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1 P M J O U R N A L O F D I G I T A L R ESEARCH & P UBLISHING to the potential limitations of blogging: ‘There was an obvious kinderwhore Courtney vibe from Proenza Schouler’s Fall collection but it wasn’t until I was looking at Marc Jacobs for the millionth time (and, can I say, it is inspiring and fresh and exciting every time) (Ugh, I hate when you love something so much your stomach hurts! Unless it’s the incessant amounts of Fruit Roll Ups. Or awful singing!) (Runon sentences, ugh) (TOO MANY PARENTHESIS)’ (Gevinson, 2010). Tavi’s tendency to pull together disparate pop cultural references into her analysis of D3*+$7"&>%C%56*&6+%&>$*%&7D&G+36&Y%(K%&>%D%>*&67&3*&6+%&X)>$57#%(>]5$6$K%"L&.V;;n-&F;1M&`"&6+%& context of this article, this refers to the ability of Internet users to appropriate disparate elements from a variety of sources and create coherent forms of selfexpression. Although a possible criticism of Tavi’s blog is that there is a distinct lack of an editor, this actually preserves the preciously amateur nature of her writing style. Tavi’s unique form of self expression is part of the niche appeal of her blog. If an editor were to intervene, her 8$*R7$"6%8&6%%"3,%&'>7*%&G7(#8&)%&>%8(5%8&67&*70%6+$",&07>%&>%C%56$I%&7D&03$"*6>%30& fashion journalism, subsequently losing its perceived value as an outsider’s voice. In light of the pressure to maintain an independent voice despite increased media attention for her blog, Tavi seems to be secure in her unique place in the world of fashion blogging: ‘I think being young and working pretty independently from the industry helps me when I’m trying to come at something from another viewpoint and add something new to the discussion’ (Milligan, 2010). Amateur & professional journalism: A necessary alliance The success of Tavi’s blog is indicative of the almost inevitable intersection of amateur blogging with professional fashion journalism. Deuze has noted that the rise of participatory, interactive journalism has occurred parallel with professional, mainstream journalism rather than in direct opposition to it (2006: 72). The development of a symbiotic >%#36$7"*+$'&)%6G%%"&6+%&6G7&$*&0(6(3##9&)%"%45$3#&D7>&3##&D3*+$7"]>%#36%8&0%8$3&'>78(5%>*& in order to maintain their readership and share common resources. For example, Vogue, a leading magazine franchise in fashion journalism, has developed an online presence (Style. com) that offers more immediate commentary in conjunction with the magazine’s monthly 28
1 P M J O U R N A L O F D I G I T A L R ESEARCH & P UBLISHING release. Website editor Dolly Jones explained that although both the magazine and the website feature an exclusive view of the fashion world, the website allows Vogue to ‘create a constantly moving commentary on that world as it evolves’ (Walker, 2009). Another example of this transition is the recent employment of blogger Tommy Ton of popular fashion blog Jak&Jil by Style.com. Asked for his thoughts on the blogging revolution in 3&>%5%"6&$"6%>I$%GS&B7"&*636%8-&XA69#%&"7G&`&6+$"H&$*&07>%&$"C(%"6$3#&6+3"&356(3#&>("G39& D3*+$7"S&)%53(*%&*69#%&$*&3&#$66#%&)$6&07>%&4#6%>%8&87G"S&3"8&$6L*&07>%&355%**$)#%&67&6+%&>%3#& '%7'#%M&/"8&6+36L*&G+9&`&,(%**&)#7,,%>*&+3I%&)%570%&*7&$"C(%"6$3#L&.23*+$7"&B%#%I$*$7"S& 2010). Reworking fashion meanings B+%&$"C(%"5%&6+36&B7"&>%D%>*&67&3)7I%&$*&6+%&'7G%>&7D&8$,$63#&'()#$*+$",&67&%"57(>3,%&3& more active and participatory role by consumers in their reception to fashion. Thompson & Haytko have suggested that consumers actively rework messages they receive about fashion, both dominant and marginal, in the process of constructing their own personal style: ‘Through the juxtaposition of countervailing meanings, consumers can create a localized understanding whose whole differs from the sum of its constituent cultural 3**75$36$7"*L&.E^^F-&\W1M&B+%&8%635+0%"6&7D&D3*+$7"]>%#36%8&0%3"$",*&D>70&*'%5$45&5(#6(>3#& and geographical contexts can be liberating for Internet users who love fashion but live 7(6*$8%&7D&D3*+$7"&53'$63#*&3"8o7>&87"L6&+3I%&6+%&036%>$3#&0%3"*&67&D(#4#&6+%$>&8%*$>%*&3*& consumers. As Spiridakis notes, ‘whereas a decade ago, suburban girls with a craving for fashion daydreamed via the pages of Vogue, today’s budding fashionista has access to a world of sick looks on her laptop’ (2008). !"%& 7D& 6+%& 5>(5$3#& 3*'%56*& 7D& 6+%& '>75%**& 7D& >%C%56$",& ('7"& 3"8& *+3>$",& $8%3*& 3)7(6& personal style online is that consumers can consider the range of choices available to them and draw inspiration from trends without being beholden to them. Indeed, the idea of 8$*'#39$",&3&*'%5$45&)>3"8&$8%"6$69&$*&7"%&6+36&$*&#$"H%8&67&57"*'$5(7(*&57"*(0'6$7"&3"8& rejected by Tavi, according to Seidel’s analysis of her comments at the ‘Generation Next’ forum in New York: ‘For Tavi, luxury products should be like a secret society that connects you to likeminded individuals and not a mainstream, homogenised stamp of status. Brand markings should be secret emblems that only certain people recognize, she said’ (2010). B3I$L*& 8%6%>0$"36$7"& 67& 8$*'#39& 3& "7"]57"D7>0$*6& '%>*7"3& 7"#$"%& >%C%56*& />I$8**7"L*& 29
Page 1 and 2: JOURNAL OF DIGITAL RESEARCH & PUBLI
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a large proportion of Chinese netiz
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issue and not be interfered by any
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