Vogue

The fashion exhibitionist: an insightful look at Vreeland’s iconic life. One of the legenday figures of the fashion world, Vreeland began her career at Harper’s Bazaar, where her monthly column, "Why Don’t You?," dared her readers to take control of their lives, take risks, and live dreams they didn’t even know they had. Her talented eye introduced us to the new beauties of the 1960s: Twiggy, Anjelica Huston, Marisa Berenson and Lauren Hutton. In collaboration with the twentieth century’s major photographers—Irving Penn, Richard Avedon, David Bailey, Horst P. Horst, Bert Stern, Lord Snowdon—Vreeland paved the way for a revolutionary transformation of fashion and photography. During her leadership of Vogue, the magazine became a vehicle destined to open the eyes of people from all walks of life. The book is divided into four sections dedicated to Vreeland’s origins and her taste; to her homes and the development of her style; to the magazine years; and finally to the years ...

This article explores the possibility of cosmopolitics, using the global magazine franchise Vogue as our starting point. Drawing on Saito's conceptualizations of cosmopolitanism, we investigate whether Vogue promotes cosmopolitan engagement, which we define as promotion of human diversity, cultural omnivorousness and cosmopolitics. Our analysis focuses on racial diversity and health, two moral issues recently addressed by Vogue itself. We present a content analysis of Vogue and media coverage of Vogue in China, the Netherlands and the USA. We conclude that Vogue, because of its global basis, high status and reliance on visual materials, has the potential to address and unite transnational publics around global issues. However, the success of such attempts depends on local cultural and institutional contexts and the role of local actors, who may adopt, but also reframe or ignore, attempts to promote cosmopolitan engagement.

Over the last two decades, enormous changes in Chinese society have greatly impacted identity formation for Chinese women; in the words of Vogue China's Editor-in-Chief "in a matter of 10 years, Chinese women have made the transition from Karl Marx to Karl Lagerfeld" (Cheung 2005). The modern cosmopolitan Chinese woman has been portrayed and constructed across the pages of Vogue China, however due to the complexities of a fractured fashion history and working with an international team, issues surrounding the definition of Chineseness, Chinese identity and culture are raised throughout the magazine's editorial content. As a transnational fashion bible read by millions of Chinese women, Vogue China is one of China's leading fashion magazines and continues to play a key role in developing the Chinese creative industries and culture. Ideal notions of Chinese beauty and aesthetics are curated and constructed across the pages of Vogue China, and this research explores and examines these representations. This research adopts a semiotic analysis approach to explore editorial content of Vogue China since its launch in 2005 to its ten year anniversary in 2015, drawing on transnational and cross-cultural theories (Appadurai 1996; Bassnet 1998; Clark 2012; Cowen 2002), as well as identity and gender theories (Butler 1990). The research explores how key notions of Chinese gender and beauty are constructed, mediated and represented across the pages of Vogue China itself and offers insights into the multiple roles Vogue China plays in 21st century China. The researchexplores Vogue China's role in inheriting and developing cultural ideals surrounding manifestations of beauty as well as its role in constructing the present and future faces of Chinese beauty.

Delivered in the Feminism and Embodiment Session (chaired by Susanneh Beiber) on 1 November 2014 at the 5th Annual Feminist Art History Conference at the American University, Washington, DC (31 Oct - 2 Nov 2014). This paper considers a still under-examined work by Martha Rosler, one which Rosler produced for a live televised performance for public-access Paper Tiger Television’s ‘…Reads…’ series in December 1982, recorded as it was broadcast. The product was subsequently distributed in video format as a performance work: Martha Rosler Reads Vogue. The performance deconstructs the aspirational identifications and false class-consciousness engendered by Vogue magazine, dissecting it as an ideological vehicle tied to particular histories, producers, consumers and industries. Utilising a number of poetical / incantatory tropes, along with her usual deadpan delivery, Rosler misappropriates images from the then current and back issues of Vogue magazine. The real critical jolt, however, is...

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.

Analisi approfondita della storia della sfilata tramite l'archivio di Vogue America, come questo abbia riportato la sfilata dalle origini della rivista (dicembre 1892) fino ad oggi (marzo 2021).

Corredata da intervista in esclusiva a Chris Moore, fotografo pioniere del reportage dalla passerella e fondatore di Catwalking.com.

Semiotics is the study of signs and symbols in their meaning and use. A linguist Chandler says beyond the most basic definitions as 'the study of signs', there is considerable variation among leading semioticians as to what semiotics involves. Sign is the smallest unit of meaning. Signifier is a material thing that signifies, for example, words on a page, a facial expression, an image and signified is the concept that a signifier refers to. One of the broadest definitions is that of Umberto Eco, who states that 'semiotics is concerned with everything that can be taken as a sign'. Semiotics involves the study not only of what we refer to as 'signs' in everyday speech, but of anything which 'stands for' something else. In a semiotic sense, signs take the form of words, images, sounds, gestures and objects. Contemporary semioticians study signs not in isolation but as part of semiotic 'sign-systems'. They study how meanings are made how reality is represented.The two primary traditions in contemporary semiotics stem respectively from the Swiss linguist Ferdinand de Saussure and the American philosopher Charles Sanders Peirce.

Since its beginnings in the middle of the 19th century, fashion has been narrated through multiple media, both visual and verbal, and for such different purposes as marketing and advertising, art, costume history, social research and cultural dissemination. In this light, fashion has represented an important piece of material culture in modern industrial urban societies and in postcolonial and non-western contexts. Today, we are witnessing a turn in this imaginary as issues related to social, environmental and cultural sustainability come to predominate in many areas of human activity.
The book addresses this challenge. By facilitating encounters between disciplines and cultures, it explores a multitude of fashion issues, practices and views that feed the contemporary fashion imaginary: local cultures, linguistic codes, TV series, movies, magazines, ads, blogs, bodily practices. The book deals with a paramount issue for fashion studies: how do the production and circulation of fashion imaginary come about in the 21st century?

In the 1930s, several key fashion photographers were practicing Surrealists: Man Ray, Georges Hoyningen-Huené, Horst P. Horst, Cecil Beaton, and Erwin Blumenfeld. Each photographer explored surrealist-influenced fashion photography and drastically changed the way fashion was seen in the pages of Harper’s Bazaar and Vogue magazine. While scholars believe the assimilation of surrealist aesthetic devices in fashion photography commercialized Surrealism during the thirties, such photographic output has yet to be assessed in relation to surrealist thought and practice. This thesis argues that Ray, Hoyningen-Huené, Horst, Beaton, and Blumenfeld did not photograph fashion in the surrealist style to promote desire for the commercial product. Instead, they created new pictures that penetrated, radicalized, and even destroyed conventions of mass culture from inside the illustrated fashion magazine.

This paper deals with photography in illustrated magazines and photobooks, and with what unfolds when photographs migrate from one media to the other. In such instances, we argue, reformatting is performed in distinctive affordances; yet such transfers also make visible the format conditions that underlie both the magazine and book media. By conducting an in-depth analysis of two exemplary photographs, by Horst P. Horst and Henri Cartier-Bresson, circulating between magazines and books, we aim to show how format markedly shapes photography in print and thus to demonstrate the work of format. In the process, matters of authoring and re-appropriating, as well as mechanisms of canonization and/or memorialization are brought to light. All contribute to structure and solidify the photographic field, as well as periodicals and books as media, in relationship to one another (and to their mediatic content). The established hierarchy of formats, in which photographs move up from magazines to...

El objetivo de este dossier es estudiar la moda en su dimensión comunicativa a lo largo de la historia. En él han participado los investigadores Marina Cuzovic-Severn, Marcela Eliana Saa Espinoza, Beatriz Guerrero González-Valerio y Cristina Barreiro Gordillo, Patricia SanMiguel y Teresa Sábada, Sergio Luque Ortiz y Concha Pérez Curiel, Eduardo Villena Alarcón y su coordinadora, Ana María Velasco Molpeceres.

https://revistascientificas.us.es/index.php/RiHC#n10-1

Εισαγωγή στα κριτικά του Επισκοπόπουλου με βάση τη διατριβή μου (Κοσμοπολίτες και Φουστανελλοφόροι) και προσθήκη νέων στοιχείων για το κριτικό έργο του συγγραφέα.
Εκτός από τα κριτικά υπάρχουν και σημειώσεις τόσο για το ίδιο το κείμενο όσο και για τις γαλλικές "πηγές" του Επισκοπόπουλου, κατόπιν αποδελτίωσης τόσο του ημερήσιου (Le Temps και Le Figaro) όσο και του περιοδικού γαλλικού τύπου (Revue des deux mondes, Revue de Paris κλπ.). Στο ευρετήριο περιλαμβάνονται πολλά ονόματα Ελλήνων και Ξένων συγγραφέων, ηθοποιών, προσώπων από την πολιτική, το θέαμα, τη ζωγραφική κλπ.

Resumo: O protagonismo da mulher negra tem crescido nos dias atuais e vem aparecendo de maneira tímida na comunicação de moda, mas como este corpo é representado? Será que ele condiz com a realidade da mulher negra brasileira que consome revistas de moda? Esse trabalho irá analisar pelo viés da semiótica de Charles Peirce criada no século XX a partir de um estudo de signos não verbais, como as únicas 6 capas dos últimos 3 anos da revista Vogue Brasil em que uma mulher negra é aparece estampada, é representada ao publico, as técnicas de inserção do corpo negro e como isso é um problema quando se está em um país onde mais da metade da população de auto declara negra e que a maioria dessa porcentagem de pessoas são mulheres que consomem moda e identidade, e que precisam se sentir representadas de maneira real e não sexualidades e objetificadas. Esse estudo mostra que mais que mais que isso, existe um falso protagonismo da mulher negra que é reflexo de um problema muito maior: pensamentos culturais de uma sociedade que vive com fantasmas de colonizadores.

Esta investigacion de enfoque exploratorio aborda una tecnica de captacion del voto tan escasamente tratada como el microtargeting electoral, desde la exposicion de oportunidades que brindan los espacios autosegmentados y el interes de los partidos por el electorado femineo. Partiendo de la brecha de genero que marca la mayor existencia de mujeres indecisas, se observa en las revistas femeninas de alta gama una oportuna plataforma para que los politicos lleguen a un segmento de votantes eminentemente integrado por feminas. En concreto, a traves del analisis de mas de 5.000 encuestas, este trabajo tiene como objetivo averiguar cuales son las caracteristicas del target y ofrecer una definicion concreta del mismo que, a la postre, serviria a cualquier candidato a un cargo para personalizar el mensaje en sus entrevistas. Los resultados revelan que es posible extraer de los estudios de mercado una verdadera utilidad politica.

Vogue es una revista estadounidense de moda que
se fundó en 1892. Está destinada en su mayoría a
personas que les interese el mundo de la moda y las
tendencias. Su público se compone en gran medida por
mujeres. Visualmente la revista un estilo elegante, con
un buen uso de blanco, para titulares y textos grandes
usa una tipografía con serifas con detalles finos, esta
tipografía puede ser una con variantes tanto condensed
como expanded, pudiendo ser una tipografía variable,
permitiendo una mayor versatilidad en su uso.
En el aspecto formal la revista está caracterizada por
tener un estilo muy sobrio, elegante y marcado, muy
acorde con el ámbito donde esta revista esta presente,
que es el mundo de la moda. En lo que a formato
se refiere la revista tiene unas dimensiones de 28,4
centímetros de ancho por 22 centímetros de alto.
Con 11 centímetros de margen tanto en el interior
como en el corte de la página. La cuadricula base está
formada por 63 líneas y en lo que el uso de imágenes
se refiere, aspecto muy protagonista de la revista, se
usan tanto a sangre como que respeten los márgenes
antes mencionados.
En la estructura de la página podemos identificar dos
tipos de composiciones, una basada en una retícula
de 2 columnas con 5 milímetros de medianil y otra
de 3 columnas con un medianil de 4 milímetros. Al
principio creía que se trataba de una retícula multicolumna
formada por 12 pero al existir esa diferencia
de ancho en los medianiles lo descarte y deducí que
se trataban de dos retículas distintas.
En el apartado tipográfico usan la Didot pero he encontrado
información que también utilizan una que
se llama Lingerie. Diría que esta información no está
actualizada ya que actualmente si analizas la revista
puede darte cuenta de que usan una tipografía variable
con rasgos muy parecidos a la Didot usada en su
logotipo. Mencionar que hay secciones colaborativas
donde se usa una tipografía sin serifas para diferenciarla
de las otras páginas de la revista.

Uno de los aspectos que he modificado en este rediseño
ha sido el formato de la revista, cambiando esas
dimensiones de revista típica a unas dimensiones de
página que le dan un formato a la revista cuadrado de
20 centímetros por 20 centímetros.
A nivel estructura dote a la revista de una retícula
compuesta por 4 columnas con un medianil de 3,3
milímetros y 5 filas con el mismo medianil. En relación
a los márgenes de la página fue reducido en comparación
a la revista original a 6 milímetros por los 4 lados.
Por último las páginas tendrían una cuadricula base
con 59 líneas (5 módulos de 5 líneas cada uno mas
las 4 líneas usadas como medianiles). Esto junto a la
retícula, el uso de la tipografía y las imágenes dotarían
a la publicación del estilo que buscaba donde el blanco
fuese protagonista junto a las imágenes.
En lo que a tipografía se refiere realice una búsqueda
de una sans serif y otra con serifas. Para la tipografía
sans serif terminé eligiendo Degular, diseñada por
James Edmondson de OH no Type Co. Una tipografía
con mucha personalidad y con una buena lectura en
pequeños tamaños que es ideal para los párrafos de
texto de la revista. A su vez se usará esta tipografía
para algunos encabezados. La tipografía con serifas
es la Fraunces, una tipografía variable diseñada por
Phaedra Charles y Flavia Zimbardi para Undercase
Type y Google Fonts, una tipografía muy elegante con
mucha capacidad adaptativa por su variabilidad. Se
usará para encabezados secundarios y pies de fotos.

Abstract Alison Settle was celebrated in her lifetime as the Grande Dame of British fashion journalism. Her career extended over five decades, from the mid-1910s until the mid-1970s, including nearly a decade as editor of British Vogue in the interwar period (1926–1935). This article examines the strategies she adopted to acquire and accumulate the specific knowledge, reputation and connections required to perform her professional role as a “cultural businesswoman” of the world of fashion. This research is based on private diaries that Settle wrote in the early 1930s, during the second half of her editorship at Vogue. The analysis of Settle’s journals focuses on the daily routines she performed in the public sphere, assiduously recorded in the form of lists of social engagements. Settle did not write specifically about dress and fashion in her journals. Yet her life was organised around, shaped by, and intertwined with her profession, making her diaries an invaluable primary source to investigate the social activities and the lifestyle that made Settle the editor of Vogue. This research applies an interdisciplinary methodology to develop an understanding of their content through the critical framework of Bourdieu’s theories—specifically through the concepts of habitus, cultural capital, and field.

Esta investigacion de enfoque exploratorio aborda una tecnica de captacion del voto tan escasamente tratada como el microtargeting electoral, desde la exposicion de oportunidades que brindan los espacios autosegmentados y el interes de los partidos por el electorado femineo. Partiendo de la brecha de genero que marca la mayor existencia de mujeres indecisas, se observa en las revistas femeninas de alta gama una oportuna plataforma para que los politicos lleguen a un segmento de votantes eminentemente integrado por feminas. En concreto, a traves del analisis de mas de 5.000 encuestas, este trabajo tiene como objetivo averiguar cuales son las caracteristicas del target y ofrecer una definicion concreta del mismo que, a la postre, serviria a cualquier candidato a un cargo para personalizar el mensaje en sus entrevistas. Los resultados revelan que es posible extraer de los estudios de mercado una verdadera utilidad politica.

Esta investigación de enfoque exploratorio aborda una técnica de captación del voto tan escasamente tratada como el microtargeting electoral, desde la exposición de oportunidades que brindan los espacios autosegmentados y el interés de los partidos por el electorado femíneo. Partiendo de la brecha de género que marca la mayor existencia de mujeres indecisas, se observa en las revistas femeninas de alta gama una oportuna plataforma para que los políticos lleguen a un segmento de votantes eminentemente integrado por féminas. En concreto, a través del análisis de más de 5.000 encuestas, este trabajo tiene como objetivo averiguar cuáles son las características del target y ofrecer una definición concreta del mismo que, a la postre, serviría a cualquier candidato a un cargo para personalizar el mensaje en sus entrevistas. Los resultados revelan que es posible extraer de los estudios de mercado una verdadera utilidad política.

Esta investigación de enfoque exploratorio aborda una técnica de captación del voto tan escasamente tratada como el microtargeting electoral, desde la exposición de oportunidades que brindan los espacios autosegmentados y el interés de los partidos por el electorado femíneo. Partiendo de la brecha de género que marca la mayor existencia de mujeres indecisas, se observa en las revistas femeninas de alta gama una oportuna plataforma para que los políticos lleguen a un segmento de votantes eminentemente integrado por féminas. En concreto, a través del análisis de más de 5.000 encuestas, este trabajo tiene como objetivo averiguar cuáles son las características del target y ofrecer una definición concreta del mismo que, a la postre, serviría a cualquier candidato a un cargo para personalizar el mensaje en sus entrevistas. Los resultados revelan que es posible extraer de los estudios de mercado una verdadera utilidad política.

Статья посвящена литературоведческому анализу трех писем В. Ван Гога, в которых создается образ И. С. Тургенева. Особое внимание уделяется эксплицитному уровню рецепции русской культуры. Особенности восприятия Ван Гогом русской культуры представлены в контексте его увлечения реализмом. Образ И. С. Тургенева, создаваемый Ван Гогом, представлен в работе как образ медиатора культур, который при этом входит в круг европейских писателей и художников того времени.

SPECIFIC FEATURES OF RECEPTION OF RUSSIAN CULTURE’S IMAGES BY VINCENT VAN GOGH (BASED ON LETTERS ABOUT I. TURGENEV)

The article is devoted to the literary analysis of Van Gogh’s three letters, in which the image of I.S. Turgenev is created. Special attention is paid to the explicit level of reception of Russian culture. The specific features of Van Gogh’s perception of Russian culture in this perspective are presented in the context of his interest in realism. The image of I. S. Turgenev, created by Van Gogh, is presented as an image of the mediator of cultures, who is included into the circle of European writers and artists of his time.

This article explores the possibility of cosmopolitics, using the global magazine franchise Vogue as our starting point. Drawing on Saito's conceptualizations of cosmopolitanism, we investigate whether Vogue promotes cosmopolitan engagement, which we define as promotion of human diversity, cultural omnivorousness and cosmopolitics. Our analysis focuses on racial diversity and health, two moral issues recently addressed by Vogue itself. We present a content analysis of Vogue and media coverage of Vogue in China, the Netherlands and the USA. We conclude that Vogue, because of its global basis, high status and reliance on visual materials, has the potential to address and unite transnational publics around global issues. However, the success of such attempts depends on local cultural and institutional contexts and the role of local actors, who may adopt, but also reframe or ignore, attempts to promote cosmopolitan engagement.

Orice reproducere, totală sau parţială, a acestei lucrări, fără acordul scris al autoarei, este strict interzisă și se pedepsește conform Legii dreptului de autor.

O mică analiză a revistei VOGUE la modul general în privința evoluției coperților publicației. De la ilustrațiile de început până la fotografiile Instagram-abile din prezent

O objetivo desta pesquisa é interpretar, criticamente, a representação simbólica de mulheres negras em impressos de moda, tendo a revista Vogue Brasil como objeto de estudo, por conta da sua relevância para essa indústria. A análise partiu de um recorte temporal das capas publicadas entre janeiro de 2011 e fevereiro de 2017. Complementarmente, foram levantados dados por meio de pesquisa bibliográfica e de campo, com profissionais atuantes na moda, a fim de compreender como diferentes esferas dessa área são afetadas por dinâmicas raciais, sobretudo, nas relações de trabalho e na representação de modelos negras no mercado brasileiro. Dessa forma, a pesquisa destaca percepções sobre como a imprensa feminina brasileira vem influenciando a opinião pública por meio da reprodução e manutenção de discursos dominantes e excludentes, desde o início do século XX. Para tanto, utiliza-se de um método de comunicação característico, capaz de também evidenciar algumas das práticas que vêm permeando os padrões de hierarquização racial presentes na sociedade.

Palavras-chave: Design de Moda. Modelos Negras. Representação Simbólica. Mídia. Identidade.

The fashion exhibitionist: an insightful look at Vreeland’s iconic life. One of the legenday figures of the fashion world, Vreeland began her career at Harper’s Bazaar, where her monthly column, "Why Don’t You?," dared her readers to take control of their lives, take risks, and live dreams they didn’t even know they had. Her talented eye introduced us to the new beauties of the 1960s: Twiggy, Anjelica Huston, Marisa Berenson and Lauren Hutton. In collaboration with the twentieth century’s major photographers—Irving Penn, Richard Avedon, David Bailey, Horst P. Horst, Bert Stern, Lord Snowdon—Vreeland paved the way for a revolutionary transformation of fashion and photography. During her leadership of Vogue, the magazine became a vehicle destined to open the eyes of people from all walks of life. The book is divided into four sections dedicated to Vreeland’s origins and her taste; to her homes and the development of her style; to the magazine years; and finally to the years spent as consultant at the Met.