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Bethanie Ryder C3470725 Fashion Writing Level 6 Final Major Project Critical Journal
CONTENTS CONCEPT IDEAS
04
BUSINESS MODEL
07
FLATPLANS
11
LAYOUT
13
SUB-EDITING
14
PRIMARY RESEARCH
15
SECONDARY RESEARCH
19
FUTURE LANDSCAPES
20
BIBLIOGRAPHY
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CONCEPT IDEAS The original concept for the project explored the development of a ‘trend report,’ with the aim to apply more contextual influences to trends in fashion. As evident within the original image, inspiration was taken from established fashion forecasting companies including WGSN and f-trend.com. The primary purpose of the project was to explore the idea of using fashion as a means of more than just aesthetics, and give our garments a ‘meaning’ behind them.
Developments were made and the new concept of an ‘anti-trend’ report was considered. Although the original model of a ‘report’ style format remained, the content featured throughout would transition away from garments and styles, and focus instead on socio-cultural movements that can influence our fashion choices. As discussed within the FMP amended proposal - “with an estimated 300,000 tonnes of fashion waste ending up in landfills each year, sustainability in fashion has never been so prevalent. A a result of this, the project will aim to move away from the demand of singular garments and lifestyle fads that are considered ‘on-trend’ at one particular time, and draw attention to the concept of more basic options that hold a deeper contextual understanding and have a longer-lasting impact.” 4
CONCEPT IDEAS The finalised concept for the project - FAD MAGAZINE. FAD Magazine is the “anti-trend” publication, aiming to promote simpler consumer habits and diminish the pressures of following ‘trends.’ Throughout recent years, the quick turn-over of trends, plus an increase in disposable income in contemporary society, is causing the population to experience ‘consumer fatigue’: larger corporations and businesses are constantly producing new products and generating new trends for us to follow, with no simpler, or more sustainable alternatives. The publication is aimed at the millenial / Gen-Z audience who’s interests lie in topics including current affairs, fashion and lifestyle choices. The younger demographic have entered an era in which they hold a large amount of responsibility over the future of the planets financial, humanitarian and physical state. With no clear direction or guidance on how to manage this responsibility, FAD’s aim is to offer advice and alternatives to this audience focusing on these issues, through a variation of educative content presented through an informal, relatable tone.
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CONCEPT IDEAS “Type can be used as a graphic element to produce dramatic creative results in a design.” (Ambrose & Harris, 2011)
FAD FAD
FAD
The typography for the publications cover was altered multiple times over the period of production. The original design proposed was a simple sans-serif font ‘Babas Neu,’ with a slightly opaque, drop shadow effect in order to create a 3D style format. The font was chosen in order to represent the magazines simple and basic composition however, over time, it became apparent that this particular font was not successful in creating the desired effect and lacked the engagement and attraction for an audience.
In order to depict the publications ideology of ‘rebelling’ against trends and popular fashion, it was decided that the front cover’s typography would reflect this for maximum impact and understanding of the magazine. As a result of this, fonts reflecting the themes of anarchy and revolution were considered effective in creating this appeal. Font ‘Batsand’ was first considered, however when placed above the covers image it became difficult to read and looked disorganised and messy.
The finalised choice of typography for the front cover was font ‘Fofer’. It was decided that this particular style of text was successful in both conveying the satirical, yet personal style of content that was desired, alongside remaining bold, strong and effective against the plain white background. No drop shadow was used and minimal graphics or effects were chosen, in order to introduce a simple theme into the publication. 6
BUSINESS MODEL The circulation of the publication was originally determined to be produced on a bi-annual time-scale, resulting in two issues per year. However, due to the publication’s content being a variety of lifestyle, culture and current affairs, it was decided that this would be increased to a publishing format of bi-monthly in order to remain relevant and topical for its audience. A bi-monthly time-scale was the most effective option for this publication for various reasons, for example - A larger time-frame allows more time to explore and develop options for content. There is less urgency for generating a magazine to a strict deadline, meaning alterations and changes were able to be made if necessary. - Less publishing and circulation allows more flexibility with the organisations budget. Reducing the number of publications that are distributed a year will in turn reduce cost, allowing expenses to be invested into other sectors of the magazine including commissions, promotional programmes and more creative freedom. In 2017, The Guardian Newspaper reported that weekly news articles were experiencing a boost in circulation: The Economist experienced a 5% increase in the UK, whilst Private Eye saw an increase of 8.8% . Although the publication is not primarily a current affairs title, the content covers a broad range of social, political and cultural discussions that a millenial audience have shown interest in consuming, suggesting that FAD may benefit from this rise in topical interest. Alongside this, it has been noted that a revival in sales of independent magazines has occurred, suggesting that the publication may also benefit off this resurgence of low-circulation print, (Le Masurier, 2012).
“In the shadows of this explosion of digital-led creativity and media making, there has been a resurgence in the production of one of the oldest forms of media, the small-scale independently owned printed magazine.� (Le Masurier, 2012) 7
BUSINESS MODEL The publication will offer its audience the opportunity to submit content to be featured within the upcoming issue. By incorporating their readership directly into the magazine, the encouragement of promoting an active audience will in turn benefit both the readership - through a more established business to consumer relationship - alongside the publication itself. Alongside this, social media platforms will play a significant role in gathering relevant information appropriate for the target audience of Millenial / Gen-Z. This will be performed through broadcasting a series of polls and conversation feeds, in order to promote a direct communication between the consumer and the publication. As seen on i.D Magazines’ Instagram, the title succeeds in acquiring beneficial information for their content straight from their audience following through offering their readership the opportunity to express their own comments and viewpoints on one particular subject matter.
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- Instagr
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As the title’s main motivation is not financial affluence, it would be more appropriate for the ‘zine’ sector of the publication market. Primarily, the publication will be available to buy in independent stores across the North of the UK, including stores such as Village and Colours May Vary, and mostly rely on marketing methods including word of mouth and social media promotion, in order to keep expenses low. 8
BUSINESS MODEL Advertisements Advertisements will feature within the publication, in order to generate a proportion of the magazine’s revenue. As a result, brands and corporations that aligned with FAD’s ethical values were chosen to feature within the magazine’s promotional content. It was important to ensure that consistency was evident throughout the chosen advertising options, in order to reinforce ideologies of sustainability, global awareness and environmental responsibilities. An example of this is a double page advertisement for ethical swimwear brand ‘Stay Wild Swim’. The brand pride themselves on their swimwear garments constructed from recycled ocean waste and landfill, alongside supporting local production businesses who aim to employ individuals from disadvantaged backgrounds. ‘Stay Wild’s’ encouraging ethos is something that FAD strongly supports and aims to promote to its readership. Paper Stock & Binding Recycled paper will be used for the magazine’s pages, in order to reinforce the values of sustainability and encouraging the concept of reusable materials and products. Although recycled stock is likely to be more expensive compared to uncoated or gloss, the expenses are justified through the environmental aid that using recycled paper will promote. Alongside this, saddle-stitching will be the proposed method of binding the publication. In addition to it’s ethical benefits, the binding method is the least-expensive that is still able to create a professional looking publication. 9
BUSINESS MODEL (Whittaker, 2008) As discussed by Whittaker (2008), the average magazine editorial production would consist of an extensive working team, complete with well-established roles within the development. However, due to low budgeting costs and being only a start-up service, FAD’s editing process needs to be much less comprehensive, suggesting that multiple roles must be taken on by individuals producing the publication. A mock flowchart of what FAD’s development process would compose of is evident, in order to highlight how the workload would be distributed concisely but effectively.
FAD
Editor
EDITING PROCESS
Sub-editor
Staff Writer
Staff Writer
Production Editor
Art / Layout - Editor 10
ORIGINAL FLATPLAN “ A flatplan is often an evolving rather than static map of the magazine,” (Whittaker, 2008).
FAD
11
AMENDED FLATPLAN The original flatplan was amended in order to ensure that the publication was divisible by 4 for binding purposes. In result, the magazine consisted of 36 pages complete with advertisements, editorials, interviews and commissioned pieces.
FAD
12
LAYOUT “The intensity of the arrangement and the amount of free space surrounding the text and image elements are key design considerations. Many designers often feel compelled to fill this space rather than use it as another feature of a design. Tight positioning of elements can give a design a more frenetic pace, while introducing space can produce greater tranquillity.� (Ambrose & Harris, 2011)
The original layout used for one of the articles aimed to explore textures and colours as the main visual effect. When applied beneath the articles content, however, it was evident that the visual elements overwhelmed the page and the articles text, making it difficult for an audience to read. 13
As a result, the textured background was replaced with a simple, white backdrop, in order to introduce free-space to the design and allow the body of text to be easily understood. Hints of pink were used throughout the content in order to continue the colour theme, which proved to be more visually appealing and effective than the original concept.
SUB-EDITING “Subeditors must certainly correct spelling and grammar, but they must also check factual accuracy, rewrite copy to make it better or to fit in with a house style.” (Hicks & Holmes, 2002, p5)
Prior to exporting the finalised publication, the project was sub-edited in order to ensure all spelling and grammatical errors where amended, alongside checking that all content was appropriate for the magazine’s house style and target audience. 14
PRIMARY RESEARCH In order to expand on the graphical elements of the publication, illustrators and graphic designers were commissioned in order to create relevant imagery for the magazine. Lesser-known creatives were contacted through social media platforms, including Instagram, as opposed to professionals within their field. The decision to use start-up individuals as opposed to more established names was influenced by various factors: - Audience Outreach - the commissioned artists work would be offered the opportunity to reach a broader range of audiences than beforehand, possibly proving advantageous in gaining recognition and further work from external contacts in the future. - Price Advantages - due to being less established, price negotiations were more flexible and less-costly than a professional in this particular field of work, therefore proving more beneficial for the publications budget. 9)
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After reaching out to Illustration Graduate, Sophie Lawrence, a collaborative approach to developing an effective, striking front cover image was the most appropriate method for both contacts. Through regular contact and proof of reliability, a strong network relationship was developed and full creative freedom was proposed to Sophie. As a result, the finalised image represented her own personal illustrative style, whilst representing the satiric themes and ideologies that FAD aims to represent. 15
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PRIMARY RESEARCH
For the ‘TIME TO SLOW DOWN” feature piece, it was decided that an illustration would be created to showcase the extremities of fast-fashion and trend cycles. After reaching out to London-based Saskia Leboff via social media platform Instagram, the concept for the illustration was agreed to feature a conveyor belt leading to an overflowing rubbish bin, in order to portray the unattainable turn-over of fast-fashion and the waste that is generated as a result of this. In order to keep the image relevant and engaging, it was agreed that the image would incorporate top-selling items that have regularly featured within the digital sphere over the past year. This was developed by using the ‘Lyst Index Top Selling’ annual reports, alongside popular social media influencers, to follow trends which were escalating in visibility and popularity, and those which were decreasing in consumer appeal. An example of this is the Gucci ‘Double G’ Logo Belt, which was ranked #3 in the Lyst Index’s Top Selling Q4 report in 2018, but has shown signs of a decrease in popularity during the 2019 seasons. (Source - Instagram @oliviarosethelabel, 16 2019)
.co.uk, 2018)
(Source - lyst
PRIMARY RESEARCH “In every area of newspaper and magazine coverage the interview is a way of bringing human interest into stories.” (Adams & Hicks, 2001, p1)
It was decided that an interview would be conducted in order to produce a 6-page, ‘Q&A’ style spread for the publication. After broadcasting a request for creatives to participate in the magazine via social media platform Instagram, a case study interview was arranged with a local photographer - in result producing an editorial exploring personal style and trends within Leeds. After reaching out to the photographer it was evident there was a lack of response, so an alternative interview was arranged with a new participant, situated in Liverpool.
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PRIMARY RESEARCH The original editorial concept was amended in order to align with the individuals personal experiences with their style. As a result, the article explored the implications with social pressures and the impact this has upon our self-image and our own consumption choices. It was agreed that the interview would be conducted via email, in order to allow the interviewee more time to develop their responses and offer a more in-depth, personal account. As stated by LeePotter (2003, p133), “Some people are far happier to be interviewed by email or text because they can think about their answers first and answer the questions in their own time.”
The individual who participated in the interview requested to be kept anonymous throughout the photography process. As the content for the article primarily discussed personal style, it was possible to showcase images without revealing the identity of the participant, without disrupting the desired effect / theme of the editorial. By respecting the participants requests, the publication abided by the ethical requirements of journalism’s Code of Conduct/Practice. As discussed by Dodd & Hanna (2012, p396), - “The Ofcom Broadcasting Code, explained in chapter 3, says in practice 7.7: ‘Guarantees given to contributors, for example relating to the content of a programme, confidentiality or anonymity, should normally be honoured’.” 18
SECONDARY RESEARCH For this particular issue, which explored the concept of social media and its influence on the Millennial / Gen-Z demographics, it was significant that in-depth research into digital media platforms was evident. This was achieved through using market research firm MINTEL to observe developments and changing in the online sphere. The 2018 Clothing Retail Report, in particular, highlighted the impact that social media platforms have had on consumer attitudes towards making purchases, whilst showcasing the growth in the UK’s clothing market - this information was incorporated into the publications in order to ensure the content was legitimate and authentic for its readership.
MINTEL CLOTHING RETAIL REPORT OCTOBER 2018
Source - MINTEL (2018). Clothing Retailing - UK - October 2018.
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FUTURE LANDSCAPES “Crowd-funding through the Internet, a new fundraising technique for small business ventures, can benefit fundseeking companies by helping to overcome funding difficulties, providing value-added involvement, facilitating access to further funding, providing publicity and contacts, and enabling fundraising with only limited or no loss of control and ownership,” (Macht & Weatherston, 2014). If the pilot issue of the publication proves to be successful and resonates with a promising audience base, setting up a Kickstarter campaign in order to expand and explore new creative concepts could be considered. More funding could allow the publication access to a wider capital, alongside offering the opportunity to commission more creatives and include more content for the readership.
Once the publication has developed a successful business model and proved popular amongst a small audience, the title could consider trying to be featured by Independent Magazine Service ‘Stack’ - “We’re a small, independent business based at Somerset House in London, and we’re proud to offer a friendly, informed service and the highest standards of customer care,” (stackmagazines.com, 2019). The establishments online platform also performs as a small e-commerce service for independent magazines, in which readers can purchase a single , one-time copy, as opposed to a subscription service. This could further FAD’s readership, expanding from a limited Northern audience to a more national readership. Alongside this, the online platform also reinforces FAD’s values of tangibility and the importance of investing in print magazines. As Stack describe, “the best way to enjoy these magazines is to hold them in your hands,” (stackmagazines. com, 2019).
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(Source - stackmagazines.com, 2019)
CONSENT FORM
BIBLIOGRAPHY Abrahamson, D., Hendrickson, E. and Peck, A. (2018). There Once Was a Profession Called Magazine Editing: Exploring the Brave New World. Journal of Magazine Media, [online] 18(2), pp.1-11. Available at: https://aejmcmagazine.arizona.edu/ Journal/Spring2018/AbrahamsonHendricksonPeck.pdf [Accessed 3 Apr. 2019]. Adams, S. and Hicks, W. (2001). Interviewing for Journalists. 1st ed. London: Routledge. Canva.com. (n.d.). 50 design techniques that made these magazine covers awesome [epic case studies] – Learn. [online] Available at: https://www.canva.com/learn/magazine-cover-design/ [Accessed 3 Apr. 2019]. Commonplaces.com (2018). Why Typography is so Important. [online] Available at: https://www.commonplaces.com/blog/ why-typography-is-so-important/ [Accessed 3 Apr. 2019]. Dodd, M. and Hanna, M. (2012). McNae’s Essential Law for Journalists. 21st ed. Oxford: Oxford University Press. Franklin, B. (2016). The future of journalism: In an age of Digital Media and Economic Uncertainty. 1st ed. Routledge. Harkins, M. (2010). Basics Typography 02. 1st ed. AVA Academia. Hicks, W. and Holmes, T. (2002). Subediting for Journalists. 1st ed. London: Routledge. Howe, N. (2017). Millennials: A Generation Of Page-Turners. [online] Forbes.com. Available at: https://www.forbes.com/sites/ neilhowe/2017/01/16/millennials-a-generation-of-page-turners/#38009b819786 [Accessed 3 Apr. 2019]. Le Masurier, M. (2012). Independent magazines and the rejuvenation of print. International Journal of Cultural Studies, [online] 15(4), pp.383-398. Available at: https://journals.sagepub.com/doi/pdf/10.1177/1367877911432059 [Accessed 9 Apr. 2019]. Lee-Potter, E. (2017). Interviewing for Journalists. 3rd ed. London: Routledge. Leshe,J, Chambers, T, Gutierrez, F. (2005).Graphics [discuss] 03. Can good design sell magazines? Creative Review. Jul, Vol. 25 Issue 7, p39-42. 4p.
BIBLIOGRAPHY Macht, S. and Weatherston, J. (2014). The Benefits of Online Crowdfunding for Fund-Seeking Business Ventures. Strategic Change, [online] 23(1-2), pp.1-14. Available at: https://onlinelibrary.wiley.com/doi/full/10.1002/jsc.1955. McIntosh, S. (2017). Magazines: How print is surviving the digital age. [online] BBC News. Available at: https://www.bbc.co.uk/ news/entertainment-arts-40897967. MINTEL (2018). Clothing Retailing - UK - October 2018. [online] Available at: http://academic.mintel.com/display/859493/ [Accessed 27 Mar. 2019]. Pape, S. (2006). Feature Writing: A Practical Introduction. 1st ed. London: SAGE Publications. Parker, O. (2018). How do Millennials Consume Print?. [online] Graphic Arts Magazine. Available at: https://graphicartsmag.com/ articles/2018/05/millennials-consume-print/ [Accessed 3 Apr. 2019]. Raphael, T. (2012). Next steps in social media: turning followers into customers: magazines are going way beyond likes and follows, looking for ways to convert their social audience into active brand partici- pants and a source of revenue. Audience Development, (4), pp.22-25. Smithers, R. (2018). MPs to examine environmental footprint of UK fashion industry. [online] The Guardian. Available at: https:// www.theguardian.com/fashion/2018/jun/22/mps-to-examine-environ- mental-footprint-of-uk-fashion-industry]. the Guardian. (n.d.). Guardian and Observer style guide: A. [online] Available at: https://www.theguardian.com/guardianobserver-style-guide-a [Accessed 9 Apr. 2019]. Tonge, L. (2018). 14 best-practice rules for striking editorial design. [online] Creative Bloq. Available at: https://www. creativebloq.com/advice/editorial-design-tips [Accessed 3 Apr. 2019]. Van Meter, W. (2015). A Fashion Magazine’s Successful Business Model (Hint: It’s Free!). [online] Nytimes.com. Available at: https://www.nytimes.com/2015/03/05/fashion/a-fashion-magazines-successful-business-model-hint-its-free.html [Accessed 3 Apr. 2019].
BIBLIOGRAPHY White, J. (2003). Editing by design. 3rd ed. New York: Allworth Press. Whittaker, J. (2008). Magazine production. 1st ed. London: Routledge.
IMAGE REFERENCES Havelock, O. (2019). Greta Top. [image] Available at: https://www.instagram.com/p/BurDr_oAnCG/ [Accessed 9 Apr. 2019]. i.D (2016). the 10 most wild and wonderful zines of 2016. [image] Available at: https://i-d.vice.com/en_uk/article/vbdg5j/the10-most-wild-and-wonderful-zines-of-2016-uk-translation [Accessed 9 Apr. 2019]. i-D Magazine, (2018), Who was your favourite model this year and why?? [ONLINE]. Available at: https://www.instagram. com/p/BpPEIt6gnUv/ [Accessed 10 January 2019]. Kickstarter (2019). Kickstarter Logo. [image] Available at: https://www.kickstarter.com [Accessed 9 Apr. 2019]. Lawrence, S. (2019). Business Instagram Page. [image] Available at: https://www.instagram.com/soph_illustration/ [Accessed 9 Apr. 2019]. Lyst (2018). The Last Index: Q4 2018 HOTTEST BRANDS. [image] Available at: https://www.lyst.co.uk/the-lyst-index/2018/q4/ [Accessed 9 Apr. 2019]. Polyester Zine (2019). Polyester Zine Issue Eight. [image] Available at: https://polyesterzine.com/product/issue-eight/ [Accessed 9 Apr. 2019].
Stack Magazines (2019). Stack Shop. [image] Available at: https://www.stackmagazines.com/shop/ [Accessed 9 Apr. 2019].