Fashion Futures AD6603 by Sophie Taylor

AD6603 - SOPHIE TAYLOR

FIGURE 1. Photography and Direction - Sophie Taylor

The purpose of this essay is to research, analyse and evaluate the future of the author’s practice as a creative communicator within the fashion industry. More specifically, following the route of fashion media in the form of publication. The author chose to specialise within this aspect of the industry, as post-pandemic the uncertain future of print magazine has been furthered tremendously, due to many factors such as the development of technology within the world and sustainability. 6

FIGURE 2. Photography and Direction - Sophie Taylor

FIGURE 3. Photography and Direction - Sophie Taylor

ABSTRACT

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INTRODUCTION

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HISTORY OF PRINT

16-29

DIGITALISATION OF THE MAGAZINE

20-23

SUSTAINABILITY

24-25

GENERATION ALPHA

26-27

DAZED MEDIA: A CASE STUDY

28-39

PRIMARY DATA

40-43

CONCLUSION

44-45

REFERENCES

46-49

Fashion media is an integral part of our fashion industry. The idea behind the term ‘media’ is the medium of how information is delivered and communicated, in this context, the information being of the fashion realm. For example, the use of fashion shows is form of fashion media, as it is the way brand new clothing is often communicated. For this essay, creative fashion media is the focal point, and more specifically fashion publications. For the author, youthful and artistic fashion magazines are what drew her into the prospects of a career within this industry, having had a keen interest in design from a young age. Visual communication is a core value to her personal brand. Dazed (previously Dazed & Confused), AnOther, (both under DAZED Media) and i-D (under VICE Media) are three of the first magazines of which fall under that aesthetically pleasing category that pulled her in. Through personal research, this form of publication is where the author envisions herself a career as a creative, for the visually engaging ways of storytelling to a youthful audience of which resonates with her. The author believes that the way these magazines keep updated regarding popular and youth culture, through content both visually and contextually is partially the reason why they are more appealing to her than Vogue, Elle and other more commonly known names alike. An understanding of current and future consumer habits is of high importance to essentially future proofing the current grasp of magazines

FIGURE 6. i-D Magazine cover FIGURE 5. Dazed Magazine cover

FIGURE 4. AnOther Magazine cover

FIGURE 7. Gucci FW20 show

There are plenty of threats to print magazines, such as more favourable options digitally whether it be online viewings or just newer platforms sharing the same information, the death of the high street, and environmental factors. The intention is to explore these key threats and assess how it could alter the existence of magazines as it is already known, for good. The author enjoys and appreciates a balance of analog and digital methods of creatively putting together pieces of work, enabling her to maintain an unbiased approach to the topic and outcome in question. To accompany this essay, the author came up with a narrative and visualised it conceptually, displaying the escapism of which is offered by forms of fashion media. These images are credited correctly throughout.

FIGURE 28. Image Courtesy of Sophie Taylor

To be able to understand the potential future of the fashion magazine, and all other similar publications, it is vital to reflect and assess on the past and history of which helped shape the concept of the magazine to be what we know it to be today. The magazine as a concept has been around now for hundreds of years, perhaps even more in a way beyond our understanding of it today. By definition, from Merriam-Webster.com it is “a print periodical containing miscellaneous pieces (such as articles, stories, poems) and often illustrated” (n.d.). When investigating the definition further, the term magazine itself through other languages can be traced and translated to meaning storage. This makes sense in its context how we know it to be. For the most part, magazines are commonly obtained from a variety of platforms, such as stores, subscription (both physically and digitally), postal and online to name a few examples. This means that for the most part it is an easily obtainable object. Further research into magazines shows that the “first publication, which could be called a magazine, was the German Erbauliche Monaths Unterredungen, released in the year 1663. It was a literary and philosophical edition and after it was launched several periodicals with very similar topics were published and were intended for an intellectual audience.” (Nikola, 2013) and here in the United Kingdom, the oldest print magazine of which is still going strong to this day is The Scots magazine, “first published on February 9 1739 as a 48-page pamphlet, priced sixpence monthly.” (ADMIN, 2021). 16

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FIGURE 9. Harpers Bazaar Cover

To move forward putting this history into context through the lens of the fashion industry, “Harper’s Bazaar is the first fashion magazine” (Nikola, 2013), through first being published on the second of November, 1867, which makes it “one of the oldest American fashion magazines” (Georgievska, 2016). When reflecting back on the longevity of Harper’s Bazaar, we can see how it has developed to today, offering paid content specifically catered for brides as “Hearst is trying to convince readers to pay for content by tapping into the subjects they’re most passionate about.” (Fernandez, 2019), and pushing the narrative of investing and enjoying garments, ““I don’t believe that our role is to suggest women reinvent their wardrobes every season,” said Nasr, who assumed the role of editor in chief in July, following a 19-year run by Glenda Bailey. “Our proposition is: build it, enjoy your clothes, wear them. You’ve invested in them. These are all sort of subtle shifts in how we broadcast luxury.”” (Fernandez, 2021). Similarly to The Face and many other publications, Harpers Bazaar has had it’s ups and downs in terms of production, “Last year, Bazaar cut its print frequency from 10 issues a year to eight, but will back up to 10 in 2021.” (Fernandez, 2021). 17

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The Face magazine, “Referred to as an 80s style bible…communicated to the masses like no other combining radical design with outstanding photography and in-depth reportage on what the youth craved – fashion, clubbing, music, film and politics.” (markmaking*, 2019). The magazine is of importance here, as it is a comeback success story. In 2004, the magazine was “facing closure more than two decades after its launch.” (Milmo & Martinson, 2004). This closure didn’t last, as the magazine made its return in 2019, coming up with “The Face Apartment on 9 Bleecker Street in collaboration with British luxury brand Mulberry. The Face Apartment originally opened on September 6, celebrating the print relaunch of “The Face” and held month long activations with art direction and curation by Margaret Zhang, the creativedirector-at-large for Asia.” (Fraser, 2019). In terms of consumer experience, it appears that it helped to resurrect the previously buried publication, giving new ideas and mindset behind it, ““In 2019 our vision was for ‘The Face’ to be much more than a magazine,” said Jason Gonsalves, brand director of The Face, to FashionUnited. “We don’t just want to report on culture we want to help create it. That’s why bringing the brand into the world and hosting, curating and creating surprising, original and memorable experiences are a big part of how we want to take ‘The Face’ forward. That’s important for us but it’s also a bigger part of what advertisers are looking for from media partners.”” (Fraser, 2019).

FIGURE 11. The Face cover

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Moving forward with the information gained regarding the history, it is easy to see that development and evolution are key to magazine’s surviving the test of time. For example, with The Face magazine’s return, it had what Kristopher Fraser deemed “solid digital growth, which is key to any publication trying to make it in today’s media climate.” (Fraser, 2019). It comes as no surprise that digital growth is of huge importance in society today. The world in itself is going digital. We see technological advancements, such as AI and VR technologies encouraging immersive experiences like digital showrooms, heightened use and acceptance of gaming across sectors, including our own fashion industry. Balenciaga and Fortnight’s partnership is one of the most recent at time of writing, bringing gaming into the real world, as well as digital garments. That being said, Balenciaga with Demna at the helm communicated their Fall 2021 collection through a “Multi-platform game Afterworld: The Age of Tomorrow is a radical immersive adventure…” (Windsor, n.d.). Even Gucci are getting involved, collaborating with X-Box on a special edition gaming console. Digital clothing, NFT’s and cryptocurrencies like Bitcoin and Ethereum are also on the rise. It begs the question – where does it leave print and physical practices alike?

The lines are blurring between physical and digital for the fashion magazine industry. These advancements are also something of which has been pushed forth and accelerated due to the Covid-19 Pandemic. For example, “Data from magazine distributor Seymour showed 113 [publications] entered the market, the lowest number on record. Meanwhile, the number of magazines ceasing print rose by 16% year on year.” (Plummer, 2021). WWD says “nearly 40 percent of magazines that publish on at least a quarterly basis have seen their audiences decline…” (Hays, 2020).

FIGURE 14 Balenciag a

FIGURE 13. Dazed Cover

FW21

Though despite the declining figures, it isn’t all doom and gloom for the magazine aspect of the fashion industry, as rise in demand for digital magazines allowed brands like Dazed Magazine, to “….As a gesture to home-bound audiences worldwide, Dazed announced that for the first time ever, it will be making the issue free and available digitally a week before the print issue goes on sale.” (JustJared, 2020). Digital publications for many are better, take Nylon for example, they believed “not being able to pick up a copy physically does not hurt the attention it generates” (Abad, 2018).

‘Advertorial’ is a concept on the rise too, combining the two within publication, and is “boosted “advertorial” content in recent years. But the fact that Grand, a star editor, is making pay-forplay coverage her explicit focus — eschewing the traditional (if, at times, performative) “church and state” division between advertisements and editorial content — says a lot about the shifting state of fashion media in 2020.” (Williams, 2020). Further monopolising magazines, it begs the question of how genuine it is. The move for editorial to combine advertising creates a new level of commerciality for brands to tap into. A tactical way to keep magazines alive and creating. It is important to note The Perfect Magazine, by Katie Grand when researching the future of creative practice within magazines. It is a new format, it “is a bigger platform than anything she has attempted in the past. “The appetite for beautifully crafted magazines is as great as ever,” she reassuringly declares in her announcement for her new venture. “But print is not the best medium for every idea. So rather than twist the magazine format to changing times, we are starting anew.” In other words, as she tells me, “It’s not just another magazine. The idea is it’s much more of a content agency, creating content for brands on screen, on paper, in an exhibition” (Blanks, 2020). Put perfectly (pardon the pun), as print not being the best medium for everything, in a society where digital evolution is on the rise, there are no limits on what can be achieved and how it can be communicated.

Take Hunger magazine for example, with [Instagram handle] Franknitty3000, they created animated covers for 2021’s Beauty Issue. Not something you’d be enabled to achieve on paper (at least for now!), but technology has allowed the creativity to advance beyond what has always been the traditional way of communicating print. An interesting point from COMPLEX was “a full-on digital cover is notable in that it looks to capture the print magazine’s tangible essence” (Abad, 2018) and that “digital-only magazine covers are bringing media brands into the digital age” (Abad, 2018). According to Vogue Business, “Fashion’s future is digitally influenced” (Nast, 2021), and with everything discussed, it Is difficult to argue against.

FIGURE 16 Perfect Magazine Cover

FIGURE 15. Hunger Magazine Beauty Issue Cover

FIGURE 17. Rubbish picking beach shoot

Another lens of which could further perpetuate the need for digitalisation of the print magazine is the desire for a more sustainable planet. So much print must beg the question of how safe are magazines for the earth? Not all magazines are going to be recyclable, much like not all people are going to engage with recycling the ones that are. ArchantDialogue states that “Forbes found that 77% of people want to learn how to live more sustainably” (Bennett, 2020). The study took 913 subjects into account but could be part of the bigger picture for the why behind the drop in magazine sales but rise in digital engagements. Though this being said, research appears to show that not all assumptions of magazine sustainability are true, as “the paper and printing sector is one of the lowest industrial emitters of greenhouse gases. In 2016, it accounted for less than 1% of all EU greenhouse gas emissions.” (Bennett, 2020). On this same note, the article contrasted “the ICT industry accounts for around 2.5-3% of global greenhouse gas emissions and this is predicted to rise to 14% by 2040. A digital edition of a printed product on your phone or tablet is by no means more sustainable when you factor in the materials needed to make the device.” (Bennett, 2020). Another article also vouched for print having the capacity to be sustainable in its operation, “the study has found that instead of reducing paper use, printed magazines make their paper use green. Printed magazines can do this through sustainable tree harvesting. The study also found that the servers hosting digital magazines use up a large amount of electricity.” (Fleming, 2020). Through research undertaken into the links between magazines and the environment, it shows that you can have both print and sustainability still at the forefront. Digital and technological evolutions remain the key to the future of magazine and publications for reasons of social advancement rather than environmental protection.

Another important aspect to investigate is the consumer itself. Alpha is the future as we know it today, “The alpha generation is the generation born between 2010 and 2025. Because we live in the digital era, the Alpha generation needs digital skills.” (Rusnali, 2021). Birth years starting on the year to coincide with the iPad’s first ever release, the Alpha generation are the first to completely be born within a digital age. “Finally, there is the analysis of Generation Alpha themselves in their formative years, and we can learn a lot from this too; app-based play, increased screen time, shorter attention spans and digital literacy but less social formation.” Are some key pointers about Alpha, shared by McCrindle (generationalpha.com, n.d). The author has a younger sibling who falls under this age bracket at the older end, and she can vouch a lot of these concepts. Her brother uses YouTube to learn about a variety of concepts, of which she hates to admit he knows a lot more than she does. Dinosaurs he can name from image, astrology and the planets, and an overall huge interest in science, where most of the information is learnt from these YouTube videos. The most recent endeavour of his, if you will, is learning how to make music on his tablet, and learning to play the physical keyboard. “…Generation Alpha, the tech-savvy, highly-educated kids of millennials that marketers and advertisers are already watching thanks to their potential spending power.” (Stechyson, 2019). And interestingly according to Domain.Me “only 2% of Gen Alpha kids are not using any type of technology”. (Ostojic, 2019) The weight on technology for Alpha is huge, and only helps to further perpetuate the idea that fashion media and fashion magazines have a higher survival rate of advancing along with, and embracing the digital world further.

FIGURE 18. Photography and Direction - Sophie Taylor

FIGURE 19. Image of DAZED Media related publications. Image courtesy Sophie Taylor

When researching into fashion media, and the ways of futureproofing it, the journey of Dazed & Confused magazine is one of utmost importance to the author, and inspiring in general. Dazed has always been a huge influence for the author, and it is a place of huge interest in regard to career and profession. Dazed & Confused came to be in 1991, the creation of Jefferson Hack and John Rankin Waddell, starting out with issue one having been “created in a poster format with three different A3 pages that folded into an A4 cover. It was done that way simply because it was the only thing we could afford – it was the most inexpensive way to create something that behaved like a magazine”, developing over the space of thirty years to DAZED Media as we know it today. “…it’s called Dazed & Confused because it’s about not accepting ones place, so it’s a brief for a mindset that feels naturally disengaged, dissatisfied, alienated and disillusioned” (Hack, 2021). In Dazed 30 Years Confused: The Covers That Launched a Movement, Jefferson Hack co-founder states, “I think what made Dazed amazing is the differing intentions between us all that collided into one creative expression” (Hack, 2021). Describing it as starting out like “…a place for people to drop in and hang out. It was a ‘living magazine’” (Hack, 2021). This is important when reflecting on how the magazine has developed and changed throughout the years but has always managed to keep the brand values as tight as always. The magazine has always had such a raw sense of being real and staying genuine, Dean Mayo Davies putting it best saying “when a magazine begins life as a photocopy, you know it’s being done for the right reason. A question of intention, when spirit is bigger than packaging, it arrives with all the potential of shaking things up” (Mayo Davies, 2021). 31

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An example of how Dazed have done this, is through their shifts from a poster-print magazine, to creating immersive events such as Dazed Live. The author herself is able to vouch for the inclusivity and how engaging the community is that Dazed have created, through having been lucky to attend the Dazed Live weekend in 2021.

FIGURE 23. Dazed Beauty Logo

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Over on their website, DAZED Media describes itself as it “…doesn’t just reflect culture, we create it. What began as a magazine went on to provoke a change in consciousness, becoming a manifesto for an audience that wants to be informed and inspired to imagine.” (DAZED Media, n.d.). They were what the author believed to be one of the best case studies for how magazines as a whole will be enabled to develop and survive, should they follow in the footsteps of Dazed. The creatives behind Dazed have understood the importance behind developing and growing as a brand, working alongside global shifts in other industries, and embracing change and advancement instead of shying away from it. It has always been about understanding the current consumer and understanding the consumer still to come and building something of which won’t alienate the current consumer, but can also still reach out, entice, and appeal to the future audience.

Since it’s 1991 launch, Dazed has dropped the ‘& Confused’ part of their name (appears to have been in 2014), but have developed to being part of a bigger picture, DAZED Media “Today, Dazed Media encompasses digital, print, social media and talent activations across four titles; Nowness, Dazed, AnOther and Dazed Beauty.” (DAZED Media, n.d.)

FIGURE 22. Photography by Roe Ethridge for Dazed

FIGURE 24. Image Collage From Dazed Live - Images Courtesy of Sophie Taylor

FIGURE 25. Dazed HQ - Image Courtesy of Sophie Taylor

Experience is something that has been of key importance to brands. Not only does this mean experience in terms of how people are treated by staff, but it means something more engaging and immersive than the standard outing to TESCO. Dover Street Market is an example of this within the retail sector of the industry, focusing on treating concessions as sculptural art formations with emphasis on the clothing itself rather than its price tag or brand its attributed to, placing the importance once again on garments over social status semiotically attached to specific designer names. This is what Dazed understands, and have put into practice through workshops, film showings and Dazed Live. This is key for more magazines to understand and develop themselves in order to stay relevant, and essentially keep themselves alive. Dazed Live is an event of which has something for everyone, and builds on the idea of creating community experiences for their audience. As mentioned, the author of this essay joined them “at its HQ at 180 The Strand in London, as we bring the magazine to life for two days of making and showcasing music, art, fashion, activism and more.” (Dazed, 2021). The event set at their base had “over 50 talks, like PAs, performances, screenings, exhibitions and workshops”. It was truly the perfect networking and community building opportunity. It is important to also note that Dazed understands the drive of inclusivity, and why it is important, as “tickets are £10 with 100% of proceeds donated to Centrepoint, the UK’s leading charity for homeless young people.” This enabled more people the chance to attend should they have won the raffle for the chance of buying tickets. This in itself reigns true to Ibrahim Kamara’s approach, as it is “about bringing new people into the conversation that haven’t been given opportunities before, bringing in different lenses and being more daring”, (Fernandez & Milner, 2021). Kamara, of course is current editor-at-large for Dazed, and known as an influential stylist who “interrogates masculinity through his styling and art direction. Kamara held the role of senior fashion editor-at-large for i-D magazine for two years before he was appointed editor-at-large for Dazed Magazine in 2021” (ShowStudio, n.d.). Kamara is the perfect candidate, his approach again mirrors that of how Hack describes in the book We Can’t Do This Alone Jefferson Hack the System, “…Dazed & Confused was an open access magazine… it was very much about giving people a voice and a pre-internet way to communicate their ideas” (Hack, 2016). 37

Dazed magazine and all of its assets are essentially a blueprint for how to stay so consistent, it “remain[s] one of the best-known platforms for youth culture, music and fashion. Other magazines have come and gone (rival The Face closed down in 2004, before relaunching last year), but Dazed has remained popular with audiences and advertisers” (Steven, 2020). In the context here, it helps prove that part of how magazines can continue to be relevant is through flowing through and embracing innovation rather than working against it and sticking to tradition, “The brand’s success is thanks in part to its constant evolution. The magazine has undergone numerous redesigns in the past few years, but, like its rivals Vice and i-D, the Dazed brand has grown and extended well beyond print.” (Steven, 2020). Staying individual, whilst encouraging inclusivity and sticking to your message over everything else also encourages audience engagement, “While The Face and other style titles at the time were trying to dictate to the nation what was “cool”, Hack and Rankin took a different approach. As Rankin explains, “We never really wanted to be cool – it was about being significant or interesting; or trying to change things, and we talked so much about how we could do things differently; how can we approach this differently; how we can do an interview differently… That’s how you could get Thom Yorke interviewing himself, because we knew we had to do something with Thom that was different.”.” (McCord, 2016).

FIGURE 26. Photography by Sharna Osborne for Dazed

Primary data was collected by the author through an online form. The results show 22 responses, with 54.5% of subjects studied falling between the ages of 17-25. 100% of the subjects responded as having used a form of technology within the last 24 hours at point of partaking, with 11 subjects opting for digital anecdotes over 8 subjects who went with physical (3 choosing the mix option). Most of the physical answers came from the 25-35 and above options, with some 17-25’s choosing physical also. This data showed that the younger subjects within the form went for digital, whereas the older the age bracket, the likelihood that they had chosen physical would rocket. This works in favour of the thesis that younger generations will be drawn more so towards digitalised magazines and similar forms of media.

Through research, it can be said that the future of the fashion industry does lie within a more digital environment. Between digital clothing being on the rise, gaming being introduced as fashionably trendy and digital-only interactive covers/magazines being dubbed the future, it is difficult to argue against. Younger generations have a higher interest level within technology than older generations, so for now whilst we still have the older generations around, there will be a demand for printed magazines, but the future of the practice creatively shows to no doubt, be through a virtual and technological lens. It is an exciting prospect, of which the pandemic has helped speed up.

FIGURE 27. Image Courtesy of Sophie Taylor

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IMAGE REFERENCES FIGURE 1 – 3, 18 - 19, 24 – 25, 27 - 28 – Authors own imagery FIGURE 4. – AnOther Magazine cover https://anotherimg-dazedgroup.netdna-ssl.com/640/azure/ another-prod/380/6/386506.jpg FIGURE 5. – DAZED Magazine cover featuring Rihanna, “Nocturnal Creatures” https://i2.wp.com/hausofrihanna.com/wp-content/uploads/2017/11/rihanna-dazed-cover-2.jpg FIGURE 6. – i-D Magazine cover featuring Frank Ocean, “Listen” https://fashionista.com/.image/t_ share/MTUwODgxNDM5MDIwMjMwNjAx/i-d-magazine-frank-ocean.jpg FIGURE 7. – Gucci FW20 show https://media1.popsugar-assets.com/files/thumbor/4jg6hhKf4e0obysDPa7NmtLMrzc/fit-in/1024x1024/filters:format_auto-!!-:strip_icc-!!-/2020/02/19/820/n/1922564/ bec678645e4d8158c05180.18903425_/i/gucci-autumn-winter-2020-runway-show-photos.jpg FIGURE 8 - Bella Hadid Photographed for Harpers Bazaar https://i.dailymail.co.uk/i/pix /2016/07/04/05/35ECE38E00000578-3673040-image-a-1_1467605730236.jpg FIGURE 9. Harpers Bazaar Cover https://www.fashionotography.com/wp-content/upl o ad s / 2 0 19 / 07/A l exa n d ra-Ag o st o n - c ove rs- H a r p e r % E 2 % 8 0 % 9 9 s- B a z a a r - S p a i n -J uly-2019-by-Yulia-Gorbachenko-2.jpg FIGURE 10. - Beabadoobee for The Face Magazine https://i.pinimg.com/564x/fe/cf/e6/fecfe628fda4ea4a4fa9bf6d4b11488e.jpg FIGURE 11. - The Face cover https://i.pinimg.com/564x/05/4b/a8/054ba8dd879fa010ba9bf3b672f911f8.jpg FIGURE 12. - FKA Twigs for The Face Magazine https://i.pinimg.com/564x/95/12/c8/9512c8928b182800e633cd6bdd2b84d4.jpg FIGURE 13.Dazed Cover https://i.pinimg.com/originals/2d/21/fe/2d21fe33b12800165cb7b918e1b732b8.jpg FIGURE 14 – Balenciaga FW21 https://www.highsnobiety.com/static-assets/thumbor/ePjJFrsNZbAKRL33rnQA2Hi-4y4=/1600x2400/www.highsnobiety.com/static-assets/wp-content/uploads/2020/12/06162223/balenciaga-fw21-03.jpg FIGURE 15 - Hunger Magazine Beauty Issue Cover https://www.rankinphoto.co.uk/greatest-hits/ the-beauty-issue-hunger-magazine-2021?itemId=18kb3g0xgtjdhpfr73poxsj31qxdqz FIGURE 16 – Perfect Magazine Cover https://i.ebayimg.com/images/g/3~UAAOSwtaBhRHXc/s-l1600.jpg FIGURE 17 - Rubbish picking beach shoot https://i.pinimg.com/564x/cf/36/d4/cf36d40c6dbe111dbfbc014fb00fbf3c.jpg FIGURE 20. – Photography by Sharna Osborne for Dazed https://models.com/work/dazed-magazine-sharna-osborne/1424082 FIGURE 21. - Yuhan Wang AW19 Backstage, Photographed by Charlotte O’Shea https://dazedimg-dazedgroup.netdna-ssl.com/1000/azure/dazed-prod/1260/1/1261713.jpg FIGURE 22. - Photography by Roe Ethridge for Dazed https://i.pinimg.com/564x/a7/0a/72/a70a72c65a37a8ccde11dd7c8425029f.jpg FIGURE 23. – Dazed Beauty Logo https://i.pinimg.com/564x/6b/c6/bd/6bc6bdf1804185ed64d2fe549c92c4e2.jpg FIGURE 26. - https://i.mdel.net/i/db/2020/11/1424081/1424081-800w.jpg