also in the company of both male and female prostitutes. Similar to the unnecessary extravagant and deviant social aspects of 2012 for those who want or can/could afford the lifestyle.

The general theme of decadence and a lavish lifestyle are both underlying themes in most if not all of Wildes plays and written work.

The idea of decadence and class still is as relevant in recent society as it is today, but is now established in more distinct ways. Another relevant aspect of the book is Lord Henry’s relationship with his wife, he is neither interest or intimate with her. ‘My dear boy, no woman is a genius. Women are a decorative sex. They never have anything to say, but they say it charmingly. Women represent the triumph of matter over mind, just as men represent the triumph of mind over morals.’ this quote notioned by Lord Henrys character suggests Wildes, and Victorian societies derogatory dated view of women. In accordance to this quote if a women is seen as an equal to a man then men tired quickly of said female. This statement suggests a lot about society of Wildes times about how the male had the most central most important role in society and with regard to this must act in a respectable social masculine manner, in order to maintain a high place in society. This relates to why Wilde was exiled, his deviation from social normality through his sexuality was considered immoral through Victorian and religious standards. Due to which he was ejected from society.

In matters of utmost importance, style, not sincerity, is the vital thing.

Oscar Wilde, The Importance Of Being Ernest

6

The Importance of Being Ernest is considered one of the most elaborate and kitsch piece of performance art produced in the Victorian theatre.

In the recent production the period validity was lessened through the contemporary translation and changes in technology. None of the actors portray a homosexual nor is the theme of homosexuality present.

However the play exuded Wildes persona and his flamboyant style flows through the actors. The idea of dual identity featured in the performance, one in urban London and another in the rural countryside and two names could suggest the hidden aspects of an invisible homosexuals lifestyle.

This theory began in Victorian times and is still relevant to present date.

This part of the subculture consists of a homosexuals not embracing the highly visible gay stereotype. The way the invisible homosexuals acted and behaved during the victorian era is similar if not identical to the role of invisible homosexuals in contemporary day to day society.

The invisible homosexuals featured in the gay subculture represent an extraneous variable in my research. In regard to what pieces intrigues them in printed media and the gay subculture, current invisible men participated through surveys and interviews. On average they read very similar magazines to heterosexual males and in a generalised manner spend very similar amounts of money on clothing, iconographies and certain lifestyle activities. This sector of information now concludes that a less obvious style of homosexual man has very a similar (although not exactly similar) characteristics to that of the average heterosexual man, in that way the rooted gay stereotype does not influence or affect them excluding sexual preference. They do continue to spend their disposable income in the world of printed media, however they option for more masculine iconography and also have a less effeminate outlook on society and in reference to the the above statement regarding more feminine homosexuals the majority of homosexuals surveyed found the traditional stereotype repugnant and sexually unstimulating.

Oscar Wilde is the main pinnacle of this essay, around the times of his trial a lot of men where taking larger steps into the gay world and diverse terminology for homosexuals was begining to be established. With reference to society through present day formalities, people still are obliged to act in a certain way which is acceptable with certain groups and in a variety social circles. Deviation from piers can cause a fall in any social hierarchy and create a sometimes immoral view of an individual, as Wilde proved in his exile from society in his later years. The term ‘fairy’ was a label placed upon homosexuals who were viewed differently from effeminacy aestheticism associated with the vast and growing majority of male homosexuals. However before hand, in 1920 more feminine presentation strategy to attract a ‘straight’ partner. As a result male prostitutes around that time adapted a more effeminate clothes so normal men would approach them, the idea of acting like a woman to attract a man continued through the 1930s when it was considered that effeminate behaviour was equated to homosexuality. According to theories by Seymour Kleinberg ‘homosexuals imitated women because they were victims in sisterhood of the same masculine ideas about sexuality’ posing the fact that the more effeminate homosexuals were seen more as women through fashion iconography and social behaviour, being defined by male terms both effeminate homosexual males and women needed to accept their personal values.

In comparison to Wildes quote in regard to a females place in society, it is huge contradiction, should homosexuals be treated in the same way as women by victorian standards and in some cases be a figure of ridicule and somewhat uninteresting. The comparisons between homosexuals and females, relates to the recent patterns in printed media with straight women becoming more interested in some of the homosexual publications and homosexuals are crossing over into female demographically aimed publications a lot of individuals surveyed read publications such as Cosmopolitan, Vogue, Heat and More. Cole (Don We Now Our Gay Apparel) Being effeminate was a way into the gay lifestyle, most would embrace the style and later reject it becoming a ‘fairy’ was the first step in making sense of their sexuality and from that point onward individuals could reconstructed their own image.

8

ALEXANDER MCQUEEN, FASHION DESIGNER

The ‘screaming queen’ the most seen manifestation of the gay subculture.

As a visual statement, this image makes the homosexual subculture more identifiable as a group. The ‘recognisable’ overly camp homosexual was in no way seen as sexually attractive, however he was useful. It was very difficult to meet other homosexuals in society and the ‘screaming queen’ stereotype with in a group would signify to other groups, that there were other homosexuals in the area. In other circles red neck ties were used to distinguish homosexuals ‘our ties speak a language’ this idea was later adapted into what today is commonly called a ‘hanky code’ in which different colours dictate the wearers preference. This practice is dominant in casual gay sex and present leather gay subculture. The red neck ties lost relevance before World War Two and is no longer a recognised sign.

In history the conventionally dressed gay men had a strong opinion when it came to the stereotype it appeared they were overly displeased with the stereotype and believed they were given a bad name in society.

As time went on stricter approaches were taken towards the subculture, in 1923 New York a piece of legislation was passed which meant men could be arrested degeneracy, for wearing womens clothing or drag acts.

With that in mind fashion peaked with interest as style became both rebellious and dangerous. From this grew the idea of dressing up for shock value and around the 1970s dressing in a more feminine way became very political as a statement, as male fashion by that times standard becoming more and more conservative. It was not to endorse the regular conventions of stereotypical gay fashion. It was done to to express how being a male homosexual should be allowed outside the confides of normal society.

The stigma of being identified still hungover the conservative homosexual sector and various communities within, having been fighting against the effeminate image it seemed unfair that they should fall into the same category these men would not have been classed as fairies but would still be considered homosexuals through their sexual preferences not the way they act in society everyday.

“I AM ALWAYS WONDERING WHAT’S NEXT”

10

CHAPTER TWO

COMTEMPORARY

MAGAZINES GENTLEMANS QUARTERLY GAY TIMES ATTITUDE

LIFE IN PRINT WITHOUT THE COLOUR

COLE MOEHR, MARC JACOBS 2009

Nixon (Hard Looks), endorses the idea of a more style conscious male.

Referring to his theory the ‘new man’ the new man was an evolving male style orientated market base, which began to emerge in the early 1980’s and was integrated within the advertising process from then onwards.

This new consumer type consisted of men who had a slightly more feminine approach to male cosmetics and fashionable iconography, individuals in the subculture are keen with being both highly ‘on trend’ and immaculately presented. This theory has limitations as mentioned, before the contemporary homosexual male is out in everyday life however a singular image is not able to address the whole subculture as there has been no singular image in marketing which has appealed to every homosexual male. In order to market anything there must be a clear sense of both client and product and the clients marketing ideas must be incorporated Hence the amount of seminaked men.

In recent publications a contributor for Attitude, Joe Stone wrote that ‘being gay allows you to be the architect of your own life style’ this statement has never been truer with contemporary standards.

An average gay male now has both political and financial power being perceived as a niche untapped resource, the image of a white male is still seen as the strongest position of power in the western world. For the contemporary homosexuals they can have that image and respect without the dated label of ‘screaming queen’ (in conjunction with less stereotypical gay behaviour) this is due to the evolving post modern standard becoming more acceptable towards closeted sexualities.

An example of such is that forty percent of adoption and fostering was carried out by gay/lesbian couples or single gay parent in 2010.

This alters the structure of the traditional family which in some peoples opinion threatens certain family values. With regard to the more feminine acting homosexual this means an individual can have the respect of a power image male, and still have a materialistic view associated more associated with female consumers.

DIOR MENSWEAR 2010

MARC JACOBS, HAS MEN WEARING WOMENS CLOTHES. LOUIS VUITTON, PROMOTE MEN CARRYING PURSES. JEAN PAUL GAULTIER, SELLS MAKE UP FOR MEN. TOPMAN, DICTATES MALE CLEAVAGE IS IN

Most homosexual magazines express the importance of iconography and the crucial role of fashion within society in kitsch manner. Where more traditionally masculine lifestyle magazines such as GQ make the fashion seem to promote a luxury to the wealthier class, rather than enrich the lifestyle of an urban everyday stereotypical homosexuals lifestyle.

More expensive pieces of fashion and lifestyle iconography feature in GQ as they have a target demographic is of a higher class and wealthier. Pieces ranging up to thousands in price featured in Gentleman’s Quarterly, and from more higher end brand designers: Prada, Jill Sander or Tom Ford, all the big names in the fashion world.

Attitude however, is much more ‘on trend’ featuring designs aimed at a significantly younger urban demographic. Mostly highstreet fashion such as Topman, H&M or Asos are involved with advertising and features, with the occasional piece from quirkier designers Alexander McQueen and Dolce and Gabbana for examole, both fresh young brands which appeal to young people through bright visuals and trendy imagery whihc is on the pulse.

The demographic following of the brands feature in conjunction with advertising within printed media, relates to how well the magazine circulates and sells. With a much more loyal demographic, backing a monthly publication it grows larger and with an increased budget and profit more brands will advertise to be seen fresh, powerful and on trend.

Reigniting the desire to purchase products and reinvent a brand image to evolve into a young, urban or luxury, wealthy demographic.

14

LOUIS VUITTON IT IS NOT A BAG IT IS A STATUS SYMBOL

(

)

A bag is no longer just a bag, but has it ever been just a bag, Really?

The idea of labels on individuals comes from the labels on clothing and fashion iconography. The idea is not all together to stretched but is accurate due to general assumptions upon the idea of expressing an idea of inner self upon the outside, Printed media establishes what people want and what people become through branding, a removable tattoo or a chalkboard of an identity.

16

With the ideas of different consumer types these lifestyle magazine must have something consistent to distinguish them from other monthly glossy publications and periodicals.

Gentleman’s Quarterly is much thicker publications with a range of aspects such as cooking, fashion, sex, celebrities and politics (generally American). It is also fairly shinier than other publications through visual code it seems much more visually rich, shiny and coveted through these codes and conventions of magazines. Using high class full bleed evocative photography of models and icons ranging from Kate Moss to Russell Crowe, shot with perfect lighting and airbrushed to the point of being associated with more popular female aimed magazines. A common misconception is that the reality of body image is even more warped towards men. In conjunction to the the 2003 GQ scandal featuring an outraged Kate Winslet over her photoshopped cover. Kate released this statement in regard to the images “I was pretty proud of how my legs actually looked in the real picture, I have Polaroids from the shoot and I thought I looked fine.” most male magazines as such have more coherent sense of dialect when it involves selling a false, more glorified image in order to give an idea of perfection. Men in every aspect desire bigger and better everything. They love to indulge in the fantasy of being ideally perfect, a better class of life is a prime example.

KATE WINSLET, GQ 2003

ONLY 10% OF GAY MEN READ GAY TIMES

“I WAS PRETTY PROUD OF HOW MY LEGS ACTUALLY LOOKED IN THE REAL PICTURE, I HAVE POLAROIDS FROM THE SHOOT AND I THOUGHT I LOOKED FINE.” - KATE WINSLET

The male orientated publishing industry feeds on their male jealousy and the competition to be the best through purchasing these magazines the consumer feels consistantly closer to the deceptive image of ‘reality’ and believe that it can actually be achieved in real life.

From a semiotic approach the typefaces used on GQ covers all feature small serifs pieces (a small feature in design with in some respects slightly mimics the male reproduction parts and are considered more decorative and elaborate compared to sans serif typefaces) in some respects the typefaces used are a more masculine larger adaptation of the typeface used on the cover of Vogue, without the thinned down vertical lines and more femininely enhanced body stylised curves on some letter forms.

The colours used also have a mature characteristics about them, which are not so bright or garish but more rich and comfortable to the eye with a level of maturity which relates to the older wealthier demographic to which GQ aim to draw in through image.

As such a conclusion is drawn that the consumer who read these publications are more deluded to reality and are using publications as an escape or have the substantial funds to support a lifestyle. With this conclusion comes a limitation not every male lifestyle magazine was researched in depth. Only a cross section of fashion and contemporary urban lifestyle magazines were monitored. The entire scope of what a heterosexual or non-stereotypical homosexual reads can only be validated through what has been proven that in my surveys not all gay men surveyed read Attitude but it was the most popular with in the recorded findings. However some magazines read by the homosexuals that did not accept the publication stereotypes, variations ranged through NME, Creative Review, Empire and for the more rural homosexual Land Rover Monthly.

The findiings Prove that the gay stereotype is not always correct with its assumption of a kitsch subculture society, which has been present throughout history and remains dominant in the research, as ten percent of the homosexual males surveyed read the larger more established heterosexual based mens lifestyle magazine (GQ) in comparison to the other publications recorded results the same amount of men that read GQ also read female orientated pieces More and Heat are prime examples. Ten percent of people surveyed also read Gay Times a longer established but a less popular magazine in relation to Attitude magazine, in comparison to visual dynamics and recent features.

This establishes the above statement of Joe Stone that the contemporary homosexual can be the architect of his own life and as such can read any published aspects a plethora of subjects no matter which target audience the publishers wish to appeal to generally, there will always be extraneous variables as subculture can very rarely be typecast through a traditional standard or rounded into a singular pen.

18

ELLIOT TITTENSOR, ATTITUDE JANUARY 2010

DAVID CAMERON, ATTITUDE MARCH 2010

NO ONE REALLY NOTICED THE EXCLUSIVE,

EVERYONE NOTICED THAT BULGE.

RUPERT GRINT, ATTITUDE JULY 2011

DANIEL RADCLIFFE, ATTITUDE MARCH 2012

STEPHEN FRY, ATTITUDE NOVEMBER 2010

DANIEL RADCLIFFE, ATTIYTUDE APRIL 2009

Attitude (launched in 1994) was the most popular publication read by the survey sample, 38% percent in total. Attitude is now boasting the fact that they are the ‘UKs best-selling and award winning Gay magazine’ and is very different from many of the publications on the newstand through both content and media codes. Indepth research into Attitude’s historical context shows a broad area of varying cover stars models altering with trends.

Politician such as David Cameron (March 2010) and Tony Blair (April 2005), actors like Rupert Grint (July 2011) and Daniel Radcliffe (August 2009 and again in March 2012) also recognisable contemporary icons in gay society such as Will Young (November 2009) Stephen Fry (November 2010) and even recently out Ricky Martin (January 2011).

The mentioned icons mixed with the racier covers of men with bulging muscles wearing very few clothes, appeals to the mass subculture through diffferent ideas: politics, entertainment and sexual cognitive mechanisms. One single image does not appeal to everyone in a demographic, but with issues on sale monthly and a hype pushed through internet based advertising and forums such as Twitter, excitement builds fast and furious.

Online publications are downloaded more with the release of the apple iPads and kindles, while issues sell steadily off the shelves. Sometimes a powerful images can work too well, With reference to the Cameron and Blair issues, when it came to the exclusive interview with Gordon Brown his face was not on the cover. The face and body of Elliot Tittensor proved a far more powerful cover. As a consumer in my opinion the image blind sighted other consumers and although the political feature had the largest type on the page, it was not visible compared to the main cover image.

The content of Attitude varies from GQ but only in the slightest of cultural ways and slight variations. Attitude lists more relatable aspects of an urban homosexual lifestyle and also a very nice combination of culture such as gay literature, art exhibitions and films.

This merged with lifestyle advice, sex tips and fashion advice and shoots reflects aspects of a high end fashion publication similar GQ or i-D while still having the humanity and quirk of a journalistic publication. The colour of Attitude’s covers vary but remain fresh and clean for the majority of issues (both the Blair and Cameron covers appear quite dull and boring in relation to what is generally printed) keeping on trend with the young zeit geist following urban events and information. This month a bold mustard yellow with contrasting blue and white aspects. With each issue there is a certain theme and feel and through the colours the cover expresses an idea more coherently and instantaneously than with words.

POLITICAL ISSUES SICKEN ME

AS A HUMAN AND A HOMOSEXUAL

20

JAMES LOCK CAP, £99

SHIRT, £230 BUDD TIE, £32.50

BERRETTA SHOT GUN, £11,160

CARTRIDGE BAG, £300

BANG!

HUNTER WELLINGTONS, £85

The piecess featured with in different publications can sometimes have a wide cultural boundary between them, GQ featured an evocative piece called ‘Gun Club How to get a killer look out in the field’ featured in November 2009 even the diction used suggests heterosexual aspects words such as ‘gun’ and ‘field’ instantly make an assumption to the heterosexual rural stereotype. The visual impact of the pieces are expressing quite rural iconography and the traditional masculine idea of the primal hunter gatherer, the rural ideas creates a more shocking impact upon the consumer. Earthy emerald green, faded beige and brown leathery colours dictate a simple country feel but the feature spread still exudes the idea of expense and luxury through fabric and rich patterns. The model featured, wearing a tweed jacket and checkered pants with a bold red tie to contrast with subtle hues.

Hardly a contemporary urban standard of dress but the footwear featured are Hunter wellingtons retailing at eighty-five pounds a pair and not traditionally country. Common sense dictates very sternly that a farmer would not pay that amount for a pair of shoes.

Another prime feature that dominates the spread is the shot gun, hanging phallically over a crooked arm, this suggests masculine ideas of asserting dominance through very basic and mindless violence.

There is also the age old cliche that an individual is over compensating with a sizable weapon to make up for sexual or physical short comings.

The whole feature is testosterone fueled and ofcourse really hedonistic.

The most expensive piece featured is the shot gun which retails at a rich eleven thousand one hundred and sixty pounds. These items are not common among the lower class or even the consumers emulated within the feature, however this is not appealing to nonexistent market, the urban leisure class have often indulged in rural activities including clay pigeon shoot and horse back riding in fields as a way to escape or have a simpler more rustic idea of fun in the appropriate attire.

FARMERS DO NOT WEAR

PRADA!

22

ICONOGRAPHY

In contrast to GQ, Attitude published a similar spread of what to wear, a piece entitled ‘Parisian Getaway’ (featured in the February 2011 issue) instantly linked to a more educated, informed romanced piece being the February issue and contains an amount of seasonal connotations that comes with St Valentine’s day. The visuals are strikingly different in that there is no model featured, the pieces rely heavily on visual appeal, labels featured along side the use of colour to captivate consumers.

The backdrop is instantaneously noticable as overtly kitsch a block of colour shade of bubblegum pink. Playfully young yet relative to the romantic theme, contrasting with the range of blues, whites and grays.

Central in the spread, is the most stereotypically french item the blue and white striped shirt giving a the layout a main focal point and a contextual reference to France. The products are laid out cleanly and precisely emulating the displays in high street shops it looks so enticing and effective in making a consumer want the products.

The eyes are drawn to smaller details on aftershave and the underwear continues the theme of french stripes and leads to the smaller more affordable products which consumers can afford on an everyday shopping trip in many urban based areas.

The most expensive piece of clothing featured in this spread is a YMC jacket two hundred and fifty pounds, which is a total difference of over ten thousand pounds compared to products advertised in GQ. Attitude also advertise accessories, key pieces in defining an outfit.

Attitude do promotes some expensive pieces for and example is the four hundred and twenty nine pound bag featured in the April 2011 issue but nothing as excessive as an eleven thousand pound shot gun.

ATTITUDE, JUNE 2011

FAKE

IDEAL

SEX ISSUE, WALLPAPER*

REALITY&EVERDAY It seems Attitude remains the more finically sensible of the publications, with only the meek rare extravagance one piecs such as a tote or jacket.

In contrast to GQ which promote extravagances for the wealthier people of leisure class. A prediction in conjunction with the research shows that with a loyal readership Attitude has four times the readers of GQ. It is a scope theory that this is because Attitude is a little less expensive, but it also offers a wider scope into what is happening in certain areas, how to deal with issues, new media avaliable, reviews and has a more humanistic urban language which appeals to a young demographic.

While showcasing piece that the general public can afford.

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CAMPER HOW IRONIC

CAMPER HOW IRONIC CAMPER HOW IRONIC To compare the UnitedKingdoms most prominent gay lifestyle magazines seems fruitless.

Attitude boasts being the best selling gay magazine and Gay Times boasts the one longest running gay magazine (founded in1984). The surveys and polls with in the research proved that Gay Times was one of the least read publications scoring below six percent readership and proving that a variety of homosexual consumers indulged by read the heavily female orientated Cosmopolitan. By all reasonable logic and rationality Gay Times should be the better selling publication having been on the news stands a decade before Attitude thus having accumulated a better scope catering to the evolving homosexual consumer needs, by being on trend with the recent contemporary market.

From a critical design angle it is simple to see which piece is more stimulating.

Note the cover, the pinnacle of selling as it is the first insight of what to expect from any in touch lifestyle publication. The backlog of Attitude issues have an array of bold , fun, colourful and sexual pieces with film stars, politicians and important figures from gay communities on the various covers. Gay Times in comparison to Attitude seems to lack any kind of luster of the contemporary media. The colours are very transitional and dirty, the gradient used upon some type looks cheap and very unattractive from a design aspect.

The typefaces used has become dated and chunky, in contrast Attitude have creative flare with hand typography and a bold tall modern sans serif is also featured on their covers.

The cover stars for Gay Times also lack the sex appeal of its other rival publications, they all come up slightly short in relation. All seem jaded, startled or slightly rundown, covers feature individuals from reality television and musicians upon the edge of obscurity.

These figures do not expressly inspire purchases of this publications, nor do they inspire brands to advertise within its content as sales would not be evoked from consumers who are under stimulated and even bored in some if not most cases.

Contextually the diction is similar and the products remain in the same price range.

The presentation of products in a very tasteless or crude manner. As mentioned earlier, with the Attitude ‘Parisian Getaway’ feature items were placed neatly at perfect straight angles and with the larger expensive items featured centrally, so they are the most visible to the eye primarily. This is a marketing strategy based on a similar triangle structure (placing the larger more expensive objects in the centre of a structure and smaller less expensive objects around them in height order. causing the eye to then be drawn upwards to the more expensive pieces if not already there) Gay Times places objects on a spreads as if it were an untidy bedroom floor, with items in no apparent order and at jaunty angles and altered scales. It becomes so busy and less of an emulated neat expensive store display and more of a bargain basement floor pile. It seems simple to suggest that by engaging some effective design factors and a fresh more recent perspective a publication could increase circulation positively for the foreseeable future.

CAMPER SHOES ADVERT, 2008

(

Iconography is now seen as a weapon in mass contemporary culture, a jumper with a nice label will trump a sweater so warm it has a togg count or is naturally comfortable. Bags might as well have huge spikes as they are paraded around and swung like maces to prove a point.

In the last few years even men are embracing the idea of male purses also known as man bags or murses, do not confuse with male nurses.

) 26

CHAPTER

THREE

SEX

MASCULINITY&SPENDING

WORDS BEFORE WEINER Sexual promiscuity within the advertising world has been present In print since the early 1940s and since that decade every new ad campaign has been pushing the boundaries of what is sexy and what is acceptable. Andy Warhol quoted that ‘art is what you can get away with’ but is advertising art or muted pornography. The sexual open opinion of the printed world began around 1943 with American Vogue having Alexander Liberman as its art director.

In the role he employed young bright photographers who worked on the post-war images for the magazine. This introduced/caused sexual flirtation between models. Sex had always been associated with fashion, but after 1945 it became a form of iconography to show sexual chemistry between models and the impacted evolved into a more relaxed view on sex amongst a young demographic.

An uproar within fashion advertising came from designer Marc Jacobs and his adverts for his new female fragrance Lola, For his campaign he had chosen Dakota Fanning as his new model.

However Fanning was only seventeen at the time and even though the images were not overly sexualised the positioning of the bottle between the models open legs and the tagline ‘Oh Lola’ lead to The adverts being removed. In regard to Nixons ‘new man’ idea there was a launch of new youth culture magazines in the 1980’s which latched on to the male consumer issues.

These publications departed from the view of traditional masculinity that was promoted through pin up magazines such as Man About Town (launched 1953) was an effective consumer device for the male demographic of the era who were interested in fashion, the arts and politics as apposed to simple sexual pieces. However as mentioned prior, with photographic images they are designed to represent a glorified reality, even if the photograph is untrue.

Certain semiotic aspects enhance the piece to make it more real.

Barthes refers to this as the ‘photographic message’ however in the same essay he expresses the idea that photographs only depict what is there and exists. With contemporary skills with photoshop and a plethora of lighting skills it is a simple assumption to make that the paradox not longer exists. However is ruled out through more creative and elaborate shoots, combined with various software retouching, removing the sense of reality and humanity from the photographic image and leaving the consumer with a false not achievable visual which they have no possible way of living up to within recent contemporary society.

GARETH THOMAS, ATTITUDE SEPTEMBER 2009

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High end underwear Brands such as Calvin Klein, Diesel and D&G use the male body image in heightened ways to sell their products.

The stereotypical muscular masculine frame of a well toned man is the most revered body type above all others. This image often substitutes the integral substance of a published feature or spread by being overly shocking or visually arousing and drawing any focus away from the ethical point of advertising. The models featured in such spreads have been placed mainly among a gay demographic on covers such as Attitude and Gay Times to increase sales.

The models represent the ideas of lustre and attraction, personal fitness goals with lifestyle achievement through generic image projection of how society perceives beauty. In my research file a field experiment was carried involving underwear adverts viewed in both the heterosexual and homosexual aimed media.

The gay subjects being exposed to high end underwear advertising in gay publications, compared to the traditional gay male stereotype and the limited print that they view and then results were analysed and recorded as follows. The most prominent brand in mens luxury underwear would be Calvin Klein having the most advertising dollars to use to expand featuring designs on famous male bodies with a variety of appealing personalities and a mixture of male body forms.

Including singer from popular bands, models or actors strategically used to engage with an audience with the popular body image, however false that image is. This leads consumers to believe that they too may look attractive in an expensive pair of briefs.

The findings across the geographical spectrum recorded that gays in accordance with stereotypical spending patterns of their subculture, spent more money on underwear than the heterosexual male culture. The the gay individuals questioned said they needed them as a ‘necessary’ purchase, and with them felt more confident and sexually attractive in the newer more expensive pair of briefs.

The interviewed heterosexuals did not have any strong feelings towards underwear or clothing iconography in general due to the mass culture of shopping for comfort. The concept of buying what is expressly affordable and not coveted.

MULBERRY BAG, ÂŁ350

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IS IT ART?

Historically, some pieces of fashion advertising featured male body builder models.

The idea of body building became more of an accepted lifestyle and around 1984 magazines featured adverts with muscular models and they were being aimed at heterosexual and homosexual male consumers. This holds contemporary validity to a variable found in my research which showed one heterosexual subject indulged in expensive Emporio Armani underwear this was nothing to do with cost or design iconography but in relation to the model but in an obvious nonsexual aspect.

This refers to David Beckham, featured in a campaign for Armani, Beckhams celebrity influence was used to secure a higher amount of consumers for this global brand.

Armani could not exactly choose a man who could not be globally recognised and therefor went and sought out possibly the most recognised sporting personality in order for their brand to be seen as acceptable fashion iconography for the people in higher class of consumers, the idea that if it is good enough for Davis Beckham and his perfect body then it seems almost a little to good for regular everyday men.

The male phallic body image is still regarded as quite a fascist image of power and in some respects has been related to Nazism, in relation to a glorified race of perfection and a larger ‘super race’ Allen Klein has argued that both narcism and fascism are isologous concepts, male body image in industries such as body building/modelling.

In recent years there has been recent break through with advertising on the recent contemporary high street Anne Summers (the local female and gay orientated sex shop) has recently present a size sixteen as the companies face and British designers such as Vivienne Westwood are featuring models who are large, hairy and untoned males (featured in her autumn pre-fall collection 2008) Attitude also took a braver approach featuring a well built hairy male on the cover, rugby player Ben Cohen (Attitude, October 2009) both ideals showing a diverse demographic of body shapes and a range of different sex appeals available. This in time would lead to the dated perception of the 1980s fascist narcissistic male body form to become irrelevant and become reworked to a contemporary attainable standard idea of attraction.

A previous statement cracks this utopian idea in half. Men indulge in the fantasy and may reject the idea of reality in printed media, causing constant pressure upon publishers to keep photoshopping and promoting an unreal image of body perception towards the masses which is slightly destroying in comparison of journalistic integrity but the consumers who are passionate about and indulge in printed contemporary culture it is what they must endure for the foreseeable future.

Sex is the most vital part of a human life as such publications often feature sex tip, sex sections and obvious sexual photoshoots. The average male needs sex, deviation of sexual acts have proven to lead to dangerous personality disorders, mental dysfunctions or even psychological issues that can result in ill social actions.

By flaunting an image that boast extreme sexuality to the mass market while baring in mind that no one image can appeal to a demographic. A fairly recent art exhibition featured in Wallpaper* magazine (July 2009) showecased artist Robbie Copper’s collection of pictures taken at the moment his subjects had reached climax.

He also recorded the time elapsed until orgasm and what they were watching, the images were provocative but the expressions pulled are elongated and grotesque as opposed to the contemporary glorified image of climax. From this piece a whole misconception of how to perform sexual can occur especial in male based society.

It becomes rather more complicated by what society dictates is sexy, when it is not real sex, nor is always attractive to an individual, due to personal preference and character but there are simpler ways of implying sex. The semiotics of contemporary adverts hold interesting codes and symbols that appeal to a recent consumer.

IS IT PORN?

34

THE PERFECT BODY...

WHAT IS IT? Some feature articles in Attitude show wide of contrasting views on sexual behaviour.

Articles mentioning such ideas as the terrors of intercourse ‘The Joy Of Bad Sex’ (September 2009, issue 183) taking stories from real people and the mass public.

Or having a feature piece dedicated to the image of Ewan Mcgregor’s genitals (May 2011, issue 204) which strikes a contrast of opinions. One real the other one screen and superficial. Strengthening my conclusion that sex is glorified not only in images but through the more detailed written word, but underneath a humanised truth.

Examples of glorified images include any sexual charged publication cover, the aptly named ‘naked issue’ (Attitude May 2011, issue 204) portrays the cast of popular boy band Blue in very few clothing, all models are stereotypically fascist, narcissistic and masculine in accordance with Kleins theory of society’s revered preferred male form. The inked body parts spark a tribal, early man aspect of hunter gatherer further endorsing the rooted masculine stereotype of traditional men.

The models are oiled and toned reminiscent of the photographic imagery of men in the early 1980s. The colours used on the text and within the foreground are overtly kitsch but somehow soften the masculine forms in quite a feminine way, in spite of the boldness. The colour also makes the sculpturesque bodies seem less foreboding and more human. On the whole the visuals exude the idea of seduction through eye contact and gestures towards and the concealing of their genitals.

In contrast to the cover, this image was taken from an interview with the pornstar Matt Hughes (Attitude, issue 183, September 2009) who can get an impressive eleven inch erection. Note the simplicity yet severity of the photography with the black and white effect in an attempt to seem artistic, has only hardened features and made the definition higher and more detailed. The skin, scrotum and veins all contrast droopily to the clean cut fabric of the models trousers, making the already undesirable yet large genitals seem even more untidy and scary.

This is a total disrepute to the more glorified male body forms featured upon the naked issue cover. Scarcely any copies of a sex issue would sell if this image was on a front cover, due to both its vulgarity and the connotations of age and lifelessness symbolised with the dropping downward angle. To conclude sexualised images in the media are generally false and yet still present through a dated preconception formed around the Grecian male body image of perfection, this stems from sculptures and art of that era. The reality of real sex is disappointing in comparison to the fake glorified image presented through magazines in order to sell the idea of a ‘better’ quality of life and the idea of becoming a part of that perfect sexual image is what sells a publication in the United Kingdom and the world over.

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THECLOSE

CHAPTER FOUR

The effects magazines have on a homosexual lifestyle to date can be seen as both positive and negative. From a negative perspective the publishing industry is no longer ecologically viable as people do not recycle older publications, and some are overly expensive through the printing process. They can also be downloaded to iPads or kindle.

However in relation to lifestyle these aspects are of little importance, the environment is not a priority to the mass majority. It is my opinion, that the main problem presented through a magazine would be the unrealistic images on display to the public, these false images can cause ill health, body dysmorphia or worse conditions, eating disorders.

The Adobe software of photoshop has had an global impact on publish allowing every fault to me smoothed over and toned.

Changing the way consumers view the phallic male body from what it is in reality and heightening it through the fascist stereotype and an ancient ideology. This image builds on insecurities and has been breeding a gym obsessed society, increasingly more and more so through a contemporary culture obsessed with personal image.

The body image shown in American publications are genuinely false, exposing as small section of ‘beautiful’ people to mass society. When the vast majority of American society are obese, and all other weight related issues are more dominant than in the United Kingdom.

Surveyed gay men were asked where there favourite place was to eat lunch, over a third recorded that they did not any eat lunch, showing that bad habits are occurring in a contemporary society and leading to an unhealthy relationship with food. Publications also feature dated untrue stereotypes and endorse them to sell a printed product, this is most common in gay lifestyle magazines. Some portraits of the recent homosexual are vastly untrue and based on a rare individual in society or historical aspects rather than what is present in society, creating untrue expectations of flamboyance and questioning about an individuals role in contemporary society.

ONE THIRD OF GAY MEN DO NOT EAT LUNCH 38

Magazines can also lead to a lifestyle of credit cards and debt through impulse buying and generic dictation of what a consumer ‘needs’ or must have. As part of my research survey a poll was taken as to how much an outfit of a contemporary homosexual male costs.

The lowest prices was five pounds, who had completed the survey in his pajamas bottoms and the most expensive outfit was from an Irish student who also worked part time and his outfit cost nine hundred an forty eight pounds which is quite a financial difference.

The student was exposed to more high street fashion given an urban city centre location, and with a disposable income and loan which he could use as he desired, mostly fashion purchasing and indulging in Vogue/Attitude. The hair stylist was nowhere near as exposed to contemporary culture and the within the printed media only read Heat. Proving that the magazine industry does considerable boost public spending to those in an urban sector to those with the available finicial funds.

The positives, include day to day happiness the idea of looking good in relation to day to day happiness showed very positive correlation.

The research shows that with people looking fashionable or attractive and being greeted by other desirable members of society a fashion conscious males everyday life is enhanced. On average participants scoring out of ten the numbers aligned closely. The found results also relates to the amount of times an individual shops for recreation, more shopping trips proved to evoke imidiate happiness with certain homosexual individuals. The magazine industry may lower self worth but it it is increasing finances and is contributing to society by helping the United Kingdom out of recession, through raising peoples desire to spend more money. Printed media personify a glorified lifestyle through glossy pages that offer an escape, in particular to the homosexuals and male consumer is crucial in order to avoid a sometimes harsh reality, perhaps the future of magazines is unclear with new media, but they have had a significant impact on contemporary society.

By opening to a niche market of style conscious males a more diverse society has allowed different subcultures to show a plethora of personalities and not be a subject of ridicule and deep repression.

With the subtle codes within the printed media and its guidance within the United Kingdom prejudice could become a lesser issue towards various subcultures, constructing an end to stunted hatred.

If only people were not so obsessed with worshipping a false image of perfection shown by the media and saw what was real in the world.

The next logical moral step for lifestyle publications would be fashion for all body types, not just those who so are perceived as attractive figures in the public sector. This could open a wider concept of what is beautiful, or what is deemed on trend in society. This idea would apply to everyone so that no one person could singled out asugly. Making sure no one person is alienated through popular appearance and style and making the world a better and establishing a more unbiased view on social fashionable appearance.

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