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CHAPTER 2.4 IMPLICATIONS AND RESOLUTION 32 (Patternbank, 2017)
IDENTITY Glossy, high-end magazines are strictly celebrity or industry-model focused and orientated; this is suggestive to the reader that the appearance of these models is the norm in society, and deviating from these norms would be classed as unfashionable or abnormal. Magazines are losing the allure they once had, this is because they are not containing the relevant information on the subject matter of fashion itself; becoming heavily dosed in advertisements. Rather than being the look books for the current fashion, they have evolved into meaningless publications, promoting a false representation of fashion. Though these influences may seem favourable to the industry, they can implicate pressures, coaxing an audience or consumer to change their lifestyle or even self-image; to fit into a falsely grand and stylish domain. This can be changed by improving the balance of neuromarketing. Fashion magazines can promote fashion without advertising a fixed image of how fashion should be, and explore a range of real lifestyles. The gap in this market is missing the incorporation of everyday fashion enthusiasts on the streets in the real world. Despite this matter, local high-street magazines have a more mainstream approach. There is not always the high-end model on the cover or used for style/appearance in promotional content, and there are realistic comparisons for fashion/beauty that are suitable for the audience. There is also an element of local interaction with everyday streetwear and street view, tapping into what readers are really interested in. This is a more appropriate approach to the audience, as impacts of fashion media, such as its false interpretation of what fashion is, is now displaced with a more accurate and real perception of what fashion means to an individual. To conclude, it is evident that fashion magazines have a predominant role in the impacts of fashion media, by altering the perception of fashion normality, through its use of visual elements and subjective content. 33
Page 1 and 2: IDENTITY SUKVINDER KAUR
Page 3 and 4: IDENTITY Abstract This dissertation
Page 5 and 6: IDENTITY A CKNOWLEDGEMENTS Thank-Yo
Page 7 and 8: GLOSSARY OF TERMS: BEHAVIOURAL SPEC
Page 9 and 10: IDENTITY INTRODUCTION This analysis
Page 11 and 12: IDENTITY OBJECTIVES (I-d, 2017) 1)
Page 13 and 14: IDENTITY 13 (Pinterest, 2017)
Page 15 and 16: IDENTITY QUESTIONNAIRES Questionnai
Page 17 and 18: IDENTITY SECONDARY SOURCES Secondar
Page 19 and 20: IDENTITY 19 (Beautifuldecay.com, 20
Page 21 and 22: IDENTITY Theorist, Singal, (2017) s
Page 23 and 24: IDENTITY Furthermore, media is also
Page 25 and 26: CHAPTER 1.3 PSYCHOLOGY IDENTITY 25
Page 27 and 28: IDENTITY Fashion Magazines: Publica
Page 29 and 30: CHAPTER 2.2 IDENTITY Brand MARKETIN
Page 31: IDENTITY 31 (I.pinimg.com, 2017)
Page 35 and 36: IDENTITY 35 (Fucking Young!, 2017)
Page 37 and 38: IDENTITY “THE FIRST SKINHEADS WER
Page 39 and 40: IDENTITY CHAPTER 3.2 INFLUENCE OF M
Page 41 and 42: IDENTITY Today, fashion is a matter
Page 43 and 44: IDENTITY (PAUSE Online, 2017) 43 NO
Page 45 and 46: IDENTITY 45 Influences are everywhe
Page 47 and 48: IDENTITY (Static1.businessinsider.c
Page 49 and 50: IDENTITY (Whowhatwear.co.uk, 2017)
Page 51 and 52: IDENTITY Bloggers CHAPTER 4.3 'I fe
Page 53 and 54: IDENTITY “I try not to think abou
Page 55 and 56: IDENTITY 55 (Pinterest, 2017)
Page 57 and 58: IDENTITY RECOMMENDATIONS: Now that
Page 59 and 60: BIBLIOGRAPHY IDENTITY Stylebubble.c
Page 61 and 62: IMAGES IDENTITY Pinterest. (2017).

DISSERTATION

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