The Standard Beauty: Women in Vogue - Case Study Example

The Standard Beauty Women in Vogue Introduction What it means to be beautiful is all given by the standards posed by the media; unfortunately, not all women are “qualified” to become beautiful if based on these standards. The result would likely be a growing percentage of men and women who do not feel good about themselves; some would even resort to harmful diets and pills just to have the ideal weight. Fashion magazines, for example, use supermodels and Hollywood celebrities as marketing strategy to attract audience. Such social issue inspired the writing of this paper, where two Vogue magazine front covers from different years will be examined, focusing on their forms and messages. Methodology Issues regarding sexism and gender inequalities have been a subject of discussion. Women before were nothing but men’s shadows, and did not receive the same opportunity as men. However in the advent of post modernism, the female gender became more powerful and has gained a place in the society, as well as the media. However positive these opportunities might be, women exploitation has also evolved. Vogue is a fashion magazine founded in 1892 by Arthur Baldwin Turnure. Unlike the Vogue magazines we have today, it is only for the elite society to read, which explains the current Vogue themes, generally about fashion and good looks. Along with the success and the continuously growing number of readers, Vogue magazine has its own set of challenges which aroused critic’s opinions to be recognized. The Vogue magazine, being the most influential publication of America, has featured female models of different races, but never had an “extra-sized” cover-girl. Using the feminist critical linguistics and the analysis on multi modality of magazine covers, the two Vogue issues in America and India will be examined. Such approaches are suitable because (1.) the selected Vogue magazines have issues against the real essence of female sexuality, as stated in their content headlines, and (2.) the magazine, as prominent as it is, follows the basic format. Furthermore, there is a need to acknowledge that even if gender inequality has no place in the society by law, the reality states otherwise. van Dijk (1998) stated that, “most of these forms of discursive gender domination and inequality persist until today.” Knowing this, there is a need to further demonstrate and express the point of view according to the female ideology. The Feminist Critical Discourse Analysis In order to fully understand the coherence between the subject of this paper and the feminist approach of linguistic criticism, it is rightful to know first about the nature of the approach. In a society predominated by patriarchal philosophy, finding the voice of the women was a difficult task, until the conceptualization of feminism. According to Lazar (2007), the main aim of a feminist critical discourse analysis is to decrease the level of gender biased language and to upgrade understanding of discourse text. In addition, Wetherell (1995) argued that the feminist CDA is “feminist politics of articulation” where the “feminist principles” are to be integrated in the text with respect to its category relevance (as cited in Lazar 2007). Analysis The invention of the printing press made huge changes in the line of literature and literature mediums. It has allowed different texts to be printed; and as technology improves, rapid production, changes in themes, and portraits featured in the magazines have increased quantity and quality. Fashion magazines are mostly promoted and patronized by women. Vogue, for example, is commonly read by women. Though it started in the United States in the late 19th Century, its merchandise did not stop in the U.S. borders, but extended through Europe and some parts in Asia (Wrenn 2009). Indian and American Vogue The figure 1 in Appendix A shows the January 2009 issue of Vogue India. It features the Bollywood actress Tabu in the front cover; fans commented on the picture, that it was “highly photoshopped” and that it did not reveal the real figure of their celebrity idol. While in figure 2 in Appendix B is the international singer, Beyonce Knowles in April 2009 issue of the magazine. Both women coming from different races and continents, are admired by their skills in the entertainment industry, which makes them perfect for the magazine cover such as Vogue. This also proves that today’s magazines are a mixture of nationalities and governed not only by the western world but also in some other parts of the globe. However, a second look at both magazine covers would show significant proofs on racism and sexism. The Title Using the term “Vogue” as a title for a fashion magazine would instantly relay the message of fashion and theme. Basing on its denotative meaning, vogue is “something in fashion, as at a particular time” (Dictionary.com n.d.). In the name itself, Vogue has defined perfectly their themes and issues concerning the do’s and don’ts of fashion. Meanwhile, another dictionary meaning of vogue would be “popular currency, acceptance, or favor; popularity.” Unlike the first meaning given, this one may suggest a rather controversial issue, if feminism would be in line. The terms “acceptance” and “favor” is largely socially defined. The conventions of the society of what is acceptable and favorable is an age-old issue, wherein whoever does not meet these standards are not given the same treatment to those who did. However, the graphology and design of both the front covers exude class and elegance, as what the magazine company wants its readers to realize. The Coverlines Vogue India’s coverlines were much like its American counterpart. As seen in Appendix A figure 1, the issues were mainly about keeping the ideal body image. The special report asks: “Has India Lost Her Curves?” Women in India are famed for their curvy body structure, where joining in beauty pageants would be a threat to other contestants. “Today, an Indian woman is a painter, an actor, a singer, and a beauty queen” (Maps of India n.d.). They did not only excel in the field of Miss Universe and other contests pertaining to beauty, but the modern Indian women have proven that they are able to compete and even equal themselves with Indian men. However, it is unfortunate to know that, like the women in the other parts of the world, Indian women are also subject to worldly desires. In the special report part, India was pertained to as a woman, using the possessive pronoun “her.” As a whole, the question is addressed to the Indian women, and “losing her curves” seems to be a big issue. In addition is the other coverline found at the bottom of the Special Report part. It says: “Make over your body like Bipasha Basu and Heidi Klum.” Before getting into the main argument of this statement, it is useful to know about the two women mentioned in the coverlines. Bipasha Basu is a supermodel turned Bollywood actress and coined by Eastern Eye, a U.K. magazine, as the “Sexiest Woman in Asia” (The Times of India n.d.). On the other hand is Heidi Klum, a German American model and host of the reality show “Project Runway,” where the winner of such contest will be given modeling opportunities. Both women fit the beauty standards of the society, and a “body make over” to look like them might just be the idea women are thinking even before the publication of the issue. Using the names of the big stars to encourage such “make over” might work as a marketing strategy to make the magazine sells. This kind of encouragement would suggest that Klum’s and Bipasha’s body type is more ideal than what the reader currently has. Popular culture and societal standards have long been partners influencing each other, thus the formation of the different regulatory boards which rates all types of media, including magazines. However, restrictions concerning coverlines with such themes are overlooked, concentrating on obscenity and nudity. The result would be a wider encouragement of such thoughts to a number of women, and some men. However on the counterside of the cover are the less exploitative coverlines. First is the “Shape Issue” part where it includes “real women” with “real bodies,” the story of Tabu, and fashion “that fits all sizes.” The latter is the complete opposite of the Klum and Bipasha coverline, where an embrace of size varieties is involved. The western counterpart of the magazine in the same year, however different issues, suggests similar themes. Black women were less likely to be seen on magazine covers. Having a black woman on a magazine which is considered to be a “fashion bible,” is a step towards the industry’s “color-blindness.” The cover is almost perfect; however, the coverlines are making it both racist and sexist, according to Jezebel (n.d.), an online magazine. There were issues raised rooted from the messages of the coverlines. The most striking would be the statement “Real Women Have Real Curves.” Sentences in the declarative form generally states a fact, an opinion, or more likely a statement addressed to the general public. The sentence sounds like imposing what the public should think about “real women.” If having “real curves” is the primary distinction of being a real woman, then it implicitly tells the readers that those women with flat chest are fake (Jezebel n.d.). Another coverline which aroused critic’s feminist views is: “WORK IT!: Longer legs, leaner lines, sexier silhouette.” It is a desirable image, but it is also a fact that not all women are born with long legs. Having this on the coverline with a matching imperative statement “Work it!” encourages other women to be like the others and convince them that their leg structure needs a lot of working out, thus exuding a negative implication for such a body type, that there is something “wrong” in them. This coverline is also parallel in theme when compared to the coverline found in the right side of the title area which says: “NIP/Tuck: Designing a perfect body.” Nip/Tuck is an American psychological horror drama where the general subject is plastic surgery. The additional tag line “designing a perfect body” implies encouragement of plastic surgery as a beauty enhancing technique. Magazine coverlines are important for both the readers and the marketers since they tell how read-worthy the periodical is, and consequently tell about sales. It reflects what is inside the magazine, and readers should be aware of the implications of the coverlines, if it exploits a right, encourages negative thoughts and actions or if the magazine has a hidden social issue. The Picture In a fashion magazine, it is normal for them to showcase stunning women in the cover, and that is quite acceptable considering that it is all about “fashion.” Vogue magazine has featured women models, actresses, and quite recently, a political figure in the person of Michelle Obama. Basically, Vogue has been using models with ultra skinny appearances, which gained negative comments from fashion critics. One would be Omega Watches advertisement in the said magazine featuring the model Annie Morton. According to Kupfermann (1996), the advertisement is dangerous in a way that it would encourage young readers to harmful eating diets and may result to anorexia. A more dangerous warning is Kupfermann’s comment saying that modern women think that they are in control of their bodies, but the truth remains that images such as in the magazines are the ones controlling them. The desire to be a cover girl prospect would lead several hazards both in mind and bodily health. However, unlike the usual models seen on Vogue covers, Tabu and Beyonce redefined the Vogue cover girl, primarily because African American women, like Beyonce and Indian women, like Tabu, do not have this skin and bone body structure, curves are more prominent in the races that they belong, which makes them different from other Vogue models. Figure 1 shows Tabu on a Blumarine beige dress. This Indian classic beauty is remarkable when it comes to projections and distinct facial qualities. The coverlines are proofs that the Western Culture has also penetrated the Asian market, and the influence transcends all ages and gender. In the cover, Tabu is being described as a “Bollywood Glamazon,” a coined term especially for her. Glamazon is a blend of “glamorous” and “amazon,” where both words contributed to its meaning, as a whole. A glamazon is a tall, voluptuous and fashionable woman; a term quite suitable for Tabu. On figure 2 is Beyonce. This cover of American Vogue has a lot to say regarding sexism and racism. Ramolini (2009) contends that the issue of that cover has sexist and racist tendencies, with all the coverlines and an African American as the model. The coverline “Real Women Have Real Curves: Beyonce at her Best” pertains to the African American women as a whole. The “curves” mentioned would pertain to the physique; the curves are naturally given to most black and Latina women. As reported, Beyonce has to lose weight just for the Vogue photoshoot and be called “Vogue-worthy.” The coverline at the lower right side of the cover suggests the contrary of what Beyonce did to be on the Vogue cover. She has been into excessive exercise yet her caloric intake would not suffice the energy she needed for her entire work for the day (Jezebel n.d.). Additionally, modern editing which includes Airbrush and Photoshop enhances a picture, making them look more beautiful and attractive than what they really are. In a Campaign for Real Beauty by Dove, one video is entitled “Evolution: No Wonder our Perception of Beauty is Distorted,” which features a print ad model who has to go extensive make-up and computer editing of her pictures before it is ready for a foundation make up advertisement billboard. Implications The transition of Vogue magazine from being a society chronicle by its first publication in 1892 to the fashion magazine the world knows today has a lot of things to say to feminist tradition in general. The concept of “the woman” in modern society is also constantly changing and the gradual acceptance of women with color in the fashion industry is a statement of the effects of acceptance of diversity. However, there would always be flaws when it comes to the different societal implications on the magazine articles, coverlines, and titles. True, that there are differences when it comes to reader’s opinion about certain magazine issues, and the best way to reconcile these differences is for the magazine companies to the extra careful in determining who the model should be, and the overall appearance of the periodical. Conclusion The covers of the magazines are as important with its content, and therefore, a careful editing and analysis of coverlines should be executed. There should be parallelism between the image and the coverlines. Furthermore, facial and bodily expressions by the models should execute the theme of the magazine issue as a whole. Fashion magazines are supposed to enhance the natural beauty of their models, and not to distort them. Magazine giants such as Vogue and other leading fashion magazines should try to eliminate all kinds of discrimination against weight, color or gender, as their influence can affect millions of readers’ lives. Bibliography The Times of India. 2007. “Bipasha is the Sexiest Woman in the World: Eastern Eye.” Accessed December 14, 2010, http://timesofindia.indiatimes.com/World/ Bipasha_is_the_Sexiest_Asian_Woman_in_the_World_Eastern_Eye/ articleshow/2544772.cms. Dictionary.com. n.d. “Vogue.” Accessed December 13, 2004 http://dictionary.reference.com/browse/vogue?&qsrc=. Maps of India, n.d. “Indian Women.” Accessed December 13, 2010. http://www.mapsofindia.com/culture/indian-women.html. Jezebel. n.d. “How offensive is Beyonce’s Vogue Cover? Let Us Count the Ways.” Accessed December 13, 2010. http://jezebel.com/5170632/ how-offensive-is-beyonces-vogue-cover-let-us-count-the-ways. Kupfermann, Jeannette. 1996. “What on Earth Is the Appeal in This New Cult of Ugliness? Saturday Essay/ Vogues Use of Skeletal Models Opens a Bitter Controversy.” The Daily Mail, June 1. Lazar, Michelle M. 2007. “Feminist Critical Discourse Analysis: Articulating a feminist Discourse Praxis.” Critical Discourse Studies 4: 141-164. Accessed December 14, 2010. doi: 10.1080/174059007014648. Ramolini, Jennifer. 2009. “Is Beyonce Vogue Cover Racist?” Shine. March 16. Accessed December 13, 2010. http://astrology.yahoo.com/channel/ beauty/is-beyonces-vogue-cover-racist-431033. van Dijk, Teun A. 1998. “Critical Discourse Analysis.” University of Windsor. http://web4.uwindsor.ca/users/w/winter/40-328.nsf/ 831fc2c71873e46285256d6e006c367a/ 10ff8b04ff3a317885256d88005720f6/$FILE/CDA.vandijk.pdf. Wrenn, Rebecca. 2009. “The Story of Vogue Magazine A Brief History of the Monthly Fashion Magazine, Vogue.” suite101.com. Accessed December 13, 2010. http://www.suite101.com/content/the-story-of-vogue-magazine-a135191. Appendix A Figure 1: Tabu, the Indian actress sensation, poses for the Vogue India January 2009 issue. Appendix B Figure 2: Beyonce in the front cover of Vogue magazine April 2009 issue. Read More