Scout magazine report by Rose Lewis

ROSE LEWIS N0383955 FASH30002 5, 492 WORDS

01 02 03 04 05 06 07 08 09 10 11 12 13 14 15 16

THE GLORIFICATION OF YOUTH //03 THE YOUTHFUL ELITE //05 APATHETIC AGEISM //09 RE-IMAGINING YOUTHFULNESS //13 THE POTENTIAL OF PRINT //17 THE SCOUT MANIFESTO //19 THE FEATURES //23 THE JOURNALISTIC STYLE //27 THE DESIGN EQUATION //31 THE IMAGERY //33 THE TYPOGRAPHIC ELEMENTS //39 THE SCOUT READER //43 DISTRIBUTIONAL DECISIONS //51 THE PRICE TO PAY //53 PLANS FOR PROMOTION //55 THE FUTURE OF SCOUT //65

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his world demands the qualities of youth; not a time of life but a state of mind, a temper of the will, a quality of the imagination, a predominance of courage over timidity, of the appetite for adventure over the life of ease. (Robert F. Kennedy, 1966) Proclaimed during his Day of Affirmation speech in 1966, Robert Kennedy’s poignant words on the subject of youth carry a great deal of pertinence in the present day. Delivered to the young people of South Africa, the politician urged citizens to strive for a youthful state of mind in the face of the conflict and struggles provoking our world. In contrasting youthfulness with the severity of warfare, Kennedy underlined the significance of retaining a fresh, courageous perspective on life. Now more than ever, anyone and everyone desire youthfulness. Kennedy implied youth to be more about attitude than age, inferring that it could therefore become a homogenous concept adopted by all ages. Across the globe, more and more people are opting to ‘prolong’ their youth in the sense of delaying the traditional milestones of adulthood. 31% of 18-24 year olds in 2010 postponed either getting married or having a baby (Taylor, P., 2012).

This illustrates the prominent societal shift in older generations effectively feeling ‘younger’ for longer, choosing to embark on adventures rather than becoming resigned creatures of habit. However, images prevalent in the media of ‘idealistic’ representations of youth have meant that youthfulness is increasingly synonymous with age. As author Gill Jones outlines in Youth, ‘in the consumer society, youth is increasingly branded and commodified and marketed, such as the preoccupation with youth as beauty and fitness’ (Jones, G., 2009.) The multitude of anti-ageing products relentlessly advertised to older ages largely equates youth with an unachievable form of beauty. By solely associating youthfulness with age and appearance, the media are in turn feeding the moral panic of an unsuspecting ageing population. Considering this, the following body of research will aim to unearth the true meaning and appeal of youth in the modern day, as well as the negative representations of ageing that have stemmed from the obsessiveness of staying young. The study will ultimately question whether the idea of ‘youthfulness’ should encompass all ages, which would thus necessitate behavior change from the media in implementing this attitude.

Fig 1. Lewis, R., 2014. Word diagram presenting survey participants’ views on youthfulness [infographic].

The notion of ‘youthfulness’ is an ambiguous one, devoid of clear denotations. However, an analysis of its defining attributes was necessary in unearthing its appeal. An online questionnaire undertook by participants varying broadly in age allowed for an insightful view of the ways in which people perceive the latter concept. Figure 1 displays several interpretations of ‘youthfulness’, gathered from questionnaire respondents (Lewis, R., 2014c). Explanations were generally positive, whereby people deemed youthfulness as being ‘free from responsibility’, as well as signifying ‘blissful naivety’. Other associations included words such as ‘optimism’, ‘energy’, ‘possibility’ and ‘rebellion’. This demonstrates the professed enthusiasm of many when comprehended with youthfulness as a concept.

In further understanding the general attitudes held towards the term, a street survey was conducted (Lewis, R., 2014a); here, members of the general public were asked to write words or phrases that they felt associated with youthfulness. Again, descriptions connecting to adventure and spirit were given, as well as phrases that identified youth with age. Figure 2 shows a participants response, whereby he has written ‘enjoy youth; you never get it back’. This indicates a common viewpoint of many; that youth, and its many connotations, are only obtainable to young ages. ‘Youthfulness conveys qualities, such as strength, beauty, idealism and energy, which are seen as desirable and coveted by older age groups’ (Jones, G., 2009.) Here, Gill Jones comments further on the ways in which older people can idealize youthfulness. As presented in Figure 2, the elderly often express nostalgia and wistfulness at the subject of youth, which is largely being seen as an out of reach concept for them.

Fig 2. Lewis, R., 2014. Street survey participant visualisation [photographs/graphics]

This idea is mostly propaganda, of course. True, adulthood demands a certain degree of responsibility; however, aspects such as optimism, adventure and energy that encompass ‘youthfulness’ can be exerted at any age. Given this, who can be to blame for the misleading elitism of youthfulness? Psychologist Guy Robertson believes the media have a strong part to play. In discussing this issue with Robertson, manager of the Positive Ageing Association, he explained: ‘A lot of our cultural attitudes are determined by the media, and the media really celebrates and promotes young people.’ (Robertson, G., 2014.) A myriad of media forms advertise the beauty of ‘staying young’ on a regular basis, whether they are print, radio or television based. This has resulted in somewhat glorified beliefs held by the general public regarding what it means to be youthful. Nonetheless, there is no denying that youthfulness brings with it an appetite for undaunted possibility. The trend forecasting report ‘Youth Mode’ accurately described this disposition, ‘Youth isn’t freedom in any political sense. It’s emancipation from boredom, from prescription, from tradition.’ (K HOLE, 2013) With the positive associations of youthfulness apparent to many, people are increasingly deciding to retain qualities of youth by delaying being a ‘grown-up’ in the traditional sense of the word. This can be age dependent; what might signify maturity to a 20 year old will doubtless be different to that of someone approaching their forties. ‘Even if some traditional milestones are never reached, one thing is clear: Getting to what we would generally call adulthood is happening later than ever.’ (Henig, R.M., 2010)

Writing for the New York Times, here Robert Henig discusses the ways in which established indicators of becoming an ‘adult’ are disbanding. This is especially pertinent for 20-somethings. Having recently endured a crunching recession, UK Millennials are growing up in a notably unstable economic climate. This frugal landscape has meant that finding work has never been harder for fresh graduates. Unlike their Generation X predecessors, the Generation Y cohort will resultantly be reaching adult markers such as house-buying much later in life. As outlined in the journal Constructing Adulthood in an Age of Uncertainty, ‘The stable employment, social protections, and strictly divided masculine and feminine spheres of life upon which traditional adult milestones depended are dissolving’ (Silva, J.M., 2012) Given this, it is hardly surprising that those in their late teens and early twenties are preserving youthfulness in the sense of travelling, forging exiting adventures and experiences. Henig deliberates this further, asking: ‘With life spans stretching into the ninth decade, is it better for young people to experiment in their 20s before making choices they’ll have to live with for more than half a century?’ (Henig, R.M., 2010) The character building nature of experimentation is arguably just as valuable, if not more so, as progressing in ones career. Journalist Jessica Stillman reflects on this, stating, ‘What if we instead define adulthood as figuring out your purpose in life? Then Gen Y is way ahead of the game.’ (Stillman, J., 2010.)

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THESE FLAT-AGERS ARE STARTING NEW BUSINESSES, EMBRACING SINGLE LIFE AND SWANNING OFF INTO THE SUNSET- OR TO A LOCAL RAVE. CALL THEM ANYTHING, JUST DON’T CALL THEM OLD THE FUTURE LABORATORY, 2014

Similarly to young people’s sustaining of youthful qualities, older generations are progressively feeling vigorous, with global longevity at an all time high. Expressed in the Future Laboratory’s ‘Polarity Paradox’ trend briefing: One of the most seismic, impactful demographic global shifts is under way. In this decade, the global population of elderly consumers is set to swell by 200m, and is expected to reach 2bn by 2050… Members of this powerful consumer group – far from being the decrepit, dependent, ticking economic time bomb – are embracing age with a new approach, a new energy and a new outlook.’ (The Future Laboratory, 2014.) The impressive figures of this remarkable phenomenon give an indication of the influence the elderly are set to have on our society. With life expectancy having risen by 11 years for men and 12 years for women over the last four decades (Boseley, S., 2012), the over-50 age bracket has never looked so lively. Being deemed by the Future Laboratory as the ‘flat-agers’ due to their youthful approach, this demographic will thoroughly upturn traditional notions of ‘old age.’ ‘These flat-agers are starting new businesses, embracing single life and swanning off into the sunset- or to a local rave. Call them anything, just don’t call them old’ (The Future Laboratory, 2014.)

Fig 3. Lewis, R., 2014. Word diagram presenting survey participants’ views on ageing [infographic].

Robertson’s words are apt, considering the trepidation that growing old admits for many. Acknowledged in an article on the subject of positive ageing, ‘A search under “age” or “ag (e) ing” in any book of quotations will reveal a depressing picture’ (Sharp, D., 1997.) Of course, ageing presents the heightened chance of both physical and mental difficulties. However, more focus on the gratifications of growing old should be established, rather than encouraging the elderly to imagine their limitations before they ensue. The act of retiring can be a triumph in itself, presenting the inspiring opportunity to explore unchartered aspects of one’s life; be it travelling to unbeknownst Age is still one of the top things that locations, or adopting a childlike fascination people feel able to ridicule and make for something once more. very ageist jokes in a way you wouldn’t now consider doing in regards to race or sexuality. It’s all about a downward spiral, about illness, about loneliness, loss. There’s no real recognition of the huge number of positive signs of ageing that there are. (Robertson, G., 2014.) In spite of this, however, our western society remains considerably ageist en masse. Preconceptions of ageing held by the public are generally negative. Figure 3 outlines this, displaying the views held by various individuals regarding the subject of ageing. Gathered from both online questionnaire respondents (Lewis, R., 2014c) and those that took part in the street survey (Lewis, R., 2014a), the results are mostly pessimistic. Words such as ‘frightening’, ‘scary’ and ‘loneliness’ were noted, whilst phrases including ‘the older you get, the harder life gets’ portrayed a gloomy depiction of old age. Of this, psychologist Guy Robertson noted,

Fig 4. Procter & Gamble., 2009. Olay Definity advertisement [digital image].

So with the longevity revolution of the over-50s fast approaching, what’s stopping us from thinking more positively towards ageing? Again, it seems the media are largely responsible for this prevention. Whether you are 16 or 60, you are guaranteed to have some form of discriminatory stereotype thrust upon you, derivative of your age group. The media fundamentally feeds this, resulting in our worries. The elderly, with particular regards to women, are greatly subject to this prejudice; not only are they being led to buy into the ‘youthful’ beauty ideal, but they also face offensive forms of ageism. Anti-ageing advertisements are abundant in our society, projecting a ‘version of personal ageing that is reversible and repairable, on the presumption that looking younger is universally a desirable goal’ (Coupland, J., 2009.)

Figure 4 shows an advertisement for Olay’s ‘wrinkle-reducing’ eye illuminator. Modeled by the then 60 year-old Twiggy, all aspects of the advertisement point towards a young looking, wrinkle-free appearance as being the paradigm of perfection. From its claims of giving ‘younger-looking eyes’ to Twiggy’s smooth and radiant appearance, the endorsement of ‘youthfulness’ is central to its power. The irony of Twiggy’s allegedly youthful appearance was that it was not a result of the product being advertised; rather, the image had been heavily retouched. The deceptive nature of the advertisement eventually led to its banning. This highlights the misrepresentations of ageing instigated by the media. As stressed during the British Academy’s Challenging Negative Representations of Older People conference, ‘new sets of images need to be presented to the media that counteract current ageist preoccupations. We should be using positive images and balances narratives to challenge ageist assumptions.’ (Thane, P., 2014.)

“ With those in their twenties, forties and seventies alike in their dismissal of monotonous ‘maturity’, it is evident that an uprising of youthful abandon is underway. For this shift to truly take scope however, a change in attitude is vital from the media. Rather than associating youthfulness with unachievable beauty, therefore generating anxiety amongst older people, we should instead equate the concept with mentality. As Guy Robertson (2014) underlined, ‘mindset is absolutely critical.’ In turn, this would disassociate youthfulness with younger ages exclusively; to refer back to Robert Kennedy’s words, the concept could be less about a ‘time of life’ and more about a ‘state of mind.’ The notion of age is already in flux, demonstrating that the corrosion of age-orientated boundaries is needed in achieving this. Of this, the trend forecasting agency K-HOLE outlines, ‘Generational linearity is gone. An ageless youth demands emancipation.’ (K-HOLE, 2013.) Defining this interminable youthfulness as ‘Youth Mode’, their most recent report explains, ‘Being in Youth mode isn’t about perpetually reliving yourself at a younger age, it’s about being youthfully present at any given age. Youth isn’t a process, ageing is. In Youth Mode, you are infinite’ (2013.)

GENERATION LINEARITY IS GONE. AN AGELESS YOUTH DEMANDS EMANCIPATION K-HOLE, 2013 Encouraging a youthful spirit regardless of one’s biologically defined age group is important in fostering happiness. Having recently run a study on global longevity with National Geographic, research company Blue Zones discovered that happiness is key in helping people to live longer. In discussing this with the company’s executive Sam Skemp, he noted, ‘Creams and fad diets are just scams to get your money. Being happy and healthy is what will truly make you young inside and out ’ (Skemp, S., 2014.) When asked whether the preservation of a youthful mindset is important to them, survey participants answered with positive feedback. One respondent noted simply, ‘being too responsible or sensible is boring’, whilst another wrote, ‘a youthful spirit fosters a happy heart’ (Lewis, R., 2014c.)

YOUTH IS OFTEN EQUATED TO SPIRIT AND FREEDOM

YOUTH IS BEING SEEN AS AN IDEALISM LINKED TO BEAUTY

OLDER PEOPLE LOOK AT YOUTH AS A NOSTALGIC, OUT OF REACH CONCEPT

It is clear that the subjects of both youth and ageing hold weight for many. This demonstrates a need for the creation of a media platform that promotes an inspiringly youthful attitude to life, whilst also embracing a generation-less approach. With this, audiences would not only be encouraged to seek adventure in their lives, but they would also ultimately approach ageing with optimism and positivity. Figure 5 displays a photographic cartogram, created so as to summarize the above research findings.

OLDER PEOPLE ARE FEELING YOUNGER FOR LONGER

AGEING IS SEEN AS A NEGATIVE IDEA

WHAT IF A YOUTHFUL SPIRIT WAS CELEBRATED IN AGEING?

Fig 5. Lewis, R., 2014. ‘Big idea’ cartogram moodboard [photographs/graphics].

‘Print magazines work. They never crash, their batteries don’t run out and they don’t need plug-ins. They are portable, light…and everyone knows how to use them’ (Leslie, J., 2003.) The format of a printed magazine has shaped the focal creative outcome in implementing the former body of research. As the creative director and magazine aficionado Jeremy Leslie recently articulated, ‘in its contemporary context, the magazine is a form of communication that can avoid the template-driven urgency of the newspaper or website, while not demanding the timeless reflection expected of the book or TV documentary.’ (Leslie, J., 2013.) The immediacy of online content can be extremely valuable in many cases, providing transitional platforms by which to showcase experiential forms of media. However, a magazine can offer a true sense of permanency, enhancing the authenticity of its content. Encouraging an ageless approach to youthfulness is a significant task; the physicality of a magazine in promoting this would give both literal and metaphorical weight to this important subject. The tactility of a printed publication demands attention, which is crucial to the concept being addressed. As David Renard expressed in The Last Magazine, ‘turning pages is the quintessence of interactivity. It may not allow the reader to click on related links that branch into netherworlds of information, but rather it focuses attention of the word and image at hand (and in hand)’ (Renard, D., 2006.) Magazines are authoritative cultural guidebooks, shaping societal trends at a steadfast pace. Their monthly or quarterly publication dates allow for both ephemerality and endurance with regards to trend innovations, representing an ideal balance

With online content ever flourishing in the modern day, the so-called ‘death of print’ has formed a subject of lengthy debate in recent years. Many mainstream publications have transferred to the web as a result of this, with some prospering, and others unfortunately unsuccessful. However, the conflicting rise and boom of independent magazines across the printed spectrum is turning the idea of magazine decline on its head. Demonstrating that the ‘urge to publish on printed paper has not diminished’ (Renard, D., 2006), these magazines are niche in their focus, unique in their aesthetics and constantly boundarypushing in terms of their content. Outlined by Renard (2006) in The Last Magazine, ‘Todays worldwide market for the style press hovers around $13 mil and is projected to grow to more than 500 mil over the next 25 years.’ This determines the profitability of such publications, which have hence formed the magazine category of choice in implementing this project. Independent magazines permit unchartered creativity and greater freedom in terms of content, in comparison to the strict regulations of mainstream titles. They are exactly as their title suggests; independently liberated from the constraints of mass-media. This holds value in contemplating the idea of reimagining youth, allowing for unhindered visions of the concept to be put into place. Aptly summarized in We Make Magazines: ‘Independent magazines continue to lead the way, showing the mainstream media how to innovate and excite through their variety, originality, tenacity, thoughtfulness, creativity, inspiration, individuality, defiance.’ (Losowsky, A., 2009.)

This hereby introduces Scout Magazine, the prototype outcome inspired by the research conducted for this project. A bi-annual independent magazine, Scout aims to encourage youthfulness at all ages, sticking two fingers up at spiritless ageing and instead embracing an adventurous attitude. Its content reflects this, whereby engaging features on inspiringly vigorous characters of all ages would form the focus of its pages. Through every issue, the magazine would additionally explore all facets of ‘lifestyle’, with cultural features on travel, fashion and everything in between. Its title represents the pioneering attitude that the magazine would embody. The word ‘scout’ infers exploration and discovery; a sense of curiousness, which should be cherished at any age.

Fig 6. Lewis, R., 2014. Scout Magazine front cover [photograph].

DOWN TO EARTH In identifying Scout’s competitors within the magazine market, focus was placed on those positioned within a more niche sector. Figure 7 presents this, outlining a perceptual map that shows Scout’s positioning amongst similar magazines. Research highlighted the scarcity of magazines undefined by age in the market, proving that there is a gap in the market for a generation-less publication such as Scout. The map’s axes are labeled by tone-of-voice and style, in which most of the magazine’s competitors are either whimsical with a serious tone-of-voice, or down-to-earth with a playful tone-of-voice. Scout has been positioned centrally amongst these, further ascertaining its individuality. An analysis of its competitors Dodo Magazine, Another Escape and Kinfolk was vital in developing an understanding of Scout’s surrounding magazine landscape (see appendix 11.)

SERIOUS TONE-OF-VOICE

WHIMSICAL

PLAYFUL TONE-OF-VOICE

Fig 7. Lewis, R., 2014. Scout Magazine perceptual map [diagram].

Fig 8. Lewis, R., 2014. ‘The Generational Skaters’ Scout Magazine spread [photographs].

A different aspect of ‘youthfulness’ would be delved into with each issue. The first issue of Scout centers on the idea of ‘adventure’, a distinctly youthful quality. Its features portray this, in which various interpretations of the word have been brought to life through intriguing interviews, articles and photo-series. Figure 8 shows a spread from Scout’s prototype Adventure issue, forming one in a series of three articles based on different people’s everyday adventures. These interviews do not present an idealistic notion of the word; rather, they showcase people who are doing things a little offbeat, hence making their daily lives more adventurous and fulfilling.

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CELEBRITIES OFTEN ACT AS EXAMPLES OF SUCCESS STORIES OR AS INSPIRATION, BUT THOSE OUTSIDE OF THE LIMELIGHT CAN OFFER THIS AS WELL- OFTEN IN MORE INTIMATE WAYS TAYLOR, R.M., 2014

A conscious decision was made in solely focusing on ‘real’ people rather than celebrities within Scout. Having been plucked from relative obscurity, the fascinating people within each issue would be more relatable to readers than glorified figures in the media, in turn inspiring their own lives. In conducting a focus group with a range of imagined consumers for the magazine, participants were asked whether they were attracted to celebrity features within publications. Bea, aged 25, responded with, ‘I think celebrities are pretty uninteresting really. Features about everyday people or interesting characters are a lot more engaging, as you’ll have never heard of them before’ (Male, B., 2014.) In discussing this subject with the editor of Another Escape magazine Rachel Taylor, she conferred, ‘Celebrities often act as examples of success stories or as inspiration, but those outside of the limelight can offer this as well – often in more intimate ways.’ (Taylor, R.M., 2014.)

Figure 9 shows a spread from the central feature within Scout’s Adventure issue. Entitled ‘Hektor Krome- the Abiding Adventurer’, the interview and photo-story charts the curious life of Hektor Krome, a 75-year old backpacker who refuses to abide by the standard ways of living. By profiling such an unconventional character within the issue, the aim was to captivate the readership by presenting a supreme adventurer, living youthfully to the extreme. Other stories within the issue include a piece on adventurous films, a style feature on the glamorous grandmother Wendy Lewis, and a fashion editorial entitled, ‘In Rapture.’ The latter photo series focuses on the more whimsical qualities of youthfulness, whilst the use of a younger model stays true to Scout’s generation-less ethos.

Fig 9. Lewis, R., 2014. ‘Hektor Krome- The Abiding Adventurer’ Scout Magazine spread [photographs].

Fig 10. Lewis, R., 2014. ‘Sail Away Splendid’ title page for Scout Magazine [photographs/graphics].

Scout’s tone-of-voice across the magazine and future issues would be expressive and descriptive, so as to convey the sincerity of its subject matter. However, it would be equally humorous and playful in order to portray a youthful liveliness. This has been reflected largely through the magazine’s headlines. For example, the style feature presented in Figure 10, entitled, ‘Sail Away Splendid’. The heading identifies with the reader in implicitly connecting the model’s nautical-style clothing to the phrase ‘sail away.’ The adjective ‘splendid’ is playful in its extravagance. Of headlines, author Horst Moser notes that they should ‘stimulate associations in the reader and arouse their curiosity’ (Moser, H., 2011.)

The magazine’s ‘welcome’ page also highlights its aforementioned journalistic style. A passage from its welcoming manifesto reads: Whether you are 16 or 66, we believe anyone and everyone should embrace the power of youthfulness. You might be weary from your nine-to-five work slog, or worn out by your Jeremy Kyle-fuelled mornings since becoming a retiree. Whatever your condition, you could probably do with getting out of your daily grind. Here, an inspiring tone is achieved through the use of the persuasive pronoun ‘we’, which would aim to stir readers. Addressing the reader directly through the use of satirical scenes (‘Jeremy Kyle-fuelled mornings’) gives an engagingly personable impression.

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WHETHER YOU ARE 16 OR 66, WE BELIEVE ANYONE AND EVERYONE SHOULD EMBRACE THE POWER OF YOUTHFULNESS. YOU MIGHT BE WEARY FROM YOUR NINE-TO-FIVE WORK SLOG, OR WORN OUT BY YOUR JEREMY KYLE FUELLED MORNINGS SINCE BECOMING A RETIREE. WHATEVER YOUR CONDITION, YOU COULD PROBABLY DO WITH GETTING OUT OF YOUR DAILY GRIND. - SCOUT MAGAZINE

Fig 11. Lewis, R., 2014. Scout Magazine cover [photographs].

Scout’s graphic style is relatively lo-fi in its use of photography and typography, whilst also retaining a formality in terms of its layout across pages. The lo-fi, zineesque aesthetics were applied in order to convey a sense of youthful spontaneity, highlighting the subject matter at hand. The more orderly design elements were used so as not to detract from the magazine’s content. As Jeremy Leslie highlighted in The Modern Magazine, ‘the first and most basic expectation of design is that it presents the content in a clear and legible manner’ (Leslie, J., 2013.) Leslie also underlined that the ‘pace and variety of the layout from page to page needs consideration to encourage movement through the pages and provide highs and lows of visual intensity’ (2013.) Scout adheres to this, in which pages marked with white space are combined with full-bleed images across double-page spreads. A subtly unique compass motif is carried through the magazine’s pages, along with a dashed line reminiscent of those found in maps; this aims to reflect Scout’s playful sense of exploration.

As a printed publication, Scout is a tactile book and magazine hybrid. Figure 11 details this, whereby its spine is bound with a course, rustic cloth, communicating both honesty and exclusivity. This in turn reflects the magazine’s independent status, as well as its sincerity. Scout’s heavyweight, matte-coated cover further emphasizes this, as well as its internal 140gsm pages. As the first issue of Scout is a prototype, it is envisaged that its fully-fledged version would be denser, with around 130 pages per volume. A ‘diary’ section has formed the concluding pages of Scout’s prototype. This is an element that could be taken forward into its finished version, encouraging reader interaction, whilst also giving a youthful quality.

In terms of the photographic style adopted across the magazine, much of its imagery was self-created using analogue methods such as 35mm and Polaroid film. This style has been assumed so as to heighten the sincere tone of the magazine, whilst also identifying with Scout’s older readership in creating nostalgia. Focus group participant Wendy, aged 75, noted of this photography style, ‘It makes me think of all our old family albums, which is a nice thing.’ (Jocelyn, W., 2014.) Figure 12 presents a moodboard outlining the key sources of inspiration in terms of imagery for Scout. The work of photographers such as Corinne Day, Ryan McGinley and Bruce Weber largely influenced the magazine’s photographic style, due to the artists’ candid portrayal of youthful uninhibitance.

BRUCE WEBERCANDID SINCERITY

FRANKIE MAGAZINECOLLAGING

JOHN STEZAKER- COLLAGING

CORINNE DAYUNINHIBITED YOUTH

RYAN MCGINLEYEXUBERANCE & SPIRIT Fig 12. Lewis, R., 2014. Scout photographic moodboard [photographs/graphics].

Fig 13. Jones, J.L., 2014. Hektor Krome outside his truck [photograph].

Figure 13 presents an image from the feature ‘Hektor Krome- The Abiding Adventurer’, detailing Krome outside his military truck living space. Taken with a film camera, the grainy quality of the image portrays a sense of realism that would be lost through use of digital methods. The expressiveness achieved through this allows the reader to truly identify with Krome, in turn helping them to be inspired by his story. Figure 14 displays imagery from the fashion editorial ‘In Rapture’, incorporating both Polaroid and 35mm film. A dreamy effect is created through the tonal intensity of both images, whilst the blurring of the Polaroid enhances this, complimenting the overall mood and whimsical direction of the photoshoot.

Fig 14. Lewis, R., 2014. ‘In Rapture’ editorial page [photographs].

Much of Scout’s typography was selfdrawn using inks, and later edited in postproduction. Figure 15 presents In Rapture’s title page. Here, the hand-drawn text offers a raw quality that reflects a youthful innocence, linking once again to the subject being portrayed. The text in itself creates a statement, conveying emotion and impulse in its boldness. Outlined by Steven Heller in ‘Handwritten; Expressive Lettering in the Digital Age’, ‘Typesetting is official; hand lettering is informal. Typesetting is mechanical; hand lettering is expressive’ (Heller, S., 2006.)

Fig 15. Lewis, R., 2014. ‘In Rapture’ title page for Scout Magazine [photographs/graphics].

SPIKE JONZE’S ‘SCENES FROM THE SUBURBS’ POSTER

HANDWRITTEN ELEMENTS

Figure 16 details a typographic moodboard for Scout, whereby inspirations such as a film poster for Spike Jonze’s ‘Scenes from the Suburbs’, as well as publications such as Buffalo Zine have been significant in the creation of the magazine’s type. The typeface ‘Garamond Italic’ was used for both the subheadings and the main body of text in Scout. The choice of a more traditional font was employed so as not to distract from the written content of the magazine, whilst the type’s italic slant retains an expressive nature that mirrors the magazine’s direction.

BUFFALO ZINESPONTANEOUS STYLE

ANOTHER ESCAPE MAGAZINE Fig 16. Lewis, R., 2014. Scout typographic moodboard [photographs/graphics].

The content of Scout incorporates all ages, so as to emphasize its ethos that youthful ways of life can be achieved at any age. Its imagined readership would reflect this, targeting a wide base of consumers aged roughly between 18 and 85. As a result of this, Scout’s reader would largely be defined by attitude rather than age, mirroring the magazine’s ageless manifesto. A Scout reader would be enthusiastically adventurous, or attracted to the idea of adventure. They would be liberal in their politics, relatively educated and creatively driven. Culturally conscious, staying up to date on films, music, fashion and the arts holds importance for them. The magazine’s consumers would primarily belong to the Generation X and Y cohorts. Having grown up with print being a key communicational format, these readers can appreciate the resurgence of the printed magazine in the digital era. Of niche magazines, Jeremy Leslie explains in New Magazine Design, ‘they sell in small numbers to a relatively affluent, international and visually sophisticated readership’ (Leslie, J., 2003.

Similar qualities would apply to Scout readers, whereby they would be financially comfortable in order to afford the moderately high price point of the magazine. The Scout community would be alike in their aesthetic tastes, appreciating descriptive journalism and analogue photography. A series of target consumers for Scout have been imagined overleaf, each differing slightly in their attitude and character.

Fig 17. Lewis, R., 2014. Scout consumer portrait # 1 [photographs].

Fig 18. Lewis, R., 2014. Scout consumer portrait # 2 [photographs]

Fig 19. Lewis, R., 2014. Scout consumer portrait # 3 [photographs].

Distributional methods represent the ultimate challenge for Independent magazines. Achieving successful newsstand circulation for the latter market is an undeniably difficult task. Starting small gives niche publications the best chance of reaching sustainable growth and profit. As the editor of Diplo Magazine Charles Baker notes, ‘If a magazine tries to think too big too quickly, it will quickly get caught up in a spiral of expenses and demands that it cannot meet’ (Baker, C., 2007.) Considering this, it is envisaged that Scout Magazine would initially build a strong distributional stance in the UK, whilst ultimately progressing internationally if effective. In terms of offline stocklists for the magazine, retailers including London and Manchester’s Magma Books, as well as London’s Central Books and the Tate Modern are distributional destinations of choice for Scout. These outlets already stock a vast array of independent titles, being well regarded for their efficiency within the industry. They would also appeal to the cultured consumer imagined for Scout, ensuring the magazine would reach its target audience.

The magazine has additionally been envisioned to stock at independent lifestyle boutiques across the UK, such as London’s The Goodhood Store and The Shop at Bluebird; these stores would again attract the intended readership for Scout, whilst also reflecting its ‘lifestyle’ values. With regards to online distribution, subscription service Stack Magazines has formed Scout’s key circulation method. In hearing the company’s founder Steve Watson talk about the business, he described Stack’s provided service as ‘doing the hard work for you’ (Watson, S., 2014.) Stack subscriptions involve an annual consumer fee, in return granting them a different independent magazine delivery every month. This service would guarantee profit for Scout, due to subscription’s upfront payment from readers. Stack would help Scout gain international exposure, whilst the leading online magazine distributor Newsstand would further enable this. Diplo’s Charles Baker (2007) remarks of this, ‘International coverage can help catapult newsstand growth for the independent publisher; and affordably.’

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PHYSICAL OR HARDCOPY PRODUCTS WILL RETAIN VALUE THROUGH ELEVATION TO ASPIRATIONAL ITEMS, REPRESENTATIVE OF A HIGHER LEVEL OF FAN DEVOTION THAN THAT OF THE PURCHASE OR DOWNLOAD OF A SIMPLE DIGITAL FILE GEE, SAMUEL., 2013

The price point for Scout Magazine would be relatively high, whereby it has been anticipated to sell at £10 per issue. This cost has been assigned for a number of reasons. Firstly, Scout would always strive to be an artfully tactile and visually alluring publication; consumers would undoubtedly be prepared to pay more for the magazine due to this. According to Mintel: Physical  or hardcopy products will retain value through elevation to aspirational items, representative of a higher level of fan devotion than the purchase or download of a simple digital file. (Gee, Samuel., 2013.) Secondly, the magazine would aim to avoid advertising, enabling complete fluency within its pages. It would instead rely on crowdfunding as an initial source of income, looking to platforms such as Kickstarter as a means of funding itself. Featured brands within each issue would additionally provide sponsorship for Scout, allowing them to evade direct advertising as a method of generating profit. Its high price point would support the magazine financially in doing this.

Fig 20. Lewis, R., 2014. Scout hypothetical website mock-up [photographs/graphics].

In promoting Scout Magazine, belowthe-line promotional tactics would predominantly be employed to ensure greater control and more specific targeting towards audiences. Rather than existing solely in print, the magazine would retain strong integration across a myriad of platforms. Outlined in New Magazine Design, ‘publishers are far more aware now that magazines can become brands. A magazine is more than just paper and ink- it’s a set of values, a belief system.’ (Leslie, J., 2003.)

Due to the sincerity of Scout’s content, the magazine would ultimately be regarded as far more than a printed document; rather, a pioneering, generation-less attitude. Extending Scout into online territory would support this, whereby a website would enable readers to become engaged in the creation of its content. Figure 20 illustrates this, presenting a mock-up Scout website. Similarly to Kinfolk’s online site (see appendix 11), readscoutmagazine.com would feature differing articles to that of its printed version, inviting Scout fans to submit writing to its evolving blog page.

VIMEO.COM/94650703 Fig 21. Lewis, R., 2014. Scout issue 1 promotional video stills [photographs].

A promotional video for Scout’s first issue would form the central focus of the site’s home screen. This video can be accessed via the URL outlined in Figure 21, presenting a selection of stills from the film. Inspired by Kinfolk’s ‘Saturdays’ film series, the promotional short encapsulates the sincerity of Scout through moving image, portraying an older man embarking on an adventure. A raw, youthful quality is displayed through the wavering effect of the film, whilst the building crescendo of King Krule’s ‘Easy Easy’ creates excitement and inspiration for viewers.

In order to successfully integrate itself across platforms, an active social media presence would be essential for the magazine; this would in turn increase its awareness, as well as enriching its tone of voice. Stereotypically, older audiences are less likely to use social networking sites. However, The Future Laboratory (2014) recently noted that, ‘American over -65s who are online are the fastest adopters of social media, with 43% using social networking sites.’ Survey findings also confirmed this, whereby over 50% of respondents over 50 described themselves as active social media users (Lewis, R., 2014c.) This concludes that Scout’s target audience would be reached with the involvement of social media. In asking the preferences of focus group participants regarding networking pages, both Instagram and Twitter were cited as the main sites used in interacting with brands (Lewis, R., 2014b.) These sites would therefore be Scout’s primary social media channels, whilst Facebook and Pinterest would also be employed in promoting the magazine. Its Instagram page has been visualized in Figure 22, in which competitions have been imagined in order to further engage Scout’s readership.

Inspiring thoughts for readers

Video competiton to engage readers

Directly involving reader

Fig 22. Lewis, R., 2014. Scout Instagram visualisation [photographs/graphics].

Fig 23. Lewis, R., 2014. Loyalty loop model for Scout [diagram].

The magazine would also largely rely on word-of-mouth marketing so as to gain exposure. 75 year-old focus group participant Wendy said of this, ‘I don’t do much online, but me and my friends always talk about fashion and clothes, so I’d probably hear about something through them.’ (Jocelyn, W., 2014.) This relates to McKinsey’s ‘loyalty loop’ consumer decision journey model (Court, D., 2009), a marketing strategy that recognises the importance of peer recommendations in creating awareness for brands. This model has been tailored for Scout Magazine in Figure 23. A press release would be issued to newspapers including The Guardian, The Independent and The Telegraph prior to Scout’s launch, detailing the ethos of the magazine, as well as its forthcoming event. It was found that focus group participants read the latter broadsheets as a pose to tabloid papers; this verifies their suitability in reaching Scout’s target readership. The press release would also be sent to notable design, fashion and culture websites such as Dazed Digital, Its Nice That, Coverjunkie and Magpile. In terms of blogs, Susie Lau’s Style Bubble, as well as Ari Seth Cohen’s Advanced Style would also be targeted, due to their affiliation with Scout’s content. A mock-up of this press release has been detailed in Figure 24.

Fig 24. Lewis, R., 2014. Scout hypothetical press release [graphics].

Scout has been envisaged to launch in mid-June 2014. This date has been chosen due to its timeliness in relation to cultural events, which would link with the design-led properties of Scout and help promote the magazine accordingly. A cultural calendar surrounding Scoutâ&#x20AC;&#x2122;s launch is presented in Figure 25.

Fig 25. Lewis, R., 2014. Cultural calendar for Scout launch [diagram/graphics].

Fig 27. Lewis, R., 2014. Scout hypothetical launch event moodboard [photographs/illustrations].

Lastly, an event would be held in order to celebrate the launch of Scout’s first issue. After receiving a personal invite in the shape of the magazine’s compass motif (Figure 26), guests would congregate at The Barbican’s exotic conservatory, immersing themselves in a physical Scout experience. Here, projections of the magazine’s promotional video would illuminate the walls of the building, whilst inspiring ageless adventurists such as Vivienne Westwood would be invited to voice their thoughts on living youthfully. This unique location for this event has been visualized further in Figure 27.

Fig 26. Lewis, R., 2014. Scout hypothetical launch event invite visualisation [graphics].

To recap on the marketing strategies that have been envisaged in promoting Scout, a marketing mix model was created; this has been presented in Figure 28.

PRODUCT - Scout, a bi-annual magazine that encourages a generation-less approach to youthfulness

PLACE - Within the independent magazine market, amongst publications such as Another Escape, Dodo Magazine and Kinfolk - Distributed to a number of brick and mortar independent magazine retailers in the UK including Magma Books, as well as stand-alone boutiques such as The Shop at Bluebird - Online distribution via Stack Magazines subscription service and International distribution site Newsstand.com

PRICE - A cover price of £10 per issue, due to its visual allure and avoidance of advertising

PROMOTION

- A website extension, integrating user engagement for readers - A promotional video for Scout’s first issue - An active social media presence, primarily focusing on Twitter and Instagram - Press releases sent to a rage of targeted media channels - A launch event at The Barbican’s tropical conservatory in London.

Fig 28. Lewis, R., 2014. ‘4 P’s’ marketing mix summarization for Scout magazine [table].

Fig 29. Lewis, R., 2014. Scout future issue mock-ups [photographs].

‘The primary defining attribute of the magazine is its position as part of a series’ (Leslie, J., 2003.) The above quote highlights the need for consistency in creating a magazine brand. Unlike a book, a magazine cannot stand alone; its succeeding issues have to follow a similar pattern, whilst individually engaging the reader. With this in mind, Scout’s ensuing issues would each focus on a different attitude pertaining to ‘youthfulness’. This would relate and differentiate each issue concurrently, providing both excitement and familiarity. The magazine’s covers would link visually, each detailing a portrait of an inspiring character focused on within the issue. This has been envisioned in Figure 29.

In terms of future plans for Scout, it is anticipated that the magazine would develop organically as a project, cementing itself as a brand with an influential attitude. As described in The Modern Magazine, ‘when we create, we can’t just think about the product we are creating but also about the surroundings that change because we are creating’ (Leslie, J., 2013.) Scout is a magazine with strong beliefs on ageing representations. Ultimately, its can-do, antiageist attitude would be effectual within the wider media landscape, encouraging both positivity and a reimagined idea of youthfulness.

Figure 30 details a summarizing SWOT model for Scout Magazine, analyzing its strengths, weaknesses, opportunities and threats. Scout’s position within the independent magazine market could potentially hinder its chance of affecting a mass readership with its beliefs. However, its niche placement would allow for unrestrained freedom in producing content, communicating a more potent message of what it means to be agelessly youthful. In Scout, youthfulness is the fullness of potential, and the ability to be the person you want to be. Who wouldn’t want to be youthful?

STRENGTHS

- It’s important message and distinct outlook, making it unique amongst existing magazines in the market. - It’s niche placement would allow for greater freedom than mass media formats in producing content, which could lead to a more powerful message. - It’s focus on fascinating yet relatable ‘real’ people as a pose to celebrities, which sets Scout apart and would inspire readers to a greater extent. - Scout’s surrounding concept of encouraging an ageless approach to youthfulness is timely, as former research outlines.

WEAKNESSES - It’s place within the independent magazine market could possibly inhibit its chance of stirring a large audience, despite its influential attitude. - It’s bi-annual publication dates could be too occasional, meaning it’s content may be less up-to-date than that of other magazines.

- To collaborate with key tastemakers in the field of ‘ageless living’, be it style icons such as Vivienne Westwood and Grace Coddington, or adventurous personalities such as David Attenborough. - To further expand into online territory, utilizing social media to its best advantage, whilst developing its existence as an online website. - To involve Scout readers to a greater extent, engaging them with competitions, whilst allowing them to send submissions in for both the print and online magazine versions. - To increase its distributional stance, expanding internationally both online and offline if initially successful.

THREATS

- The potential decline of the printed magazine - Scout’s initial reliance on crowdfunding and sponsorship rather than advertising as a means of financing the magazine; this could restrain its chances for producing brilliant content. - Scout’s high price point could put off potential readers.

Fig 30. Lewis, R., 2014. S.W.O.T model for Scout magazine [table].

OPPORTUNITIES