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Title Between Edge and Elite: Niche Fashion Magazines, Producers And Title Between edge and elite: niche fashion magazines, producers and readers Type Thesis URL http://ualresearchonline.arts.ac.uk/6510/ Date 2009 Citation Lynge-Jorlén, Ane (2009) Between edge and elite: niche fashion magazines, producers and readers. PhD thesis, University of the Arts London. Creators Lynge-Jorlén, Ane Usage Guidelines Please refer to usage guidelines at http://ualresearchonline.arts.ac.uk/policies.html or alternatively contact [email protected]. License: Creative Commons Attribution Non-commercial No Derivatives Unless otherwise stated, copyright owned by the author Between Edge and Elite: Niche Fashion Magazines, Producers and Readers Ane Lynge-jorlen London College of Fashion University of the Arts London September 2009 This thesis submitted for the degree of PhD ABSTRACT Between Edge and Elite: Niche Fashion Magazines, Producers and Readers This thesis examines contemporary niche fashion magazines and uses as a case study an ethnographic investigation of a niche fashion magazine and its producers and readers. Fashion magazines are instrumental not only in helping readers make sense of, understand and consume fashion; they are themselves fashionable media that set trends in how fashion is mediated. Niche fashion magazines are a sub genre of fashion magazines that is produced and consumed by cultural intermediaries. They are part of a complex cultural circuit which involves their marketing, production, circulation, textual representations and readers' consumption. Within this circuit values, meanings, codes, notions and practices of fashion are exchanged, and these are the focus of this thesis. This thesis examines the niche fashion magazine genre, addressing its hybridised quality of art, popular culture, high fashion, elite and edge. Through active participant observation, the case study explores the production practices and the different economies and values that inform the encoding of fashion into the magazine. Drawing on in-depth interviews with niche fashion magazine readers, the thesis also explores how readers make sense of niche fashion magazines by engaging with their symbolic value. Within the fashion press niche fashion magazines are the focal media for the tastemakers of fashion. Yet niche fashion magazines as an object of inquiry has been neglected by academia, which has paid more attention to women's and men's magazines and their textual representations. A central aim of this thesis is to contribute to an understanding of the meanings of fashion mediation with a specific focus on the methodological integration of textual, consumption and production analysis. By generating new insight as to how fashion is exchanged and mediated between producers and readers of niche fashion magazines it contributes to the study of fashion within sociology and media research. DANSK IMAGES All images shown in the thesis are featured with kind permission of Style Counsel. Image 1 Image 7 Issue 11, No Age, Autumn 2006 Issue 5, The Luxurious issue, Autumn Cover 2004 Photographer: Daniel Jackson 'Accessories in Nature', p. 115. Photographer: Rasmus Mogensen Image2 Issue 13, Pet Power, Spring 2007 Image8 Cover Issue 14, CPH Love, Summer 2007 Photographer: Hasse Nielsen 'E. Klint' p. 167. Photographer: Casper Sejersen Image3 Issue 15, Evilism, Autumn 2007 Image9 Cover (front) Issue 14, CPH Love, Summer 2007 Photographer: Jamie Isaia Cover Photographer: Andreas Sjodin Image4 Issue 15, Evilism, Autumn 2007 ImagelO Cover (back) Issue 14, CPH Love, Summer 2007 Photographer: Henrik Biilow 'Kaizerlich', p. 157. Photographer: Andreas Sjodin ImageS Issue 13, Pet Power, Spring 2007 Imagell 'Two in the Bush', p. 110. Issue 15, Evilism, Autumn 2007 Photographer: Alan Gelati 'La Cocotte', p. 183. Photographer: Jamie Isaia Image6 Issue 10, Contradiction issue, Image12 2006, Issue 13, Spring 2007 p. 106. 'The Shining', p. 165. Photographer: Torkil Gudnason Photographer: Hasse Nielsen Image 13 Issue 14, CPH Love, Summer 2007 'Thongs Up', p. 117. Photographer: Torkil Gudnason Image 14 Issue IS, Evilism, Autumn 2007 'Class of 2008', p. 103. Photographer: Casper Sejersen Image 15 Issue IS, Evilism, Autumn 2007 'Class of 2008', p. 96 Photographer: Casper Sejersen ACKNOWLEDGEMENTS I am indebted to my supervisors Agnes Rocamora and Joanne Entwistle for their academic generosity, criticisms, intellectual inspiration and enormous impact on how I think. I am deeply grateful to have worked with them as well as thankful for their immense support of my work. The realisation of this thesis was dependent on getting access to Magazine. The editors and producers at the time of fieldwork, Rachael Morgan, Uffe Buchard, Kim Grenaa, Lars Dyhr, Peter Hagen and Camilla Bigler showed trust in me and granted me access, kindness and time, for which I am enormously thankful. The images shown in this thesis are featured with kind permission of Style Counsel. I would also like to express my heartfelt gratitude to all the readers who shared their views on, and experiences of, magazine reading with me. I am thankful to Gunilla [orlen for her generosity and for believing in the project. I would also like to thank the Arts and Humanities Research Council for funding part of this project with a studentship. I am eternally grateful to Erik Lynge-Iorlen whose unconditional emotional support and patience helped me maintain a sense of reality and belief throughout. TABLE OF CONTENT CHAPTER 1: INTRODUCTION 8 Introduction 8 Context 9 Aims and Objectives 11 Thesis Structure 12 Definition of Concepts 13 Mediation 13 Magazine Culture 14 Field of Fashion 17 Value 19 Conclusion 20 CHAPTER 2: REVIEWING THE MAGAZINE LITERATURE: TEXT, READERS AND PRODUCTION 21 Introduction 21 Textual Analysis 22 Fashion Writing 27 Men's Magazines 30 Reader Analysis 33 Production Analysis 39 Circulation of Meanings 41 CHAPTER 3: METHODOLOGY 45 Introduction 45 Production Participant Observation 45 Gaining Access 46 Reflections of Active Participant Observation 48 Interviews 53 Reader Interviews 54 Qualitative Textual Analysis 56 Position and Positioning 57 CHAPTER 4: BETWEEN EDGE AND ELITE: NICHE FASHION MAGAZINES, GENRE AND SUBFIELDS 60 5 Context 60 Towards a Definition 67 Art, Subculture and High Fashion Hybridised 72 Contemporary Niche Fashion Magazines , 77 Glossy Niche Magazines , 78 Image Fashion " , " 78 Written Fashion , , ".""" 79 Art Fashion Magazines , 83 Image Fashion 84 Written Fashion """ " 87 Conclusion 88 CHAPTER 5: DANSK MAGAZINE: A CASE STUDY OF A GLOSSY NICHE MAGAZINE 90 Organisation 91 Aesthetic Identity and Editorial Profile 96 Written Fashion : 98 Fashion Spreads 102 Danishness to the World 109 CHAPTER 6: 'IT'S NEVER GOOD ENOUGH': CULTURES OF NICHE FASHION MAGAZINE PRODUCTION AND FASHION CAPITAL 112 Cultural Intermediaries .. .. 112 Reproduction of Aesthetics .. 114 Production Values .. 119 Exclusivity 120 Timing 125 Economic Values 126 Money Matters 128 Advertising 132 Conclusion 135 CHAPTER 7: 'SPEAKING TO THE ALREADY CONVERTED': READERS, CONSUMPTION OF EXCLUSIVITY AND REPRODUCTION OF THE CODES. 6 What is reading? 137 Readership Boundaries 140 Use of Magazines 143 Logic of the Field 145 Inside the Box - Collective Fashion Consensus 147 Rules of the Doxa 149 Ad(ding) Value 151 Specialist Reading 156 Consumption of Danishness 158 Conclusion 166 CHAPTER 8: IAN EXTENSION OF YOURSELF': MAGAZINE POSSESSIONS, SOCIAL DISTINCTION AND CONSUMPTION AS PRODUCTION 169 Spaces of Free Consumption 169 For Keeps 172 Self-Extension 177 Conclusion 181 CHAPTER 9: CONCLUSION: THE SIGNIFICANCE OF NICHE FASHION MAGAZINE CULTURES 183 Summary 183 Business-to-business Culture 186 187 Cultural Mix 188 Future Research 189 Appendix A: List of magazines 191 Appendix B: Illustration 192 Appendix C: List of informants .. 193 Appendix 0: Glossary 194 BIBLIOGRAPHY 195 7 Chapter I CHAPTER 1: INTRODUCTION Introduction Below the radar of the mainstream, but required reading for the movers and doyennes of the art and fashion world, magazines like 032c are successfully finding a niche while serving as a glimpse of the future of a publishing industry in flux. Titles like 'Purple,' from France, 'Fantastic Man' from the Netherlands, and 'Self-Service' from Paris exploit the overlapping fields of art, architecture and music that fashion has become. They are printed on expensive stock, look like art catalogues, sell at specialized shops across the world for prices beginning at €10, or $13.50, and have a devout following. (Tzortzis 2007) Fashion magazines playa central role in circulating fashion. They are instrumental not only in helping readers make sense of, understand and consume fashion; they are themselves fashionable media that set trends in how fashion is mediated. The focus of this thesis is specific subgenre of fashion magazines, which I call 'niche fashion magazines', described by Tzortzis above as 'below the radar of the mainstream', with a hybridised quality of art, popular culture, high fashion, elite and edge. Niche fashion magazines are the focal media for the tastemakers of fashion. They are also part of a highly unstable and oversaturated fashion magazine landscape. This landscape is characterised by staff and editor mobility (Jackson et 2001), an ebb and flow of titles (Braithwaite and Barrel 1988) and a constant and highly competitive hunt for advertising revenue. Surprisingly, academia has neglected the genre and how fashion is mediated within the alternative fashion press, paying more attention to women's and men's magazines and their textual representations of gender. This thesis
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