Vogue Magazine Research Articles

Trajal Harrell: The Anxiety of Autobiography

Trajal Harrell: The Anxiety of Autobiography

On Seamus Heaney. By R. F. Foster

As Northern Ireland erupted in violence in the late 1960s, Seamus Heaney commented in a newspaper piece on the delicate balance required to negotiate the chaos. ‘The ideal in politics as in writing’, he wrote, ‘is one of integrity; to establish a congruence between a man’s public image (his speeches and actions or his writings) and his private self (his inherited emotional loyalties, his evolving ideals, his prejudices and uncertainties)’. Heaney’s life-long project was the working out of that congruence between the public and private man, and the critical acclaim he enjoyed during his lifetime and his extraordinary popularity among readers were both due, in no small part, to his success in that undertaking. Beginning with a 1965 profile in Vogue magazine, of all places, and continuing through BBC radio broadcasts, public readings and interviews, his critical writings, and Stepping Stones, Heaney fashioned a highly coherent narrative that grounded his poems in his own personal history. His body of work as a whole is an assertion of a poetic persona that is familiar to his readers everywhere. As the Irish historian R. F. Foster notes at the beginning of this book, ‘It is difficult to write about someone who wrote so well about himself’.

Pucci (Paper) Patterns, 1956–73

Established in 1947, the house of Pucci is best known for its iconic prints. Yet even before the Puccimania of the Swinging Sixties, commercial sewing patterns were an important part of Pucci’s popular reception. Over the course of almost two decades, Emilio Pucci licensed his fashion designs with American pattern companies including the McCall Corporation and the Vogue Pattern Service, the independent offshoot of Vogue magazine. This preliminary overview documents how Pucci’s work was represented and marketed to home dressmakers during this period (1956–73). A look at vintage Pucci patterns in context shows how this designer licensing intersects not only with trends in luxury sportswear and textile development but also changing ideas of leisure, modernity, and Italian fashion.

To be in Vogue: How mere proximity to high‐status neighbors affects aspirational pricing in the U.S. fashion industry

AbstractResearch summaryThis article examines how proximity to high‐status neighbors enables lower‐status firms to engage in aspirational pricing. While prior studies have focused on associations based on bilateral agreements, we argue that mere spatial proximity to other high‐status firms creates perceived associations, which positively affects the focal firm's aspirational pricing. Furthermore, middle‐status firms are most likely to engage in aspirational pricing because they are sufficiently similar to high‐status neighbors to expect assimilation, not contrast, effects. Our multi‐method approach based on panel data from the U.S. Vogue magazine and an experiment provides converging evidence for our arguments. Being somewhat randomly featured near the advertisements of prominent high‐status firms in Vogue positively impacts the subsequent average listed price of the focal firm's products, especially for middle‐status firms.Managerial summaryHigh‐status firms tend to form relationships with other high‐status counterparts, making it difficult for lower‐status firms to ascend the status hierarchy and access status‐based benefits. This study shows that lower‐status firms may be able to obtain status‐based benefits, namely the ability to set higher prices for their products, by merely being proximate to other high‐status firms. Our analyses using data from Vogue magazine and online experiment show that having advertisements appear proximate to those of high‐status fashion firms enables the focal firm, especially middle‐status ones, to raise the prices of their products. As advertisement locations are somewhat random in that firms do not have control over determining their adjacent ads, our study highlights that lucky locations can sometimes be beneficial to disadvantage lower‐status firms.

Video Review: The Soothsayings of Iris

Video Review: <i>The Soothsayings of Iris</i>

LANGUAGE STYLE IN FASHION ADVERTISEMENTS OF ONLINE VOGUE MAGAZINE

In advertising, one of the purposes of communication is to offer a particular product. Advertisements display the advantages, features, and values of the products. This paper aimed to analyse the language styles used in online Vogue Magazine fashion advertisements. The data were collected by selecting ten advertisements collected from Vogue Magazine’s compilation entitled “The Fall 2020 Trends Vogue Edition Editors are Shopping This Season” published on 18 September 2020. The researchers employed mixed methods to analyse the language styles used in the fashion advertisements based on nine types of language styles proposed by Wells, Burnett, and Moriarty (1995). The results showed that there were three language styles found from ten online fashion advertisements in Vogue Magazine advertisements, namely the hard sell style (three times), soft sell style (three times), and mixed style or the combination of the hard sell and soft sell styles (four times). Each advertisement style has its specific features and functions in fashion promotion.

“Fashions of the Future”: Fashion, Gender, and the Professionalization of Industrial Design

Abstract In 1939, U.S. Vogue magazine dedicated its February issue to the promotion of the New York World's Fair, which would open in April 1939, giving significant editorial space to the subject of industrial design for the first time. The issue's leading fashion editorial feature, “Fashions of the Future,” invited nine industrial designers to dress the “woman of tomorrow.” The feature served as a promotional vehicle for the World's Fair and for the industrial designers who worked on it. Through a close examination of the issue's visual and textual content, this article explores the relationship between industrial design, fashion, consumption, and gender at a formative moment in the professionalization of design in the United States at the outbreak of the Second World War. It argues that fashion media served a discursive function in the elevation of the industrial designer's professional status, presenting a case for further consideration of the relationship between fashion and industrial design in the history of the design profession.

‘I’m Not Afraid of the Dark’

‘I’m Not Afraid of the Dark’

Hyphenated Phrasal Expressions in Fashion Journalism: A Diachronic Corpus-assisted Study of Vogue Magazine

Following Barthes’s seminal Système de la Mode, there have been relatively few studies focusing on fashion journalism from a linguistic perspective. This paper offers an in-depth analysis of hyphenated phrasal expressions (HPEs) of three or more constituents in the American edition of Vogue. The Vogue corpus covers a timeframe from 2003 to 2019 to provide diachronic insights. Corpus software was used to extract and analyse all hyphenated phrasal expressions. Results showed a general rise in usage over time, with most functioning as adjectives in line with the descriptive and evaluative purposes of fashion journalism. A wide range of structural patterns reflected richly detailed and striking mental images (i.e., *-and-*, *-meets-*), multiple roles (i.e., *-slash-*, NP-NP-NP), and novelty [(*)-of-the-moment, *-to-be]. Extensive clause-like HPEs offered a particularly interesting window on the writing talents of this discourse community. The study provides a useful benchmark for contrastive studies aiming to understand to what extent HPE usage in American Vogue may influence the writing style of journalists of other language backgrounds, with particular reference to Italian fashion journalism.

Fictivity in Vogue: a cognitive-functional categorization of fictive speech acts in a fashion corpus using corpus linguistics

Fashion pervades different instances of culture, ranging from clothes to language and behavior. In this paper, we analyze the occurrence of three fictive speech categories (PASCUAL, 2014) as storytelling strategies in sections of North American Vogue magazine. This paper aims at investigating through a mixed-method approach cognitive-functional categories of fictive speech acts based on a corpus analysis of a corpus with fashion texts. We collected 200 texts from Vogue magazine (printed edition) from 2015 to 2018. In a sample of 60 texts, sentential (SENT), intra-sentential (INTRA) and inter-sentential (INTER) fictive acts were manually identified and categorized in each text through tags. The quantitative analysis mapped the counts of each category per year and per text and the qualitative in-depth analysis investigates instances from each category and their interpretation in the light of Fashion and cognitive and corpus linguistics theories. The findings show that the occurrence of the categories of fictive speech acts varies per year with opposing trends, though they tend to co-occur in the same texts. Therefore, fictive speech acts function as recurrent discursive strategies to foster a conversational environment in texts from Vogue magazine.

II. DÜNYA SAVAŞI DÖNEMİ VOGUE DERGİ KAPAKLARINDAKİ KADIN İMGESİ VE GİYİM ANLAYIŞI ÜZERİNE GÖSTERGEBİLİMSEL BİR ÇÖZÜMLEME

Moda yalnızca estetik bir anlayış biçimi olmayıp aynı zamanda güçlü yan anlamlar içeren, birçok alandan etkilenerek şekil alan ve sürekli değişen sosyo-kültürel bir olgudur. Özellikle büyük krizlerin yaşandığı savaş yıllarının moda ve giyim üzerindeki etkisi, kadın giyimindeki biçimsel ve estetik dönüşümün yanısıra zorunlu sosyolojik bir takım etkileri de beraberinde getirmiştir. Bu çalışmanın temel amacı Vogue dergisinin II. Dünya Savaşı dönemi kapaklarının göstergebilimsel açıdan incelenerek, savaşın kadın imajı, moda ve giyim üzerindeki yansımasını araştırmaktır. Aynı zamanda modanın sembolik ve yananlamlarla birlikte, dönemin etkisiyle nasıl şekillendiği belirlenmeye çalışılmıştır. Çalışmanın evreni II. Dünya Savaşı döneminde yayımlanmış olan 143 adet Vogue dergi kapağından oluşmaktadır. Örneklemi ise, özellikle Amerika’nın savaşta etkin olduğu 1942, 1943 ve 1944 yıllarından bir adet olmak üzere toplam üç adet dergi kapağı, amaçlı örnekleme yönetemiyle belirlenmiştir. Çalışmada Vogue dergi kapakları göstergebilimsel açıdan Roland Barthes’ın anlamlandırma şeması üzerinden incelenmiş, kapakta yer alan kadın fotoğraflarının yananlamları kültürel kodlar üzerinden, yazılı göstergeler ise kapak üzerindeki sloganlar incelenerek yorumlanmıştır. Dönemin moda ve giyim anlayışı üzerindeki etkisi ise metinlerarasılık kuramından modaya uyarlanarak Th. F. Broden tarafından oluşturulan giysilerarasılık kuramı üzerinden incelenmiştir. Sonuç olarak Vogue dergi kapaklarında kadın imgesinin; vatansever, yardımsever, barışçıl, fedakâr, en az erkekler kadar savaş döneminde etkin ve söz sahibi, göreve hazır, güçlü bir kadın profili yansıtıldığı görülmüştür. Savaşın kadın giyimi üzerinde büyük etkisi olduğu, sivil kıyafetlerde dahi haki, “Kızıl Haç’’ ve Amerikan bayrağı yansıtımı olarak beyaz, kırmızı, lacivert renklerinin kullanıldığı, özellikle ceket ve şapkalarda askeri üniforma etkilerinin görüldüğü, saç, makyaj ve aksesuarlarla birlikte maskülen ve feminen etkinin dengelendiği saptanmıştır.

O Conto de Genji, de Virginia Woolf

Em 1925, na revista Vogue, a escritora inglesa Virginia Woolf escreveu uma resenha empolgada pela tradução do orientalista Arthur Waley para “O Conto de Genji”, atribuído à escritora e poeta Murasaki Shikibu, considerado um dos primeiros romances japoneses, escrito no começo do século XI. Mesmo que curto, o texto dá conta da prática de crítica literária promovida pela autora na época, aliando a pesquisa na autoria de mulheres e o sentimento do que chamava de leitor/a comum diante de um texto literário, sem amarras acadêmicas.

Hashtag Vogue: A content analysis of the differences between regional Vogue Instagram accounts

Abstract Fashion media is an essential part of the fashion industry in communicating cultural fashion, current trends and innovations. However, there are many differences due to cultural values, history and media access. A content analysis of Vogue magazine, Russia, India, Brazil and Arabia is designed to identify differences in content between regional Vogue Instagram accounts. Images were screenshot from each account and then organized into themes resulting in four main categories for all accounts: one, how the Vogue woman was dressed, two, the personality/lifestyle of the Vogue woman, three, the structure of the photo and finally commonalities between the accounts. The researcher found many differences and a few overlaps in values in these five Vogue accounts. Different regional areas maintain distinctions even though fashion is globally communicated.

Sinergias de sororidad en las comunidades virtuales de las revistas femeninas. El caso del cierre del foro de Vogue

Introducción. La progresiva desaparición de los foros como elemento ya arcaico de conversación en los cibermedios es un hecho con el cierre de uno de los últimos que quedaban activos como es el de la revista Vogue. Un cierre que viene precedido por los insultos y amenazas a la bloguera Lovely Pepa que son los que han desencadenado esta clausura. Metodología: Esta investigación cualitativa ha sido realizada mediante encuestas estructuradas a 47 usuarias del foro de la revista Vogue. Resultados y discusión: Los resultados obtenidos destacan la importancia de sinergias sobre todo de sororidad que se han creado en una comunidad femenina que formaba parte de un medio pero que era completamente independiente de él. Una agrupación con necesidad de informarse, de conversar y de tratar temas más ricos y variados que los que propone la cabecera.&#x0D;

Creating Women’s Identity in Fashion: Objectification Within Norman Norell’s Classic Silhouette

An analysis of American designer Norman Norell’s 1951 dinner dress and Norell’s classic silhouette at theTexas Fashion Collection led to the examination of the mid-twentieth century and how misogyny related to thesociety during this time. The investigation of misogyny in the fashion industry began with the evaluation JoanneEntwistle’s article “Fashion and the Fleshy Body: Dress as Embodied Practice” which provided the preliminaryunderstanding of femininity, women’s identity, and fashion. By understanding social theory, feminist theory, andthe history of the mid-twentieth century, I am able to reinvestigate Norell’s work as a perpetuating factor ofmisogyny in fashion. Beyond observations and analysis of Norell’s relationship to feminine identity in fashion,I explore modern fashion and the changing nature of misogyny in the industry since the classic silhouette ofNorman Norell in core fashion areas like Vogue magazine.

European luxury fashion brand advertising and marketing relating to nostalgia

This research seeks to examine how European luxury fashion brands use nostalgia in their advertising and marketing, and the benefits of using nostalgia by analyzing selected adverts from Vogue magazine. The research adopts Narrative Transportation Theory, aims to create a model which develops Van Laer, de Ruyter, Viscanti and Wentzels’ (2014) “Extended Transportation-Imagery Model”, and provides managerial implications. Qualitative content analysis of imagery was conducted to analyze 60 adverts of five luxury fashion brands between 2010–2016. This research offers a different product category to investigate for nostalgia literature: luxury fashion brands’ advertising, a different cultural context: European luxury fashion brands, and examines luxury fashion brand characteristics within the adverts’ narratives by semiotics discipline. Research identifies how nostalgia theme was used in these adverts, provides an understanding among the themes, and adverts’ analysis in terms of luxury brand characteristics, narrative, and semiotics.

The Femme Fatale inVogue: Femininity Ideologies in Fin-de-siècle America

This article explores how marketing influences ideologies of femininity. Tracing the evolution of femme fatale images in Vogue magazine in 1890s America, we develop a typology around four archetypal forms of the femme fatale that prevailed during this period. In doing so we respond to calls for more critical historical analyses on femininity. While studies on masculinity ideologies proliferate, there is a paucity of research on dissonant representations of femininity in popular culture media. The femme fatale, often a self-determined seductress who causes anguish to the men who become involved with her, is an intriguing and enduring challenge to traditional notions of femininity. Thus, in studying the femme fatale in her historical context and revealing the multiplicity of feminine ideologies contained within this trope, we contribute to a deeper understanding of marketing’s role in both reflecting and reinforcing societal assumptions, attitudes and problematics around gender norms.

Fashion, Dressing, and Identities in Ballroom Subculture

The Ballroom scene is an underground subculture created by African Americans and Latinos and gives emphasize in issues of race, gender, and sexual orientation within the heterogeneous society. The members of this subculture live in an organized social structure based on the acceptance and the celebration of sexual and gender expression. Balls are competitions where transgender people are involved, performing different kinds of dances. Balls provide to the queer community a cozy place to build their sense of self in their hidden world without the limitations imposed by society on gender and sexual expression. Balls are a combination of fashion, competition, and dance. “Voguing” is the characteristic dance of Balls and it is an extremely stylized dance form. Vogue magazine’s model poses to inspire it, and it uses the arms and legs with dramatic, rapid and feminine edgy ways. “Voguing” includes catwalk, dance, spins and other risky styles of movement. The “Voguing” has the major role in Ballrooms that contain fashion catwalk and competitions, where African and Latinos gays and transgender participate in a competition, imitating fashion models in the catwalk with gestures and poses to win an award. The panel of the critics, in a Ball, judges them from the movements of their dance, attitudes, costumes and the ingenuity in all of these areas. Today there are three basic types of Voguing: a) the Old Way, b) The New Way and, c) The Vogue Femme.

'Minha pátria é minha língua': a celebração do discurso monolíngue na revista Vogue

Este artigo analisa a celebração da língua portuguesa, constante da edição brasileira n. 479 da revista Vogue, de julho de 2018, tanto na capa da referida edição quanto no texto Português na veia, escrito por Nizan Guanaes e publicado em suas páginas. Tomando por base a concepção de discurso monolíngue, conforme delineada por Zolin-Vesz e Santos (2017), intenta-se retratar o posicionamento monolíngue, sugerido na capa e no texto mencionados, como tentativa de construir uma concepção/uma visão de língua portuguesa “essencializada”, ou seja, uma instituição monocêntrica que contribui para engendrar a noção de “pátria” e que precisa ser injetada “na veia” dos brasileiros, como parte inerente ao processo de composição do eixo território-língua-identidade-literatura nacionais. Os resultados da análise sugerem que o discurso monolíngue, o qual conduz à celebração da língua portuguesa na referida edição da revista Vogue, contribui para o engessamento da concepção de língua (nacional).

Tā Moko and the Cultural Politics of Appropriation

With the rapid development of globalisation, issues of cultural appropriation – a topic of longstanding interest in social anthropology – have shifted and intensified in many ways. In recent decades the phenomenon has presented both challenges and opportunities for indigenous cultures across the globe to re-negotiate their cultural agency and empowerment. Grounded in the realm of cultural politics, I explore this issue through the iconic example provided by Jean-Paul Gaultier’s 2007 ‘Vogue Magazine’ campaign, in which European models were employed to display Aotearoa/New Zealand Māori tā moko while advertising clothing and sunglasses. There are several different solutions favoured by some Māori folk regarding this issue, all of which are underpinned by both opportunities and pitfalls. While I argue that solutions to issues of cultural appropriation should ultimately be led by the cultural groups who are directly affected, there is also room, I suggest, for anthropologists to play a role in this process. I envisage this to be through amplifying Indigenous voices, and by contributing to an enhanced awareness of the complexity of cultural appropriation.