Male magazines from the Tech perspective

Source: www.wired.co.uk

Boni (2002) observed that over the last few years, there have been more and more men's lifestyle magazines being published, providing men with an excess of many self-improvement articles. Various different topics including technology sector have been divided in separate magazines that are focused on particular themes. For instance, the recent and growing success of Men‘s Health in the male magazine market is a reflection of men‘s changing gender relations and identities. By offering a wide range of self-care advices, Men‘s Health contributes to the production of body techniques and technologies of the self (Boni 2002, European Journal of Communication). Moreover, “All You Can Read” website has announced the top ten Editor’s Choice Science and Technology magazines list, where it could be found a different type of self-improvement materials: knowledge about innovations, scientific researches and much more (not only fitness tips, healthy living or women exploration, http://www.allyoucanread.com/science-technology-magazines/).

Therefore, a magazine named “Wired” is a good example of technological journal with many interesting topics that are not only concentrated on men but on both genders who are interested in tech sector. However, Bliss (2014) observed that technologies are traditionally targeted at men, and tech companies also consider them as early adopters of new gadgets. Thereby, tech magazines are still comprehensible as a type of publication designed for male reader. The study by Ipsos in 2012 showed that 22% of men attach themselves to early adopters’ term, compared to 17% of women. This conception has caused tech companies to apply their offerings to the male market more than to female. Bliss (2014) also reported for the Forbes magazine that wearable technology is a combination of clothing and accessories incorporating computer or electronic technologies. For instance, Google Glass, the Pebble Watch, and Nike Fuel are some well-known pieces in wearable technology sector that are relevant to men’s accessories. However, an integration of technology in fashion shows, that wearable tech is often an easier sell for women than men, because women are used to wear bracelets, bags, necklaces, etc. This accessorising increases the opportunity for adapting technology to fashion. For men to accept wearable technology, it needs to be more practical, but also stylish and modern (Bliss 2014, http://www.forbes.com/sites/netapp/2014/03/26/future-of-wearable-tech/).

Source: Different types of Wired covers, www.wired.co.uk

Additionally Mediros (2014) reported to Wired magazine that Pebble is a smart watch with a black-and-white e-paper display that allows creating a personalised watch face and instantly notifies users about incoming or missed calls, emails and text messages by vibrating. Pebble was created in 2008 by Eric Migicovsky, an engineering student in Canada. The creator also noted in Wired magazine that “Pebble is about connecting an accessory on your body to your phone.” (http://www.wired.co.uk/). Moreover, Arthur (2014) indicated that Google is preparing for a new market by launching a new software development: smart watches and other wearable technologies. It will start with a Motorola “Moto 360” watch in summer 2014. This plan shows that Google is officially interested in wearable computing and it is announced in many publications to spread the innovative thinking towards fashion, especially in men’s accessories. As promised by Chrome, it has released a software development kit for Android Wear, an operating system, which was intended to run smart watches and other wearable objects. It means that reinvented watches will arouse deeper interests in men’s tech fashion and accessorising. Hence, all projects generated by tech giants (e.g. Google, Apple, Android, etc.) will be transferred to people via media coverage connecting it with innovative ideas, design, fashion and the most important part, with knowledge, which becomes the investment in self-improvement not only for male, but also for female readers (http://www.theguardian.com/technology/2014/mar/18/google-android-software-for-wearable-tech).

Sorce: Moto 360 watch, http://motorola-blog.blogspot.in/2014/03/moto-360-its-time.html

Source: Google Glass, www.forbes.com

Source: Pebble watch, www.wired.co.uk

More interesting samples of male and tech magazines: http://www.mensgear.net/2013/06/sony-smartwatch-2.html#; http://www.menshealth.com/techlust;

http://motorola-blog.blogspot.in/2014/03/moto-360-its-time.html

Sources: European Journal of Communication, All You Can Read, Forbes, Wired, The Guardian.

Celebrities in Tech

Source: U2 jackets, www.cutecircuit.com

Biswas and Das (2006) observation shows that for high technology-oriented products there would be more stronger effects of expert than celebrity endorsers in reducing consumer risk perceptions. In addition, for high technology-oriented products, there is likely to be an interaction effect between endorser type and consumer knowledge, so in this case, fashion technologies are transferred better by celebrity endorsement (Journal of Advertising).

Moreover, Apex (2014) also indicated that the integration of wearable technology into a wave of new designs offers everyday consumers the opportunity to interact with fashion. The industry continues to innovate and influence consumer desires and buying habits, and now the worlds of technology and fashion design have begun to merge. Smart textiles and wearable technology are becoming widely used and recognised by the fashion industry. A number of clothing companies have been established exclusively to exploit these developments and create increasingly innovative designs. As a result, the lines between fashion and technology have been vanishing for some time and examples have aroused into popular culture too: from Rihanna’s LED costume, to Nicole Scherzinger's Twitter dress, which received and showed tweets in a real time. Scherzinger's dress was created by wearable technology professionals CuteCircuit and commissioned by mobile service provider EE, demonstrating the potential of a successful fusion of fashion, technology and celebrity. (http://www.electronicsnews.com.au)

Source: Twitter dress, www.cutecircuit.com 

Therefore, fashion house CuteCircuit is the global leader in interactive fashion, which has introduced many ideas to the fashion world by integrating new beauty and functionality through the use of smart textiles and micro-electronics (video available on http://vimeo.com/87045093). CuteCircuit come with a host of internationally fashionable and fabulous celebrity fans. Most recently, Nicole Scherzinger debuted in the world’s first haute couture dress to feature Tweets and "little black dress" filled with LED lights - the iconic classic piece from the year 1920 that made the history of fashion was innovated by the creativity of CuteCircuit’s designers.

Source: Little black dress, www.cutecircuit.com

It is also the high end fashion designer of choice for Katy Perry, who has worn their creations at a number of her stage shows and red carpet appearances. The designers Ryan and Francesca always wanted to create something resonant, fashionable and special, visually and emotionally attractive, that is why CuteCircuit’s work is frequently featured in international magazines, books on design, fashion and innovation, such as Fashioning the Future, Textile Visionaries, WWD, Time Magazine, Surface, WIRED, ELLE, Vogue, etc. CuteCircuit’s designs and innovations have been written about extensively in the press and included in numerous book publications and articles by representing these creations through celebrity endorsement (http://cutecircuit.com). CuteCircuit created a couture dress for Katy Perry with flowing silk chiffon and over 3000 full colour lights, creating a rainbow of colours shimmering around Katy as she entered the ball. The New York Magazine said that “The most exciting part of the evening, sartorially speaking, was Katy Perry’s light-up dress”!

Source: The K-dress, www.cutecircuit.com

Furthermore, CuteCircuit’s Black Diamond Haute Couture Dress came to life in a special blue and black edition for Sarah Brightman’s Dreamchaser Tour. The dress colours and glowing patterns were inspired by the stars and cosmos and merge seamlessly with the fantastic set design that highlights constellations and shimmering space landscapes. CuteCircuit has designed four spectacular jackets for the Worldwide 360º Tour of the legendary rock band U2. White and black leather jackets hand embedded with over 5000 pixels each. Lights were individually synchronised and capable to recreate any number of dynamic displays, patterns and even video in real time. 

Source: Sarah Brightman's dress, www.cutecircuit.com

Source: U2 jackets, www.cutecircuit.com

In addition to celebrities in tech, Silva-Jelly (2013) reported for Abc News that Lady Gaga was named as the creative director for Polaroid. She helped to design some products with the company, including the small Polaroid Grey Label GL10 wireless printer, which was released in 2010. In February 2013, Alicia Keys joined BlackBerry as its creative director to help BlackBerry with marketing and product plans (http://abcnews.go.com/).

Source: Polaroid Grey Label GL10 printer designed by Lady Gaga, www.cutecircuit.com

Sonny (2013) noted in Business Insider that Will.i.am has become the latest celebrity to release his own brand of technology products, with a range of iPhone accessories. His consumer electronics and app venture i.am+ includes the foto.sosho range that transforms the iPhone into a 14 megapixel camera. Moreover, Dr Dre's Beats by Dre headphones have been a huge hit around the globe too. The hip hop celebrity has included more famous singers into endorsing headphone sets (One Direction, 50 Cent and much more, http://www.businessinsider.com/celebrity-tech-investments-2012-12?op=1#ixzz2zkQpLVn7). Therefore, celebrities can become a huge part not only in their businesses, but in fashion and technology too, that means an influential force in terms of advertising and awareness.

Source: www.businessinsider.com 

More interesting information related to this post: http://www.smh.com.au/lifestyle/fashion/fashion-technology--the-new-frontier-20130513-2jhwe.html; http://elitedaily.com/money/rich-and-savvy-the-15-celebrities-who-invested-in-tech-startups/; http://www.crn.com/slide-shows/channel-programs/240163380/hollywood-meets-it-8-notable-celebrities-who-braved-technology.htm. 

Sources: Journal of Advertising, CuteCircuit, Business Insider, Abc News, Electronics News.

Fashion - Feminism - Media - Technology

Source: Time.com

There were (and still are) a lot of issues related to the concept of feminism: how women should speak, look, behave and treat themselves in many different situations. The same problems have arisen in contemporary media and in technological sector too (Corneliussen 2012).

Furthermore, Tahmina (2014) reported for XXY magazine that feminism is about having the same rights, being treated fairly and sharing the perspectives of mind. Moreover, feminists should be associated with many fashionable facets too. The most famous feminists were fashionable in respect of innovativeness, rationality and appearance. As an instance, Coco Chanel wanted to eliminate Yves Saint Laurent’s version on how a woman’s body should be shown and hereby she invented fashionable trousers for women and proved that an hourglass shape figure was not the only look for women. However, one person was not influential enough, thus the Suffragettes used coloured clothing as a representation of their belief: “Give (green) women (white) the vote (violet)!” These freedom feminists, including Chanel, who have not wanted that women would be always remained as an “appropriate inhibited ladies”, have pioneered the understanding that women should dress for themselves, for their moods, experiences and expressions in achieving more (Tahmina 2014). Thereby, feminism itself simplifies down to equality (https://www.xxymagazine.com/fashion-and-feminism/).

Source: Coco Chanel wearing a sailor top and
sailor pants, she was one of the first
women wearing trousers in public. Style.com

Source: Coco Chanel wearing her suit, Style.com

Source: Edwardian period amethyst bracelet. English suffragette Emmeline Pethick-Lawrence proposed the use of colours to represent the women’s suffrage movement. She chose three colours to symbolise the ideals of the cause: green for hope, white for purity, and violet for dignity. Pinterest.com

Accordingly to previous statement, Sarah Erdreich (2014) also identified herself as a feminist much longer before she opened her first copy of Vogue. She noticed that having these tangible examples of what women can accomplish in publishing and journalism helped her to understand how the contemporary media should look like. However, Erdreich (2014) observed that some magazines and articles, for instance “Elle and Marie Claire, which address international, health, and environmental issues with a regularity that puts many general-interest (and male-focused) titles to shame.” Gill (2007) also indicated that one of the most important aspects of post-feminist media culture is that bodily property is associated with femininity. Womanliness should be defined as a psychological, social or structural aspect. However, in contemporary media, the body is usually presented as women‘s powerful source – not mind, innovativeness or abilities. On the other hand, according to Erdreich (2014), “Vogue regularly profiles female artists that deserve wider recognition, and features innovative photography; and Glamour is one of the few mainstream outlets that regularly discuss reproductive rights.” Erdreich (2014), being as a freelanced writer and editor, also admitted that this type of magazines, and the industries they are most closely aligned with, are not without their flaws and still have very controversial details, but they are improving in respect of the right concept about femininity (http://www.xojane.com/entertainment/forever-in-fashion-magazines).

Source: Vogue covers from different periods of time embodying femininity, Vogue.com

Moreover, Gough-Yates (2003) stated that the media contribute to the reinforcement of gender differences and inequalities in contemporary societies. From this perspective, Corneliussen (2012) added that even though women are not described as particularly interested in information technology, they are described in relationship to the technology, which can be seen as discursively new compared to the masculine discourse. While men‘s competence is associated with culture, as a skill that has to be acquired, the social competence associated with women is constructed as nature – as something women simply have. Therefore, in this contemporary world women are encouraged to participate and free their mind in every sphere. For instance, “Girls in Tech” (GIT) is a global organisation focused on the engagement, education and empowerment of influential women in technology. The main destination of this organisation is to sustain the promotion, growth and success of entrepreneurial and innovative women in the media and technology space (http://girlsintech.org/about/). Hence it is necessary to mention that the very beginning of feminism movement has made a huge impact for contemporary understanding about womanliness and how it should be embodied. 

Sources: Scholar.google, Books.google, XXY Magazine, Girls in Tech, Vogue, Style, Time, Xo Jane and Pinterest.

More interesting information related to this post: http://loosegarments.com/feminism-fail/

Tech-Fashion on TV

Source: http://www.fashiontv.com

Liang (2013) observes that technology development and usage within a broadcaster is a negotiation among coherent groups and between purpose competitions: technological effectiveness, creativity in TV making and broadcasting (Journal of Media, Culture and Society). Moreover, nowadays television and Internet are closely related, they are two biggest motion media sources around the globe. Therefore, White (2006) indicated that the designers and programmers of Internet settings may identify that images and events are the real time distribution, and as they happen, the technologies are alive, but television and Internet sites also use similar positions about liveliness, proximity, and spatial accessibility (The International Journal of Research into New Media Technologies: 10.1177/1354856506067206).

Accordingly, it is necessary to mention that media and fashion technologies constantly appear in both direct and indirect ways. First of all, the biggest and the most immediate fashion network on television is “FashionTV”. Since 1997, it has been setting the scene for excellence in fashion and lifestyle broadcasting. The only TV which is equal to fashion print media appealing to people interests in fashion, style, beauty and trends, FashionTV broadcasts in 193 countries. This is 24-hour fashion network which has expanded social media exposure on the Internet with millions of followers on Facebook, YouTube, Twitter, Instagram and more (http://www.fashiontv.com). FashionTV is about everything what is happening in the whole fashion world. For instance, technology theme is usually captured on catwalk and showrooms. Lubov Azria, a representative for Hervé Léger Fashion House gave an interview about technological collection ideas for “FTV”:  “The inspiration for Hervé Léger Fall 2014 is all about the technology and use of technology. If you think about the way we design, we sketch something then we digitize it then we put it in a 3D computer and that gets rescanned in then it goes to the jacquard machines, so this whole thing where people think technology is here and they are here (pointing elsewhere) is constantly wrong. We are wearing technology every single day, so this collection is really about taking nature and digitizing certain patterns and textures and infusing it into the Hervé Léger heritage.” (Video available on http://www.fashiontv.com/video/herv-l-ger-fall-winter-2014-15-backstage-new-york-fashion-week-nyfw_398658.html).

Source: Hervé Léger Fall 2014 (http://www.fashiontv.com) Another FashionTV star in tech-fashion is innovative Dutch designer Iris Van Herpen. Her trademark is three-dimensional prints, futuristic shapes and it always makes a signature in the Iris Van Herpen collections. The designer never desists to astonish her audience every year. She did it again for Fall/Winter Couture 2013-2014 with armour, feathers and extraordinary design forms (Video available on http://www.fashiontv.com/video/iris-van-herpen-couture-fall-winter-2013-14-show-paris-couture-fashion-week_395615.html

Sources: http://www.irisvanherpen.com

The second TV and Internet giant network is BBC News. It also has a separate section about technology and its relation to fashion sector as well. Shaw (2013) reported for BBC that French fashion designer Julien Fournie became bored of the pressure for traditional fashion, including various arguments with seamstresses about what is possible or impossible to realise. He talked to BBC News about his use of FashionLab software, which allows him to test designs in virtual method with a 3D interface, before sending them on to the catwalk (Video available on http://www.bbc.co.uk/news/magazine-23864186). 

Source: http://fashionlab.3ds.com

Consequently, tech-fashion is spreading rapidly through many communication channels by using various ways. It is necessary to highlight TV commercials – a really big part of advertising in media. For instance, Sony Xperia Z smart phone’s advertising project is even considered as Fashion short film. “FTV” team defined this advert as an explosive collaboration that pushes fashion and technology to new limits.

“Xperia Z Versus Fashion” records every angle of three sudden transitions that model in this film has undergone, while wearing four pieces of fashion designer Christopher Raeburn's recent collection from London Fashion Week (Video available on http://www.fashiontv.com/video/xperia-z-versus-fashion_398748.html; Making of the video: http://goo.gl/fYbivn). 

Source: http://goo.gl/fYbivn

Finally in this case, it is worth to indicate that television communicates with physical and mental world (Liang 2013), transmits innovative design solutions, software technical parts, assorted fashion shows, news and much more. All of this is mutually transferred by an extensive number of technological gadgets as well. In other words, contemporary world (whether it is fashion or another direction) is and will be concurrent with technologies. 

Another stunning advertising example of fashion and technology combination is Prada LG phone and LG smart watch commercial (https://www.youtube.com/watch?v=TMo6_uEiLRM). More interesting tech-fashion solutions on catwalk shows broadcasting: http://www.marketingmagazine.co.uk/article/1230847/topshop-engages-vr-technology-live-stream-fashion-show-oxford-circus-shoppers; http://timesofindia.indiatimes.com/Life-Style/Fashion/Shows/Fashion-week-uses-tech-to-link-all/articleshow/32672596.cms

Sources: Journal of Media, Culture and Society; The International Journal of Research into New Media Technologies; Fashion TV; BBC News; Fashion Lab.

Online magazines

Source: www.harpersbazaar.com

According to Cachon and Swinney (2011) digital technologies have changed not only the fashion printing scope but also the whole concept of reading, buying and indulging in fashion magazines: the online era. The fashion industry has changed tremendously in the internet age and the change continues as new types of online business models are needed to reach ever more demanding and digitalized consumers (Doherty 2004). Online communities, such as electronic mailing lists, discussion forums and weblogs, have become very popular as a consequence of the digitized social world (Kozinets 2010). These factors influenced a new type of magazine – online fashion world. Here are some samples how Harper‘s Bazaar has evolved in terms of layout and covers decisions.

Sources: www.harpersbazaar.com

Moreover, consumers seek not only information, but also entertainment and social relationships. Marketing professionals have therefore recognised the need not only for advertising messages, but also for the consumer’s encouragement to subscribe by some rewards such as free products and services, vouchers, and discounts (Ryu and Feick 2007). That can also be seen in the digital and printed magazines worldwide (http://www.emeraldgrouppublishing.com/products/journals/journals.htm?id=jfmm).

Therefore, it could be said that the difference between mentioned publications is not very extensive. On the other hand, for a long time, content developers had a hard time creating a distinction between simple websites and real online magazines. But in the past year an excess of online magazines have emerged with three common threads: multimedia, integration and convergence (Amed 2008). The new magazines are a veritable multi-media source. For some content consumers, particularly younger technology person types, a multi-media experience is the only way to capture their attention: lots of videos, blogs, and communities. The integration into different channels aroused a question how can an offline page really come alive on the Internet? The answer is the creation of complementary content that can be consumed separately and together, what can satisfy even the most demanding “multitasker”. The third thread is convergence. Content companies are integrating commerce models into their sites while commerce companies are creating their own content, and thereby, becoming content destinations in and of themselves (Amed 2008). 

To mark the surge of online magazines, The Business of Fashion (http://www.businessoffashion.com/) has compiled a list of the most interesting concepts to memorise:

NY Times T Magazine: With thought-provoking editorial, interesting images and full page advertisements, this is the place to find the experience that most closely captures that of reading a great offline magazine. But it doesn’t end there. T also captures things into a whole new concept with integrated video and a daily blog, “The Moment”, resulting in a true multi-media experience combined with fashion, style, design and art (http://www.nytimes.com/pages/t-magazine/index.html).

Net-a-Porter The Edit: Net-a-Porter puts out a new edition of its online magazine every single week. It is a key part of making Net-a-Porter an online fashion destination with both content and commerce.  Just with one click on the magazine’s images or trends, readers are instantly transported to the Net-a-Porter commerce site (http://www.net-a-porter.com/magazine/239/contents)

Vogue.co.uk: This online magazine has also a possibility to play with content and commerce combination. It also has really well organised sections: Vogue Digital Editions, news, fashion shows, trends, beauty, Vogue view, shops, Street Chick, where a lot of interesting topics can be seen (http://www.vogue.co.uk/).

1929 Spring trends Vogue

1947 Summer edition Vogue

Sources: www.vogue.co.uk
www.vogue.fr

Therefore, online magazines are a rapid force led by technologies and digital improvements, but nevertheless, it does not confront against the printed publications as well (Kozinets 2010).

More samples of current online fashion magazines: Ponystep.com, Stylezza.com, Fashion156.com, Iconique.com, etc.

Sources: Journal of Fashion Marketing and Management, Business of Fashion, Harper‘s Bazaar, NY Times, Net-a-Porter, Vogue.

Early Fashion Magazines

Source: www.harpersbazaar.com

Technology in Fashion is usually associated with contemporary issues, developing future concepts and aesthetic world improvement (Leninhan 2012). The question is what do we know about the very beginning of tech performance in fashion? Therefore, technological evolution can be captured in early fashion magazines. Hughes (2008) reported for The Guardian that through the centuries particularly every woman who was interested in journal reading was also delighted about the quality (printing technology, development) and content of fashion magazines responding to their needs: needlework patterns, detailed problem pages, fashionable items and valuable emotions too. In February 1693, the first women’s journal in British history called Ladie’s Mercury made a huge influence for upcoming publications worldwide. It was taken as an example with more supplements: interesting themes and issues about women’s environment, behaviour, appearance, etc. (http://www.theguardian.com/books/2008/dec/20/women-pressandpublishing).

In addition, it is necessary to mention that Moeran (2012) observed that fashion magazines are both cultural and technological products. The production includes readers, advertisers and the fashion world itself. These enable magazines to link cultural production to the reception of fashion. Firstly, helping to form a collective concept of what fashion is, and secondly, transforming fashion as an abstract idea and aesthetic discourse into everyday and cultural production in terms of the different values (technical, appreciative and social). For instance, Ladie’s Mercury created a ground idea for further magazines but many other factors also developed more improved publications: political, art, technological streamlines. One of the most famous fashion magazines in the world called Harper’s Bazaar has been evolving since 1867. Here are some samples of Harper’s covers evolution, where printing technologies and garment trends transformations are clearly visible.

Source: www.harpersbazaar.com

According to Breward (1994), the noted changes in technology and society had a part to play in preparing the base for a huge expansion in the 1870s and 1880s. Therefore, production throughout the first half of the nineteenth century was certainly responding to market conditions: an increased and literate audience that implied a high reversal of products in technology and communication progression. The nature of fashion journals enhanced variations so that printed material came to the development of other expanding: fashion, travelling and other popular entertainment in operating novelties (http://www.jstor.org/discover/10.2307/1316078uid=3738032&uid=2&uid=4&sid=21103802496443).

Moreover, Glasgow, Beetham and Boardman (2002) observed Victorian women‘s magazines improvement in respect of wider absorption and technological intervention. After 1850 Victorian fashion magazines have improved, in challenge of women interests in the early fashion magazines. These were followed by magazines specifically intended to cover serious fiction, poetry and fashion combination as well. Evidently, therefore, the scope of fashion magazines gradually enlarged, reaching its influential prosperity in both technological and informational aspects. In other words, the last decade of the nineteenth century in fashionable journals was covering a wide range of different areas related to fashion and modern well being. (http://www.emeraldinsight.com.ezproxy.rgu.ac.uk/journals.htm?issn=0024-2535&volume=51&issue=2&articleid=1492733&show=html#sthash.xRvQplDW.dpuf)

Sources: Journal Citation Reports, Journal of Design History, Emerald Journal, The Guardian, Harper‘s Bazaar. 

Visual sources: www.harpersbazaar.com

Source: www.harpersbazaar.com