Fashion Magazines Research Articles

ПРАГМАТИКА ПЕРЕКЛЮЧЕНИЙ КОДОВ В ГЛЯНЦЕВОМ ЖУРНАЛЕ «ELLE»

To date, the linguistic aspect of the language of fashion has been studied insufficiently, therefore this research area is becoming increasingly popular. Modern glossy fashion and beauty magazines are characterized by a high percentage of code-switches. Linguists studying this linguistic phenomenon are particularly interested in researching foreign language units in magazine texts. The article deals with the problems of contact and gender linguistics: the influence of the gender focus of a glossy magazine on the usage of code-switches and their functions; it reviews the relevant scientific works, analyzes the specifics of women’s speech and examines the pragmatic aspect of foreign language units in glossy magazines for women. In women’s glossy magazine articles, code-switches are used for 7 different pragmatic reasons. The results of the quantitative analysis demonstrate that Elle magazines are characterized by the usage of foreign-language units with different intentions: topic-related, effort-saving and emotional ones. The prevalence of these functions is explained by the gender focus of the glossy magazine Elle. The genre-thematic uniqueness of Elle determines the usage of codeswitches with topic-related intention. The terminology of the fashion and beauty industry implies the usage of popular expressions in this field, which, as a rule, are more concise than the units of the Matrix language. On the one hand, the reason for code-switches is to save the effort, on the other hand, they serve the topic-related function of the magazine, i.e. we are dealing with the combination of pragmatic functions. The predominance of the emotional code-switches is explained by the brightness and expressiveness of women’s speech.

The relationship between fashion collection design and jewelry

The research deals with how the jewelry designer takes advantage of fashion ‎phenomena in presenting designed collections for jewelry that verify the ‎interconnection between fashion and jewelry. By learning about the nature of ‎collection formation, understanding the general fashion context and the ‎importance of fashion in users' acceptance of different products. And also ‎importance of the appropriate time to launch the jewelry collections, and achieve ‎distinction through the designer personal characteristics, and provide the ability ‎to compete in the market. Methodology: The research used descriptive, analytical and deductive ‎methods. The research puts the hypothesis that there is a possibility to take ‎fashion milestones as an innovative entry point for designing jewelry collections ‎that are compatible with the nature of fashion and apparel, that will assure the ‎acceptance of the jewelry pieces. ‎ Designing a collection begins with the correct understanding of the needs ‎of the users, the understanding of new trends in fashion, keeping abreast of ‎changes and creating balance within the collection, in addition to the emergence ‎of some special ranges within the collection. The steps of forming the collection ‎depend on research - design - development and then collection editing, and its ‎presentation. the collection is based on what inspires the designer and attracts ‎the user to buy, so it is necessary to define a basic element that is common to all ‎the pieces of the collection so that the coherence element is available in the ‎collection and also the it must contain impressive main pieces and various pieces ‎for different occasions Simple pieces suitable for frequent use, but in a new way, ‎in addition to making an evaluation of the pieces of the collection, and at this ‎stage, the opinions of those with experience can be used.‎ Conclusion and results: In order for the jewelry designer to cope with the ‎changing nature of apparel designs, he must provide the user with a number of ‎choices that give freedom, confidence in his choices, an acceptance of himself and ‎show the designer own mark as strengths that become the starting point of the ‎collection. And that fashion can give the jeweler the appropriate context for his ‎designs and thus increase the possibilities of acceptance of the user or the ‎acquirer of it and that this context is provided by designers, experts and editors of ‎fashion magazines and to reach expectations and predictions of future trends of ‎fashion, the designer or design team must search and investigation in order to ‎reach these determinants and effects‏.‏

Poetry as Accessory

With industrialisation, literature in the 19th century, especially aestheticism and decadence, shows itself influenced by commodity and consumer culture. In Mallarmé’s case, this connection is already biographically obvious: through his editorship of the fashion magazine La Dernière Mode in 1874. That his connection to fashion was not a biographical intermezzo but rather formative for the poetry has already been noted in research. In contrast to a research tradition that understands Mallarmé’s poetry as absolute, self-referential poetry with metaphysical and ontological implications, research in recent decades has emphasised its embeddedness in everyday culture. This essay aims to examine Mallarmé’s affinity with commodity and consumer culture with regard to a fashion object that was of particular importance to him: the fan, which was not only the subject but also the material carrier of numerous poems, each addressed to a lady and written on her fan. By using objects of daily use as writing carriers, the fan poems reflect the materiality of literature. The primacy of reading is thus replaced by other modes of use.

“WHITE TRASH”: GESTURES AND PROFANATIONS IN THE VISUAL ECONOMY OF FASHION

ABSTRACT In this article, a photo story depicting “white trash” subjects in the act of defying middle-class proprieties of dress and manners serves as a case study for a critical exploration of the performative registers through which working-class bodies figure as agents of social sedition in the visual economy of fashion. The unglamorous and confrontational bodies in Memory—shot by Alexei Hay and Justine Parsons for Dutch in 2000—enact a parody of professional fashion models by exhibiting an exuberant, uncontained sexuality that cuts against the codes of “good taste” and decorum. The photo spread epitomizes how the vernacular aesthetic of “white trash” has been embraced by independent fashion magazines in order to unsettle the normative aesthetics associated with high fashion imagery and, more broadly, mainstream visual culture. Engaging with Giorgio Agamben’s reflections on gesture and profanation, the article discusses the political effect of an overperformance of corporeality through prosaic, bawdy gestures and argues that the unboundedness of the bodies in the photo spread represents an affront to the capitalist regime of productivity from which these bodies are excluded. Finally, it highlights the contribution of the aesthetic category of “white trash” to the troubling of the representational conventions within the genre of editorial fashion photography and calls for a politically committed rethinking of the aesthetic consumption of fashion images.

Letter from the Editors: Contemporary Popular Culture and Social Criticism

Letter from the Editors: Contemporary Popular Culture and Social Criticism

La mode féminine de la seconde moitié du XIXe siècle dans la caricature iconographique et littéraire

L’article analyse la relation entre la caricature et la mode à partir de quelques exemples de la satire visuelle et textuelle de la seconde moitié du XIXe siècle. La période est propice à la caricature de mode car, tout en reflétant les transformations politiques, économiques et sociales du temps, les tendances vestimentaires prônées à l'époque par les périodiques de mode reposent sur l'exagération et la déformation, qualités qui sont aussi les armes des humoristes. La première partie examine la représentation graphique du costume féminin, avant tout celle de la crinoline-cage, et les significations véhiculées par ces images railleuses. La seconde se concentre sur les fragments de La Comédie de notre temps (1874-1876) de Bertall, consacrés à la mode et au vêtement, et cherche à définir l'image de la femme et sa place dans la société bourgeoise en pleine mutation.

From emo kid to stylish GQ Gent and back again: Matty Healy and hybrid masculinity

This article examines the evolution of the appearance of British musician, Matty Healy, lead singer of contemporary band The 1975, in his performance as a hybrid man in style and fashion magazines. Hybrid masculinity is often used by young white men as a form of assimilating aspects from marginalized groups into performing their identities. This is to distance themselves from the narrow confines of hegemonic masculinity through transgression. Healy’s performances of gay and feminized hybrid masculinities have emerged through his clothing, from early national success as a typical ‘emo’ kid ‘dressed in black from head to toe’ to a fully groomed, suited and booted Englishman, cover star of GQ and in demand as a model. Prior to global fame, Healy’s style referenced rock stars of the past and he was admired for his simple black clothing, boyish emo good looks and curly hair; style blog IdleMan.com refers to him as a ‘gothic hipster’. Yet in concert with his stylist, Patricia Villirillo, Healy has begun to play on the more feminized aspects of emo fashion such as performing in women’s skirts and dresses, and arguably has produced a twenty-first-century emo aesthetic. Moreover, he also adopts the appearance of a powerful man in a suit or for performances as well as photoshoots. Healy might now be dressed in a suit or tie for performing, as easily as he might wear a skirt, as many men in music have before him. Wearing skirts as an act of transgression highlights the lack of diversity in men’s clothing in its mundanity, and despite advances in acceptance of dynamic masculine identities through performing gay identities, performing hybrid masculinities through femininity, is still highly problematic.

21st-century Buffalo Boys: Intersectional approaches to the complexities of modern masculinity

Scottish-born stylist, Ray Petri, founder of the maverick Buffalo Collective, defined the look and feel of radical 1980s fashion magazines such as i-D, The Face and Arena. The Buffalo Boy look pioneered a more sexually ambiguous form of fashion iconography, undermining the putative immutability of normative codes of gender and sexuality and communicating a new image of masculinity. Previous conviction that the Buffalo spirit died with its founder has been upended by a new generation tapping into the Buffalo legacy, notably British-Ghanaian photographer, model-casting agent and publisher, Campbell Addy, and West African stylist, Ibrahim Kamara – both former interns of original Buffalo Collective members. This article explores how Addy and Kamara’s imagery interrogates the fragile relationship between menswear and masculinity, underpinned by intersectional issues of sex, race, faith and identity. Breaking down the construct of hegemonic masculinity, this article compares contemporary works by Addy and Kamara with the output of Buffalo to argue that the Buffalo spirit is evolving in how Addy and Kamara address notions of authenticity, exploit cross-cultural influences and transcend binary oppositions – redefining modern masculinity.

Racial Masquerades in the Magazines: Defining White Femininity Between the Wars

ABSTRACT In American fashion magazines in the 1930s, images and descriptions of white women taking on the clothes of non-white women abound: burnouse cloaks, coolie caps, sombreros, turbans, and saris all make frequent appearances. This paper will explore the ways these fashions are given meaning for readers in Vogue and Harper's Bazaar so that we can understand how these Orientalist and Primitivist fashions were used to construct their wearers' modern white femininity. The fashionable white woman was rendered modern through her infinite malleability—she can reshape her appearance with clothing, jewelry, makeup, diet and exercise—while the “other” is primitive, eternally wearing that same traditional clothing. This paper will consider the specific cases of the branding of the Bali bra, the sari, as well as “coolie” coats and hats.

Mina Loy, Bessie Breuer, Charm Magazine and Fashion as Modernist Historiography

ABSTRACT Mina Loy's essay “Modern Poetry” (1925) is a minor modernist classic, often cited and regularly studied. The New Jersey fashion and home-interest magazine in which it first appeared, Charm, and the editor who likely commissioned it, Bessie Breuer, are all but forgotten. In this article, which introduces Charm and Breuer in the context of modernist studies for the first time, the standard interpretation of Loy's essay as a manifesto for a poetry of the new is reconceptualized. Through the lens of Charm's fashion coverage, with its emphasis on both the seductively new and the practically durable, I read Loy's version of novelty as always relative and fleeting. Reading modernism through fashion, and particularly in a magazine, the article argues, simultaneously emphasizes and undermines modernism's definitions. In the final part of the article, I use Charm's fashion coverage as a way to approach modernist historiography. This historiography heralds not the canonical but— briefly, at least—the one-time and obscure artifacts of modernism. Fashion lets me recover Breuer and Charm for modernist history without attempting to assert anything as fixed as their absolute value. Fashion helps me propose a quintessentially modernist historiography that is attuned to restless change and contingency.

СТИЛЬОВИЙ СИНТЕЗ ЯК ПЕРСПЕКТИВНИЙ МЕТОД У ФОРМУВАННІ СУЧАСНОГО ЖІНОЧОГО ОБРАЗУ

The aim of the article is to analyze the stylistic synthesis examples in the design of a modern costume, and to identify the actual combinations of two or more styles in one image which are preferred by Ukrainian designers. Models of modern women’s clothing, represented on the Ukrainian market by designers, trade locations, and printed fashion magazines has been used asthe objects of the analysis. Methodology.The systematic approach has been used for examination of the modern design activities as result of the postmodern culture influence and for detection of the relationship between artistic phenomena and the design practice. Art analysis has been used for the analysis of the shape, silhouette, costume plasticity, and allowed to reveal the main ways of different styles elements combination into a single structural integrity. Resalts. The interpretation of the different styles interaction problem in art and dsign by art theorists and costume practitioners has been given in the study. The analysis of women's clothing models represented on the Ukrainian market by such designers as Nadya Dzyak, Ksenia Schnaider, and such Ukrainian brands as RITO, Jul through the Ukrainian Fashion Week web-resource, own web-sites and online stores, and published by TRserial and ELLE has been provided. The fact that modern costume designers are vibrantly trying to combine components ofdifferent styles in one image, which allows obtaining a variety that reflects a wide range of human needs and preferences, has been demonstrated. Scientific novelty. The study of stylistic synthesis as a separate direction in the costume design has been represented. The visual series that allows studying of the stylistic combinations variability and identifying the need of stylistic synthesis introduction into the theory and practice of design techniques have been formed with the help of the selective method. The main directions of different styles synthesis in the designers developments have been determined. The practical significance. The analysis of stylistic synthesis promising techniques in the modern women's costume can supplement the insufficiently studied areas in the theory and practice of design. The results of the study can be used as practical recommendations for costume design and fashionable image formation based on the stylistic synthesis.

Micro-Archives and the Survival of Print in <i>Momma Tried</i> and <i>Sabat</i>

This article focuses on two independently published magazine projects, Sabat (2016–) and Momma Tried (2013–). It introduces Sabat and Momma Tried in the context of the contemporary independent publishing boom and considers their engagement with the print magazine form as affording a micro-archival stance towards the near past and personal histories as well as the magazines’ experiments with their material form.London-based Sabat appropriates the look and formula of women’s fashion and lifestyle magazines but reworks these templates to create a ‘lifestyle magazine for witches’ in a polished minimalist design. In three themed issues, Sabat establishes a meta-narrative of its own death which issue four materially enacts. Momma Tried is rooted in the art scene of New Orleans and started out as a celebration and record of the local community of creatives before the third issue turns the magazine into a ‘cyborg’ combining the print object with an app to create an ‘installation’. Both magazines evoke print as a way of conserving and archiving a specific moment but also engage in experiments that dissolve the magazine form, undermining its archiving function by staging the magazines’ ‘deaths’ as transformations.

The Biology Behind Eating Disorders.

For many decades, the popular narrative surrounding anorexia nervosa was that it was an emotional disorder springing from profound cultural pressures combined with dysfunctional family dynamics. Teenage girls, typically, would refuse to eat in an obsessive bid to lose weight. They would imagine themselves to be fat, even if mirrors and scales demonstrated otherwise. Because of the surfeit of images of rail-thin preteen models cluttering the pages of trendy fashion magazines, it was easy to imagine this theory to be true. It made sense if some clinicians regarded anorexia as the inevitable result of a "you-can-never-be-too-rich-or-too-thin" culture.

‘Mirror, Mirror On the Wall, Who’s the Better of Them All?’Fashion Magazines: A Social Tool of Empowerment or Enslavement?

The concept of ‘fashion’ and ‘fashionableness’ is a highly contested one with differing opinion as to what constitutes either, with no clear-cut move made to clarify the correctness of the myriad understanding behind the term. People who are seemingly fashionable or are considered fashionable by members of the community exert pressure on others--a pressure to follow, pressure to keep up or pressure to agree to the standards set by the supposedly fashionable as the bar for things fashionable. In recent times public discourse has looked at the immense pressure fashion has exerted on women in any given society. Be it things as banal as clothes and cosmetics or complex issues such as political ideologies espoused by one; everything in contemporary times is weighed by the fashionably endowed. Many wear their fashion sense as a badge of pride and achievement, much to the discomfort and dismay of those who think and behave otherwise; and no more is this awkwardness as obvious as it is amongst women. Media platforms add to the general sense of the divide among women in society by taking a decided stance in favour of the fashionable women, increasing the angst and anxiety of those women who aren’t. Do fashion magazines add to women’s confusion when it comes to issues of fashion or do fashion magazines help in allaying their fears? Some of these issues will be explored in the present paper.

Analysis of Presupposition in Cosmetics Advertisements

Pragmatic presupposition focuses on the study of the relationship between the speaker and the hearer at the time of communication and the language they used. It can effectively serve advertising language from the linguistic field. In other words, pragmatic presupposition can meet some of the requirements of the advertisements. Nowadays people confront a variety of commercial advertisements, such as food advertisements, drink advertisements, digital product and cosmetic advertisements, etc. In fact, advertising language is the core factor which determines the success or failure of one commercial advertisement. Most domestic and overseas scholars have studied advertising language through cooperative principles，rhetoric and systemic-functional grammar, etc. However, they do not pay enough attention to the pragmatic presupposition manifested in both Chinese and English cosmetic advertisements. Therefore, this paper conducts a comparative study based on previous studies of pragmatic presupposition with new data. The data analyzed in this study are taken from some major fashion magazines in America, United Kingdom and China, such as VOGUE, Cosmopolitan，Trends health，etc. These cosmetic advertisements were advertised in the recent 20 years. Through the analysis, it is found that there is no significant difference between Chinese and English cosmetic advertisements in terms of types of pragmatic presupposition manifested. Both Chinese and English advertisers mainly adopt four types of pragmatic presupposition: existential presupposition, factive presupposition, state presupposition and behavior presupposition, and state presupposition takes up the largest proportion. The present study provides a more comprehensive analysis of pragmatic presupposition and classification of it. In addition, the results of this study also could help advertisers and consumers increase their mutual understanding.

Too anxious to please: moralising gender in fashion magazines in the early nineteenth century

ABSTRACT The turn of the nineteenth century witnessed a rise in fashion and ladies’ magazines across Europe. With an emerging consumer culture and the rise of the middle class, these magazines offer glimpses into important societal changes. A new gender order was being established, and magazines were one area where developing gender values were articulated. Setting out from the Swedish magazine Magasin för konst, nyheter och moder, this article analyses gender-related values, focusing on the importance of being fashionable and on amorous liaisons and marriages. The results show a distinct ambiguity in values, with contradictory images of women’s ideal behaviour, and the international influence on the making of a Swedish middle class.

Eccentric Feelings: Little Girls’ Pleasures on the Feminist Fashion Set

ABSTRACT In the face of commercial fashion photography's contribution to the shaping of the gendered public fantasy of the child, this article quarries, through a perspective shaped by queer affect theory, the kinds of figurations that in independent fashion magazines have stimulated alternative ways of thinking and feeling in relation to children. The case study, or scene, through which this analysis is conducted is ‘Juweeltje,’ a fashion editorial spread shot by feminist photographer Cornelie Tollens for Dutch magazine in 1995. In the midst of a controversial period dominated by collective media anxiety and moral panic around child pornography, and underpinned by conservative sentimentalising efforts to safeguard the Child, Dutch, an independent fashion magazine published between 1994 and 2002, grappled with such discourses by forging a visual trajectory for rethinking childhood through a queer affective prism. This article ultimately seeks to animate discussions around queer childhood and expand the current affective taxonomies associated with the child by unearthing the rich affective scenarios enacted by feminist fashion photography.

Achieving Sustainability through Zero Waste Fashion-A Review

Fashion industry encompasses every stage of production, starting from production of fibres, fabric, designing, production and sale of garments. Fashion industry holds second place among the pollution causing industries. This industry has an enormous impact on the environment as well as on the millions of people working in it. During the course of production of garments, a substantial amount of waste is generated. Solid waste, thus produced is sent to landfills, where it decomposes and leads to production of methane gas. Methane is a powerful greenhouse gas that traps atmospheric heat more effectively than the most common greenhouse gas—carbon dioxide. The solid waste contributes significantly to the existing problem of global warming. The increase in population and increased consumption of products in the developed world has started the global waste problem. Fast fashion provides the marketplace with affordable apparel. Fashion magazines create the desire for new “must-haves” for each season. But fast fashion has its side effects in the form of pollution footprint. The rate at which the clothing waste is generated is far more than its rate of decomposition. Millions of tons of clothing waste is dumped in landfills, which may take between one to five months to fully biodegrade, with the condition that the waste comprises only of organic cotton fabrics. The waste generated is a mixture of natural as well as synthetic fibre, with 20 to 200 years of decomposition time. Each chemical treatment elongates its biodegradation time. A viable solution to this problem may be the adoption of every technique resulting in lower waste generation. Zero waste Fashion may be a step towards achievement of sustainability. A Zero waste policy must be adopted to identify inefficiencies in the use of inputs like raw materials, power and workforce. Zero waste policy supports every phase of the sustainability movement. This paper is centered on the main causes of waste generation in garment industry and the Zero waste generation techniques of garment production and other means of waste reduction which can be adopted to make the fashion industry sustainable.

Soviet fashion of the first half of the 1950s: formation of a new model of consumption

the article analyses textual and visual stories, is dedicated to the presentation of fashion images published on the pages of fashion and women’s magazines of the first half of the 1950s, the Study aims to determine vector dynamics and transformations of the Soviet fashion discourse (visual images and texts “fashion advice”) that occurred in the first half of the 1950s, the identification of the causality of these changes and trends socio-economic and political development of the country. When writing the article, the author was guided by the principles of historicism and objectivity. Work with historical sources was carried out using General scientific methods (analysis, synthesis, induction, etc.), as well as historical methods (problem-chronological, retrospective, comparative-historical). The source basis of the study was: Soviet fashion magazines - “Models of the season”, “fashion Magazine”, magazine for women – “Worker”, published during the first half of the 1950s. it was revealed That in the first half of the 1950s. in the official Soviet fashion discourse reflect changes in the standards of “fashion” consumption: the democratization of the presented models (manifested in the reduction in the cost of fabrics and decoration of clothing, expanding the range of everyday practices of using models, etc.); strengthening of ethical and didactic component in the rhetoric of fashion magazines. These processes indicated the replacement of the elite fashion concept presented in fashion publications in the 1940s with a more democratic concept of “Soviet taste”. The final design of this model takes place in the mid-1950s, but the beginning of the processes of its formation can be determined already in the first years of the 1950s. The specifics of the conceptual consumption models declared in the USSR were determined by the dynamics of the country’s economic development and the vector of the social policy pursued. The weakening of the mobilization regime in the first half of the 1950s, as well as increased attention to the problems of living standards of citizens, contributed to the democratization of the standard of “fashionable consumption”, declared in the domestic information space.

Gender Discrepancies in Perceptions of the Bodies of Female Fashion Models

For over 30 years, researchers and journalists have made the claim that men do not prefer the level of thinness typically embodied by female fashion models, along with the secondary claim that women overestimate the extent to which men find these ultra-thin bodies attractive. The current studies examined men’s and women’s perceptions of the bodies of fashion models shown in media images, as well as how each gender believed the other would perceive the models’ bodies. In Study 1, 548 U.S. college students rated the body size and attractiveness of 13 images of models from women’s fashion magazines. Respondents also indicated how they thought the other gender would rate the models on these dimensions. In Study 2, 707 men and women recruited from Amazon’s Mechanical Turk completed the same rating task. Overall, both men and women overestimated how ideal the other gender would find the models’ bodies (both in terms of thinness and attractiveness). This misperception was strongest when women estimated how men would react to the models’ bodies. Results were consistent with previous studies suggesting that men do not find the ultra-thin body ideal for women as attractive as women believe men do. These gender-based misconceptions may contribute to the negative effects of viewing ultra-thin media images on women’s body image.