Balenciaga: Addressing misconceptions concerning his fashion press policies

This article interrogates the reputation, prevalent to this day, of Balenciaga as being anti-advertising and anti-media, according to some of his contemporary journalists as well as some of his employees and clients. The study contextualizes Balenciaga in the framework of the influence of the fashion press and the reality of the French couture licensing business in the North American fashion market from 1937 to 1968, his years on the international scene. Based on the analysis of the issues of Vogue, Harper’s Bazaar and Women’s Wear Daily for the same period, the research demonstrates that the designer had not always been so scornful of the media. He really was a discreet man, but this does not mean he hated the press, as his designs often appeared in the most influential fashion magazines. The article argues that the negative view in the media’s perception of him was generalized after his veto to the press in January 1956 – a decision he took for business reasons – and was retroactively attributed to his entire professional life.

Innokenty Annensky: the poet’s appearance

The topic of the article places it within the overlapping boundaries of literary criticism, the history of 19th-c. men’s suits, and memoirs.The methodology of the study involved comparing all contemporary descriptions of I. Annensky’s appearance with his photographs as well as Parisian fashion magazines with articles on men’s fashion, in particular, on collars and neckties; it was mostly these items of his wardrobe that caught the eye of the people who wrote about Annensky. And if it seems that descriptions like ‘overly ceremonious’ and ‘old-fashioned’ begin to dominate the memoirs, it is not because of Annensky alone but rather that, instead of recording what they saw with their own eyes, their authors tend to engage in a dialogue protracted in time and defined by contradictions, concessions and repetitions. The scholar concludes that, not only in his poetry but also in appearance, Annensky was a direct successor of the French poètes maudits with their dandyism. Interestingly, there was no contradiction between Annensky’s poetry and dandyism and his bureaucratic airs; in fact, dandyism and the Decadent fondness for beautiful artefacts perfectly coexisted with the distinguished public office of this Tsarskoe Selo resident.

More Than A Color: the Marginalization of African American Beauty

Beyoncé Knowles Carter had editorial power over the cover and content of her own story on a major mainstream magazine. Serena Williams did the same on the cover and 4 content of another one. The names of the magazines are not important because they didn’t even respond to my inquiry. Brown became beautiful in 2018 when major fashion magazines showcased it on their covers. Where were brown skinned people on the beauty spectrum before then? I mean I had heard the statement “Black is Beautiful” but was it really? This sent me on a journey which led to libraries and internet searches, but also contacting industry professionals to talk about their experiences with this. For this project I interviewed four men to talk about the beauty found in African American women along with researching different moments in history that stood out as defining. All four men worked in the fashion and design industry on projects that featured beautiful women by their industry standards. Three, I chatted with on the phone and transcribed the conversations, while with the fourth I exchanged emails. I learned that men are very dominant in this field and the way they see beauty determines how we see beauty.

Textos Jornalísticos Nas Revistas De Moda: Um Estudo Das Publicações Usuais na Vogue E Harper´s Bazaar

Este estudo tem por objetivo identificar os textos mais comuns produzidos no jornalismo de moda nacional. Deste modo buscou-se levantar os tipos mais usuais, tendo como foco a classificação de Joffily (1991) e Flores (2018). O recorte de pesquisa elegeu duas revistas de importante circulação no país: Vogue e Harper´s Bazaar. Ao todo foram analisados 517 textos publicados em seis meses nos dois veículos. Conclusivamente o estudo mostra que o texto de jornalismo de moda, ainda que abarque marcas textuais exclusivas, tem focado na produção noticiosa, explorando pouco o viés opinativo e, investido em produções que se encaixam no jornalismo de serviço e no perfil. Journalistic Texts in Fashion Magazines: A study of usual publications in Vogue and Harper ́s BazaarAbstractThis study aims to identify the most common texts produced in national fashion journalism. We sought to identify the most usual types, focusing on the Joffily (1991) and Flores (2018) classification. The research selected two magazines of major circulation in the country: Vogue and Harper ́s Bazaar. In all, 517 texts published during six months in both media outlets were analyzed. In conclusion, the study shows that the fashion journalism text, despite exclusive discourse marks, has focused on news production, exploring little opinion and investing in productions that fit the service and profile journalism. Keywords: Journalistic genres; fashion journalism; fashion magazine.

Fashionable: styling the unique body

Over the past decade, there has been a steady increase in the use of diverse models in fashion media ranging from plus size models to older and ethically diverse models. People with disabilities, however, remain invisible in fashion magazines and advertising. My research addresses this absence with a project that is both empirical and creative. Working across disciplinary borders, it will advance both my own field of Fashion and Disability Studies by opening a line of inquiry related to the employment (or lack) of models with disabilities in the fashion industry. The project enables me to produce a creative work that will contribute to the larger social process of representing people with disabilities in more complex ways. It will shed light onto how fashion is important to everyone as a key form of expressing identity regardless of physical differences

Challenging ideas of female empowerment on Instagram using Mcrobbie's theory of post-feminist disarticulation inside popular culture

Given the recent resurgence of feminist topics within popular media, the purpose of this MRP is to interrogate the theory of post-feminist disarticulation put forth by Angela McRobbie in The Aftermath of Feminism in order to understand fashion’s role in the disarticulation of young women in a contemporary context. By examining how the post-feminist tropes identified by McRobbie have evolved in the last decade alongside the rise of app-based social media and neoliberal feminism—more specifically, how prominent female influencers use fashion and beauty to disseminate post-feminist rhetoric from within their feeds on Instagram (IG)—this MRP will contribute to the literature on fashion and post-feminism within the digital economy. With this research, Iintend to shed light on how fashion and beauty influencers are effectively acting as double agents of the patriarchy by interpellating new generations of young women into. In McRobbie’s seminal text, she argues that institutional gains made by feminism in the 1970s and 1980s are, in this century, being undermined by what she describes as a new form of gender power: a regime that co-opts young women into spearheading their own process of disarticulation by leading them to believe equality has been achieved through education, employment, and notional sexual freedom. Disarticulation is defined by McRobbie as “a force which devalues, or negates, and makes unthinkable the very basis of coming-together (even if to take part in disputatious encounters), on the assumption widely promoted that there is no longer any need for such actions” (26). These ideas are disseminated through popular media sources—at the time of her research, these included TV, film and fashion magazines—and serve as a substitute for feminism iby subverting ideas of agency and choice with an individualistic discourse centred around consumer culture, self-management, self-enterprise, and self-transformation. McRobbie posits that while these concepts appear to offer the possibility of freedom and change in the status of young women, they are simply new tools for groups seeking to re-establish unequal gender and power hierarchies (2). These forces, she explains, are part of a patriarchal system of economic power and domination, despite appearing as progressive forms of governmentality (2). After McRobbie, within this MRP these forces will be collectively referred to as ‘the new regime’. This MRP seeks to test and explore the limitations of McRobbie’s framework by examining how this process is currently playing out on hyper-visible IG fashion feedswith a million followers or more. A theoretical interrogation of her existing framework will be updated and applied to IG in order to analyse how influencers use fashion and beauty concepts to participate in the disarticulation of other women. While McRobbie’s research looks at how consumer culture limits our so-called female freedoms by entrenching women in post-feminist neurotic dependencies, my research will focus on fashion and beauty’s role in solidifying new post-feminist tropes that serve to stabilize the traditional hierarchy of gender power.

Challenging ideas of female empowerment on Instagram using Mcrobbie's theory of post-feminist disarticulation inside popular culture

Given the recent resurgence of feminist topics within popular media, the purpose of this MRP is to interrogate the theory of post-feminist disarticulation put forth by Angela McRobbie in The Aftermath of Feminism in order to understand fashion’s role in the disarticulation of young women in a contemporary context. By examining how the post-feminist tropes identified by McRobbie have evolved in the last decade alongside the rise of app-based social media and neoliberal feminism—more specifically, how prominent female influencers use fashion and beauty to disseminate post-feminist rhetoric from within their feeds on Instagram (IG)—this MRP will contribute to the literature on fashion and post-feminism within the digital economy. With this research, Iintend to shed light on how fashion and beauty influencers are effectively acting as double agents of the patriarchy by interpellating new generations of young women into. In McRobbie’s seminal text, she argues that institutional gains made by feminism in the 1970s and 1980s are, in this century, being undermined by what she describes as a new form of gender power: a regime that co-opts young women into spearheading their own process of disarticulation by leading them to believe equality has been achieved through education, employment, and notional sexual freedom. Disarticulation is defined by McRobbie as “a force which devalues, or negates, and makes unthinkable the very basis of coming-together (even if to take part in disputatious encounters), on the assumption widely promoted that there is no longer any need for such actions” (26). These ideas are disseminated through popular media sources—at the time of her research, these included TV, film and fashion magazines—and serve as a substitute for feminism iby subverting ideas of agency and choice with an individualistic discourse centred around consumer culture, self-management, self-enterprise, and self-transformation. McRobbie posits that while these concepts appear to offer the possibility of freedom and change in the status of young women, they are simply new tools for groups seeking to re-establish unequal gender and power hierarchies (2). These forces, she explains, are part of a patriarchal system of economic power and domination, despite appearing as progressive forms of governmentality (2). After McRobbie, within this MRP these forces will be collectively referred to as ‘the new regime’. This MRP seeks to test and explore the limitations of McRobbie’s framework by examining how this process is currently playing out on hyper-visible IG fashion feedswith a million followers or more. A theoretical interrogation of her existing framework will be updated and applied to IG in order to analyse how influencers use fashion and beauty concepts to participate in the disarticulation of other women. While McRobbie’s research looks at how consumer culture limits our so-called female freedoms by entrenching women in post-feminist neurotic dependencies, my research will focus on fashion and beauty’s role in solidifying new post-feminist tropes that serve to stabilize the traditional hierarchy of gender power.

Fashionable: styling the unique body

Over the past decade, there has been a steady increase in the use of diverse models in fashion media ranging from plus size models to older and ethically diverse models. People with disabilities, however, remain invisible in fashion magazines and advertising. My research addresses this absence with a project that is both empirical and creative. Working across disciplinary borders, it will advance both my own field of Fashion and Disability Studies by opening a line of inquiry related to the employment (or lack) of models with disabilities in the fashion industry. The project enables me to produce a creative work that will contribute to the larger social process of representing people with disabilities in more complex ways. It will shed light onto how fashion is important to everyone as a key form of expressing identity regardless of physical differences

The forgotten women: an exploratory study of baby boomers’ attitudes towards fashion magazines

An exploratory study of female baby boomers’ perceptions of fashion magazines was conducted using in depth interviews. This research acknowledges that fashion tends to focus on a youthful demographic, and fashion assumes this older demographic will conform to the youthful ideals that are displayed. Fashion magazines are therefore faced with the challenge of how to attract older female readers while still portraying a fashionable image. By taking a qualitative approach that focuses on verbal descriptions and human emotion, this research will help explain the perceptions and attitudes felt by female baby boomers. Participants indicated diversity, going green, embracing sexuality, clothedness, and body size, influenced their reading of fashion magazines. This research advances knowledge by revealing the central themes that influence baby boomer women’s responses to fashion magazines. It advises fashion editors to re-consider their current casting and editorial practices in order to attract baby boomer women.