GENDER, EQUITY AND FASHION PHOTOGRAPHY - An investigation into female underrepresentation and the power of imagery - the fmm ...
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Sacha Williams
5500 words
An investigation into female underrepresentation
and the power of imagery.
GENDER, EQUITY AND FASHION PHOTOGRAPHY.
1
CONTENTS
Executive Summary : 3 The Power Of The Gaze : 20
Introduction : 4 The Consumer : 23
Underrepresentation : 6 Conclusion : 29
Employment Opportunity : 9 Appendices : 30
More Than Just Awareness : 11 Reference List : 36
Progression : 14 Bibliography : 40
A Call For Fairness : 17
2
EXECUTIVE SUMMARY
This report investigates the those who have the power to make important
underrepresentation of female fashion decisions need to be targeted to change their
photographers, the power of imagery behaviour, with addressing the implicit bias
and the importance of equity. Research is which we all hold, as a necessity. Moreover,
dedicated to uncovering the causes and the level of successfulness of training courses
solutions relating to the obstacles that is investigated with the possibility for these
women face when seeking employment, being counterproductive being uncovered.
awareness and progression opportunities,
with specific focus on the fashion industry. The barriers that are in place for women
when progressing in the workplace are
Exploration into the lack of cover images being analysed, resulting in the recognition for
shot by women is proven to not be a pipeline gender norms to be eradicated. Editorials
issue, suggesting the underrepresentation printed by magazines, which focus on
is based on the grounds of sexism, with eliminating expected gender roles within
research supporting this by showcasing society such as domestic work activities are
that level of talent is also not the problem. a solution offered due to the power that
Further investigation conducted through institutions have on influencing consumer
the use of a visual image case study behaviour. In addition, a persuasive rational
revealed that there were no significant is given for the negative contribution that
commonalities in regard to technical language has on reinforcing gender division.
capabilities or aesthetic, produced by one
gender when analysing editorial photographs. The ways in which publishing houses can
improve on the current situation is debated,
Persuasive arguments lay out actions with a key recommendation being the
needed for employment processes to inclusion of equity and not equality policies
be more inclusive. Discussion is had as to to be implement within business operations,
whether a drastic or more subtle approach due to research showing that the application
would be effective for change to occur, of equality alone does not assist women
with the stronger argument being for photographers needs fully. John Adam’s equity
substantial responses to be tested such theory is useful in explaining the outcomes Utilising Schramm’s communication model
as hiring only women photographers that a women may choose to take if they allows for an understanding to be gained
for cover shoots for a specific period. are not being treated fairly, including either regarding how messages are sent back and
a balance redress or cognitive reframing. forth between magazines and the consumer.
Acknowledgment is given to the viewpoint that Furthermore, examination of the current
more than simply awareness is needed for Careful consideration occurred for the consumer’s path to purchase, using the
tangible change to arise. Findings state that subjective nature of viewing imagery. AIDA framework, is compared to a desired
the current focus from the fashion industry From discovering that each person future gender inclusive workplace version,
regarding spreading the work of female applies their own life experiences to a allowing us to learn of the potential difference
photographers on a range of online platforms photograph, it can be assumed that the in the ideology produced by magazines
is not equivalating to real representation. From narrative that the photographer desired that is bought into by the consumer.
discovering this, it should be encouraged that to tell cannot always be assured.
3
INTRODUCTION
Discrimination.
When will we live in a world where how impactful this unjust situation is
these words can be removed for the consumer. By talking about
from the dictionary? The year is gender inequality within the fashion
Underrepresentation.
2021 and many are living with the industry we are focussing on what
assumption that women are equal can be described as a microcosm
to men. Upsettingly, this is far from issue, meaning we can see a larger
the truth. The purpose of this report societal issue working on a smaller
Gender inequality. is to discuss this critical issue,
specifically focusing on gender,
equity and fashion photography.
scale. What this implies is that we
should be looking at society as
a whole for some answers, using
top-down approaches that can
Underrepresentation is affecting offer a sustainable change.
those who identify as women and
are pursuing a career within the Enquiry into the causes of this critical
fashion photography industry. issue, examination into current action
Whilst this is a global problem, being taken, and most importantly
for the purpose of this report, the recognising and suggesting vital
focus will be on the UK market. It is changes needed for an improved
not only crucial that a discussion future are all debated. Arguments
is had for the purpose of finding are formulated surrounding
tangible solutions to better women’s a number of areas including:
experience in the workplace, but also Employment opportunity, awareness
so that publication houses, who have and progression, in combination
such power in releasing images and with critiquing current solutions
narratives to society, acknowledge and proposing new responses.
4
INTRODUCTION
“Photographs and photography have a
crucial and pivotal status in societies”
(Sattari and Mousavi, 2013, pP73). The
initial hypothesis follows that due to
underrepresentation with only,
“13.7 percent of cover images being
shot by women”
(Bauck, 2015),
damage is caused to the consumer as they
are mainly receiving a single viewpoint, that
being a male perspective. This report aims
to uncover the accuracy of this, alongside
research dedicated to identifying, through
the execution of a visual image analysis,
whether aspects of the image change
according to the gender of the photographer.
It is important to understand that
manipulating history by shining light on
great women photographers that have not
gained the praise they deserve or blaming
males will not alter the problem. Inequality
is a human problem and, “what human
problems involve is re-interpretation of the
nature of the situation, or a radical alteration
of stance or program on the part of the
problems themselves” (Nochlin, 1971).
5
UNDERREPRESENTATION
“80% of photography graduates are women —
yet women make up only 15% of professional
photographers” (Sebag-Montefiore, 2019),
evidencing that we are
not dealing with a pipeline issue.
This eradicates the possibility for comments
attached to stereotypical views about
women's technical abilities to hold any strong
credibility. “Research shows that women are
underrepresented in occupations that are
highly competitive, inflexible, and require
high levels of physical skill” (Hentschel,
Heilman and Peus, 2019), which matches the
job requirements of a photographer. Many
have argued that women are superior at
connecting with subjects, whilst men are
stronger at technical camera elements.
However, when looking into this further, this
does not seem to be the case. Photographers
like Petra Collins, show that women can be
exceptional at creating distinctly technical
productions, such as a Vogue Korea cover
story (Appendix A) with Collins not being the
only example of this. It can also be argued
that males can show exemplary ability in
forming close rapports with subjects. Platon
addressed the importance of storytelling
in the documentary, “Abstract: Art and
Design”, whereby he states that, “taking a
picture is very technical, but 99.9% is spent
on this connection that allows me to reach
someone” (Netflix, 2019).
6
UNDERREPRESENTATION
To further evidence the indifference of skill between men and women, a case study was conducted with an interpretative research
attitude. This entailed the analysis of ten editorial images taken by both men and women, with the aim being if it were possible to
distinguish any major differences in the photo a female and male photographer takes, looking at literal, technical and symbolic
aspects of images (reference Appendix B, C, D for further information and full findings). The evidence gathered indicated that there
were
no significant commonalities produced
by one gender, which contradicts the
assumption that males and females have a set
of different strengths and weaknesses.
The results also showed that the gender of the photographer cannot always be guessed from simply looking at an image, with
this outcome supported by a previous experiment, in which participants were, “unable to correctly guess the gender of an artist by
looking at a painting” (Adams, Krrussl, Navone and Verwijmeren, 2017). By pointing out the differences in male and female abilities
when holding a camera, the labels assigned to the type of photographer an individual can be (such as technical or narrative based)
is causing gender disparity.
7
UNDERREPRESENTATION
“Not as a public pat on the back,
not as an apologetic gesture, not
as a way to sell feminism.”
(Kelia Anne MacCluskey, 2021).
Listening to the thoughts of 30 female fashion
“ For me, it’s not so much about male vs female but
photographers (collected by Refinery29,
2021) allows for opinions to be heard from
giving everyone an equal voice.” those who are directly affected by gender
imbalance, informing us on why it is crucial
that more women are given opportunities
(Daria Kobayashi Ritch, 2021).
and what they would like the path going
forward to look like. The key findings inform
us that women would appreciate being
“ The issue is not the lack of choice or talent; it is the recognised not as a female photographer,
but instead simply as a photographer.
people who make these choices.” However, a convincing perspective conflicts
this; “the denial of difference is the denial
(Ophélie Rondeau, 2021). of inequality” (King, Anderson and Nadal,
2020). There is an overarching consensus
that women do not want to be hired as a
tokenistic gesture to increase a positive brand
perception and it is fundamental that women
shouldn’t be receiving opportunities based on
fashion publications striving to tick a diversity
box. Instead, aiming for inclusivity whereby
women are praised, rewarded and most
importantly truly appreciated for their work,
but with this being achieved by individual
needs being accounted for would be the
rational route forward. Once this occurs,
authentic change will appear.
8
EMPLOYMENT OPPORTUNITY Whilst this may be true, this should not
be the reason and incentive by which we
“Organizations with
look to improve on the current situation
as this is not morally correct. If we are
changing views based on ulterior motives,
inclusive business cultures
then long-lasting changes are less likely
to occur. “Many creative directors and
producers will simply go back to the same
photographers they’ve already worked with
and practices are 57.8% time and time again, who are more often
than not male” (Sebag-Montefiore, 2019).
They do this to feel comfortable, but for
more likely to improve
change we need to allow ourselves to feel
uncomfortable and we require a change
in habit. How can we change a habit?
their reputations.” Magazines could take a drastic approach
and force themselves to use only women
(Why Diversity and Inclusion Matter, 2020). photographers for a whole month. When
hearing this idea, it is anticipated that two
responses would happen. Firstly, the idea
is welcomed and used in support of a
specific date such as international women’s
month. To that the answer is no. The action
cannot be performative. Companies need
to allocate time and effort into planning
processes, arranging meetings to address
the complicated issue, including without
question those who are affected within these
discussions. The second reaction by some
would be the concern that the action is
unfair towards men, but perhaps an intense
statement needs to happen for real change
to materialise. Arguably a more appropriate
stance would be for those in hiring positions
to judge individuals based on the quality of
the photo and no other reason. From this, we
could develop the idea of enforcing a type
of business model in which photographers
could be selected to work for magazines
on a blind recruitment basis. It is important
to bear in mind complications that would
come with this such as the portfolio of work
that would need to be given to the employer
potentially containing previously published
images, but the judgement should still be
made on the quality of said images.
9
EMPLOYMENT OPPORTUNITY
The Cultural Continuum
Recommended Display
Certain behaviours that publishing houses
such as Conde Nast and Hearst exhibit can
be explained, to some degree, by analysing
the type of culture that the businesses
operate in. A framework that is utilised consistency
internally which helps leaders to predict
responses to situations, contributing to
attitudes towards which photographer is creative freedom
hired, is The Cultural Continuum. However, this reward for excellence
is somewhat outdated as it is being assumed
that the values at either end are competing
(reference Appendix E), resulting in a lack of consensus Control
encouragement for opposite values to be
used in unison, which is ideally what needs productivity
to happen for a workplace that is striving Collaborative
for inclusivity, innovation and success.
financial results
We cannot ignore cost control and planning Nurturing
procedures, we cannot ignore hiring experts
in the field of fashion and photography, and individual expression
we cannot ignore customer preference teamwork
aligned with the needs of the employees
(Thind, 2018), therefore proposing an altered
version of the traditional linear framework collective decision-making
in terms of the way it is presented on a
page will help brands in realising that
they do not need to fit into, or desire to
achieve, just one position on the scale.
Figure 1: Authors Own, Cultural Continuum, adapted from (Thind, 2018, p125) 10MORE THAN JUST AWARENESS
There are many photo agencies, platforms
and initiative sites, such as “Girlgaze”,
“Alreadymade.org” and “Female In Focus”
whose aim is to increase visibility as a way
of responding to under-representation.
There is no denying that this helps in
terms of getting more women in the field
noticed and offers hiring editors a place
to go to discover new talent, but alone,
this is not enough for significant change.
Exposure is not equivalent to
representation,
due to those making recruitment decisions
lacking interest in these platforms. Thus
there is concern that these sites are not as
useful as they may initially seem. The best
exposure ultimately is gaining the front cover
spots and editorial spreads of worldwide
leading publications, which will only occur
if women are employed in the first place.
11MORE THAN JUST AWARENESS
Research of countless titles of reports, books, and articles under the semantic field of “how to overcome the glass ceiling”, has led to
the realisation that this does not actually tackle the root cause. The metaphor is often used to start conversations about the hidden
barrier that prevents women’s advancement; yet by following this concept,
it can be forgotten that it is not only a single
piece of glass that women need to break
through. The glass is approached by women
at different times and has an individual
thickness for every person.
Since Mulveys term first drew attention in the 1980’s, many factors towards work have changed. We must be thankful that the term
was successful in raising awareness, but now it is imperative that the “cumulative effect of the micro-issues that women face day
after day that slows their journey” (Martin, 2015), is analysed, one of which is the unconscious bias.
12MORE THAN JUST AWARENESS
Using assumptions, whilst holding an
unconscious bias, as a way of taking
mental short cuts is harmful in relation to
women’s visibility as those who are scouting
for photographers experience systematic
errors in their decision-making (Sandhu
et al., 2020, p8). We must acknowledge
the misconception that it is only men
contributing to sexism (Walker, 2017) and
address the implicit bias that everyone
holds. Training courses are being utilised by
companies as the answer (Robson, 2021),
however the extent to which these, often very
short, courses succeed in fully eradicating
bias is weak and, in some cases, can
even be argued to be counterproductive.
“studies find that asking people to suppress
stereotypes tends to reinforce them —
making them more cognitively accessible
to people” (Dobbin and Kalev, 2018, p50).
Building on the concept of awareness
as the focal point, where the aim is for
individuals to realise how their behaviour is
affecting others, allows for the existence of
moral licensing
to persist. Companies use this psychological
bargaining (Dodgson, 2017) as an excuse for
making a morally bad decision acceptable,
due to the notion that having already
completed a good action will cancel out the
bad. In order to combat this, a continuous
program which educates and changes
behaviour over time should be implemented.
13PROGRESSION The motherhood penalty, explained by J. Ely
and Padavic, (2020) stated that “high-level
jobs require extremely long hours, women’s
devotion to family makes it impossible
for them to put in those hours, and their
careers suffer as a result”. Society viewing
maternity as an obstacle for sustaining a
job (Mellery-Pratt and Soar, 2020) along
with gender norms which are put in place
from the age of birth through sex-role
socialization, are deep rooted societal
problems that indirectly act as obstacles.
A study revealed that most children by
the age of three, associate “driving a truck
as masculine and cooking and cleaning
as feminine” (Solomon and Rabolt, 2009,
p410), with these values that children learn
materialising as, “women continue to perform
a disproportionate amount of domestic
work” (Hentschel, Heilman and Peus, 2019,
p3). Magazines have the platform and
responsibility to influence change, using
fashion and photography as the tool.
Prior to the goal of breaking down gender
norm stereotypes, we must at least
accommodate women who are performing
these role expectations. “Only 45 percent of
women reported that their companies had
paid maternity leave, and just 24 percent
“Women do two and a half
said they offered work-flexibility programs”
(Brown, Haas, Marchessou and Villepelet,
2018). This work-family problem is complex,
times as much unpaid
but following the examples of countries like
Denmark, who encourage males to spend
more time bringing up children through
the incentive of paid paternity leave (The
Economist, 2015), is a good place to start, as
this can allow equal workplace progression
for parents. Following on from this, although
household and child care
work as men”
the gender pay gap is continuing to shrink;
attention should be brought to the argument
that some women find themselves having
to work longer hours to earn comparative (Adrian Hodges Advisory Ltd, 2017, p8).
pay, for photographers specifically, “the pay
gap in 2020 was 13%” (Gender pay gap in
the UK - Office for National Statistics, 2020).
14PROGRESSION
Stix (2020) suggested there’s a powerful
connection between words relating
a man and a career, alongside
words associated with women and
family. The profound impact of
language,
,
especially during primary socialisation,
is a contributor for reinforcing
gender division.
Systemic functional linguistics theory is
successful in showing that by taking this
functional approach of a social semiotic
system, it can be said that language has usally discovered leaves people to feel
evolved in response to the pressure of extremely guilty, alongside not knowing
needing to meet the functions that the how they can contribute to overcoming
system is upholding. In relation to women, it such widespread problems. To combat
has been argued that the written word is an this, it could be beneficial for businesses to
“invention of technology that was meant to instead incorporate the idea of politeness
be specifically problematic” (Soloway, 2016). within day-to-day operations, as this
For example, there are numerous words that stance includes lots of the same objectives
include the word “man” like “man-made”, as political correctness; but can be seen
“manpower” and “mankind” which have as an easier approach to take within the
alternatives which are gender neutral. In workplace due to focus on action rather
this case the replacements are “artificial”, than thought and acting polite being not
“workforce” and “humankind” (Prior, 2017). a legal requirement but an aspiration
For some, this discussion can be seen as of which the outcome is much more
political correctness gone too far, as it has satisfying (TheSchoolOfLife, 2017) and
been argued that the oppression that is hopefully more likely for change to occur.
15PROGRESSION
“Women systematically underestimate
their own abilities”
(Sandberg, 2010). Imposter syndrome puts forward designed for men, by men, and
that woman may be lacking in has not drastically changed in
confidence due to being worried its ways, hence women are at a
about outshining others or gaining disadvantage (King, Anderson and
attention (Zenger, 2020). It has Nadal, 2020,). Corporations did
been argued that this creates not design the nine to five working
a requirement to be perfect, day, with the unignorable fact of
therefore a growth mindset can needing to breastfeed a baby, or
be tricky (Kay, Shipman and Rosin, the fact that women carry a triple
2017), ultimately suggesting the shift, in mind. “We are trying to fix
hindering of progression for female something that isn’t broken” (King,
photographers. However, this Anderson and Nadal, 2020, p9), is the
mentality is questioned by global key takeaway from King’s argument
gender equality expert, Michelle and by continuing to focus on the
King who offers a compelling idea that this underrepresentation
argument as to why women is a women’s problem we are
may feel unconfident, but this is aiming to improve only the
due to the workplace that was elements which women control.
16A CALL FOR FAIRNESS
It is imperative for magazine managerial
teams to understand the difference between
the end goal and the means of getting to the
said goal when applied to the employment
of women photographers. The recognition
that everyone has separate levels of required
needs for equal access to succeed at
a job compared to everyone having the
same type and amount of support seems
like a much more considerate and logical
approach to take, yet this belief does not
exist without dispute. For some, the concern
lies in how the focus on supporting a woman
will affect her male counterpart. But when
these opinions are voiced let us not forgot
that many women are disadvantaged.
Women are not seeking a fastrack ticket, or
aiming to overtake males, they simply want to
be equal.
When we focus on practices based on
equality, those who do not require as
much help move higher up the ladder,
increasing the disadvantaged gap. The
problem lies in the fact that the current
system does work in the favour of many,
and these are the people who hold the
power for changing the system, explaining
why solutions are not straightforward.
17A CALL FOR FAIRNESS
Psychologist, John Adams offers an explanation as to what encourages people to work, by focusing on input versus output within his
equity theory. The belief is that “motivation is affected by the individual perception of being treated fairly in comparison to others” (Al-
Zawahreh and Al-Madi, 2012, p159). The key principles are helpful in clearly showcasing the unfair treatment that women receive. It is
sensible to agree that people expect to receive a fair reward for effort (equity norm) and that people do evaluate rewards against
others (social comparison). From this, those who are not satisfied with the ratio of activity to desired outcome will take part in two
possible scenarios: either undergoing a balance redress by changing the amount of effort to suit the reward (such as working less
hours) or performing cognitive reframing, whereby perception of the situation is mentally distorted, for example, women through no
fault of their own accepting that their photographs are not worthy of print front covers. The amount of effort put in by women is not
equal to outcomes. Professional women photographers have the input of education, however the outcomes of rewards such as
gaining the key shoot are not being met, whilst men are being over-benefited. Acceptance for this cannot continue.
As previously mentioned, if women and men did take on the same amount of domestic work, then it would be a step easier to apply
the principle of equality and not equity within the workplace. The theory does have the limitations of being based on perceived and
not actual value whilst also failing to consider that rewards hold different values dependent on the individual, but overall is highly
beneficial in delivering the importance of
considering the impact of not all women and
men running the race in the same lane.
Hiring managers knowing the strengths, challenges and interests of women could result in implementing a strategy that is used within
education systems known as differentiating instruction. Bringing this process of thinking into the workplace would be hugely helpful for
noticing when somebody requires assistance, therefore helping in working towards the goal of fairness using equity.
18A CALL FOR FAIRNESS
During attendance of a recent fashion
talk with brand and visual director of
Vogue Italia, Alessia Glaviano, it was
comforting to hear that Glaviano
acknowledges and admitted that
Vogue, “should do much better”
in regard to gender inequality within the
company, whilst encouraging the use of
fashion imagery to speak about societal
issues (Glaviano 2021) however; it will be
interesting to see if actions are taken
in response to this going forward.
19THE POWER OF THE GAZE
Each person who is a part of the process
in producing and viewing editorials is
visiting the images with a
unique set of interests, beliefs
and backgrounds.
This should not be ignored when aiming
to uncover the consumers role in viewing
photos as, “our perception or appreciation
of an image depends also upon our own
way of seeing.” (Berger, 2008, P7). When
discussing viewpoints there are three areas
to consider (Lutz and Collins, 1991, P137):
The photographers gaze comes
from the only person who looks
directly through the viewfinder.
The institutional magazine gaze, which has
the ability to alter the photographers desired
message due to an Art Directors’ control
over image selection, cropping and text.
The readers gaze, in which we must question
environment and time in relation to the
image. Is the consumer flicking through
the magazine whilst waiting for the dentist,
or did they purchase a subscription and
spend time carefully reading every page
in the comfort of their home? The longer
somebody views the image, they are more
likely to notice details and ultimately form
their own opinions and judgements.
20THE POWER OF THE GAZE
Even if the story that is being told seems
to be clear by both the photographer
and magazine, the narrative that is being
portrayed can never be fully guaranteed. This
is, in one sense, the beauty of photography,
every person’s reaction to imagery is
subjective.
What is interesting is the fact that, “when
viewing a human figure, females usually
looked at the face whereas males glanced
at the face and also at the sexual parts
of the body” (Mitchell, 2009). This can
be applied to both the photographer
looking at a model, but also the
perception that the consumer holds,
evidencing the sometimes-forgotten
power that the consumer has on looking
and taking away what they desire from the
images. The consumer approaches images
with their own set of stereotypes, such as
assuming that an image which shows a
model sexualised was taken by a man.
These preconceptions need to be overcome
by the consumer as this results in viewing
fashion photographs and the stories that
they tell being sometimes misunderstood.
21THE POWER OF THE GAZE
“Every photograph is a certificate of the presence” “The patterns of visualising femininity cannot be
(Barthes and Howard, 2020, P105) and published broken by simply letting a female photographer
fashion imagery can fulfil several social purposes control the camera” (Vitova, 2019), instead the
(Davis, 1992). Magazines, such as Vogue, can be female gaze should best be described as a
“socio political justice demanding
considered as what sociologist, Althusser, described
as an ideological state apparatus, meaning that
photographs have a strong power in culturally
way of art making”
recognisable meanings being spread (Shinkle, 2012).
Publishing houses can be categorised as a cultural
institution and should be taking responsibility for (Soloway, 2016),
narratives that they release to society, and whilst the
primary focus of Althusser’s argument is on class and must be about creating empathy by those being
division, it can be useful to adapt the concept for the present at the photoshoot, taking a holistic stance in
purpose of the initial hypothesis that the consumer is which, it has been suggested that the focus should
being fed from mostly the male viewpoint. Ideologies be on artists creating not from a female gaze, but
that are released to the consumer can be subtle “another gaze” (Soloway, 2016). It is possible that until
and even sent in a symbolic format (Althusser, the day when women are equal to men in wider
1970) of which images are the perfect method of society and in all aspects of life, we will not truly see
delivery. The creation of fashion editorials is not what a woman’s viewpoint is. Photographers are
exempt from working with the notion of the male innovative, artistic individuals, but newness often
and female gaze, which feeds heavily into the does come from the influences of others. Perhaps,
ideological beliefs that are passed to the consumer. we as women, do not know the type of editorials
that have the potential to be created due to the
Visual arts throughout history and still today, depict publishing houses, consumers and society having
women from a masculine point of view, presenting in place an expectation to produce the same
women hypersexualised as objects of male pleasure. form of imagery that has always been the norm.
The solution is not as easy as proposing a reversal,
whereby images are
photographed by women, of
women, for women.
22THE CONSUMER
Google learned that “Consumers expect
brands to be inclusive and reflect the reality
of their lives in advertising” (Zalis, 2019).
However, the problem with this statement
is that according to Barthes, “the world
appears as a theatre in fashion photography”
(Barnard, 2014, p18), suggesting that the
society in which the consumer lives in acts
as a stage, influencing fashion content. Thus,
fashion reflects consumers and
consumers reflect fashion
resulting in an endless cycle. To understand
this further, a transactional model of
communication whereby both parties
are senders and receivers can explain
the process of the message being sent
between the magazine and consumer.
23THE CONSUMER
Figure 2: (Authors Own, Sender / receiver model, adapted from Kuzna and Yager, 2020, p5)
With the goal of encouraging companies to
move forward with purpose (with regards
to equity), we can suggest the inclusion of
strategic communication within the adapted
version of Wilbur Schramm (Kuzna and Yager,
2020) model to improve on current operations. Sender Encoder Signal Decoder Receiver
Instead of looking at communication as, “a
peripheral epiphenomenon of human actions”
(van Ruler, 2018), by which the process is
between just two actors (such as Shannon-
Weaver's linear sender/receiver framework),
figure 2 encourages an omnidirectional
diachronic view to be more beneficial, as
magazines would be more aware of the fact
that communication is ongoing and requires
development, in addition paying attention
to the conveyance between the sender and Noise:
receiver. Instead of looking towards a series of
events, there should be a need to look at ever Schramm communication model applied to the case study of Kamala Harris’ cover image (reference
changing variables that affect one another. Appendix F) backlash as an example of the influence that the consumer has on magazines.
Sender: Vogue, as a form of mass media, influences the meanings which are eventually
picked up by the consumer. Vogue will encode messages, having planned the codes that
they want to transmit. The information (being the front cover image) was chosen to be
used due to, “its accessibility and approachability” (Elan, 2021).
Noise: Interreference occurred from people who disagreed with the chosen cover and the
message that was widely interpreted from viewing the image, this being that the styling
was too informal, as well as concerns for the lighting used, which disrupted the signal.
Receiver: The message collected is influenced by “interpersonal communication between
members of one’s own social environment (van Ruler, 2018). The set of beliefs and
values that the viewer approaches the image with in order to decode the message
constantly changes. The consumer forms new opinions due to aspects of society which
are influencing their behaviour at that moment in time, as well as distorting information,
“based on the synapse developed over their lifetime” (Stakeholder Management, n.d, p3).
Feedback: The consumers critical feedback was noticed by Vogue and the outcome was
for a new cover to be released.
24THE CONSUMER
Images, “revolve around interests or themes
reflective of the philosophy of their creator
and contributors” (Cope and Maloney, 2016,
P183). If we consider the fashion consumer as
a contributor, Vogue for instance publishes
editorials which have been planned to suit
the needs and desires of that consumer.
Not only is the consumer encouraged
through editorial imagery to begin a
journey to buy product, but is also being
pushed whether knowingly or not, into
the sale of an idea, an ideology and
ultimately fitting into
a societal framework.
We all, as consumers of published fashion
photography, “are now so accustomed to
being addressed by these images that we
scarcely notice their total impact” (Berger,
2008, p165). Utilising the AIDA model (Cope
and Maloney, 2016, P15), we can analyse what
the differences would be on the consumers
path to purchase if women photographers
were no longer underrepresented. It should
be recognised that this framework does
have a downfall of being very linear in
terms of the process that the consumer
experiences, and not every consumer will
go through each stage in the same way.
(Cope and Maloney, 2016, P183). 25THE CONSUMER
The path to purchase
AIDA model within current magazine operations.
A: Raise awareness.
Attracting the consumer by feeding them images which are only from a certain
group of people, decreases the opportunity for new messages that can attract the
consumer (especially potential new consumers).
I: To stimulate interest.
The storytelling within editorial images and emotions expressed are valued much
higher compared to campaigns. Consumers buy into these narratives on display,
being intrigued by the photos, yet due to being a part of the system they are unable
to realise that magazines are representing the zigest, which is an unequal society.
D: To generate desire.
At this stage in the funnel, consumers are led to believe that viewing editorials will
supply their needs. They will feel a certain way and discuss what they have seen with
others, spreading messages.
A: To prompt the consumer to take action.
Arguably this is the most dangerous step as the consumer buys into the idea that the
way the magazine is run is all inclusive, fair and just, resulting in a continuation of the
current way.
Figure 3: Authors Own, AIDA model within current magazine operations, adapted from (Hanlon, 2021).
26THE CONSUMER
The path to purchase
AIDA model within future gender inclusive magazine operations
A: Raise awareness.
Innovative messages are delivered by magazines, allowing for a variety of stories to
be told. Magazines overtly publish editorials which inform the audience that a change
in behaviour is needed.
I: To stimulate interest.
Focusing on concepts that are based around overcoming macro problems that
affect a large proportion of society like the negative impacts of gender norms will
generate new viewers to become interested in activities that the magazines are
involved in.
D: To generate desire.
After appreciating and enjoying an array of viewpoints and interesting stories, the
consumer now actually wants what they see.
A: To prompt the consumer to take action.
The consumer reacts, shares and behaves in accordance with the ideologies that
the magazine promotes, which will show that women cannot be underrepresented,
indicating that this should be replicated within the bigger picture. Consumers will
implement the delivered messages into their life, resulting in tangible change.
Figure 4: Authors Own, AIDA model within future gender inclusive magazine operations, adapted from (Hanlon, 2021).
27CONCLUSION
At the start of this report, it was stated Men can indeed form extremely
that most front covers are shot by close rapports with their subjects and
men, from a male’s perspective, produce deep narratives for editorial
implying that this is damaging for purposes, and women are most
the consumer who is missing a definitely capable of being experts
female viewpoint. This still stands true. technically. The consumer’s individual
Consumers are indeed being fed perception which they bring when
narratives from male photographers, viewing imagery has a stronger impact
however now the more important than initially realised, as individuals
realisation is that the evidence proves approach images with their own beliefs.
that it’s not a talent problem, An implication of this is the possibility
for the consumer having the power to
women and men don’t take change and add meanings to fashion
photographs. There is, therefore, a
definite need for the consumer to realise
different photos, instead every
the impact that bringing stereotypical
views to viewing an image can cause.
human takes a different photo.
There are several important changes
that must occur in response to the
findings surrounding exposure not
equivalating to representation. It is
Going forward, we should be focusing suggested that a more inclusive view is
on this point, promoting the fact applied to the culture that businesses
that so many stories created with operate in, considering the importance
a camera are being untold. of needing a work environment which
is nurturing, provides collaboration
between team members and still has
a controlling attitude. Furthermore,
targeting those who oversee making
hiring decisions must be a priority
moving forward as there are currently
many online platforms which promote
women, yet managers are not directing
themselves to these intended awareness
spreading sites due to being nervous for
change and also having an implicit bias.
28CONCLUSION
The argument for publishing houses to
take responsibility and the ways in which to
improve moving forward is clear. Long term
strategies must be implemented, women
need to be hired based on talent and not for
economic or perceived value gains, and the
principle of equity should be seen to be in
use. The rooted societal issues can no longer
be ignored as a contributing factor towards
the barriers women face when aiming for
progression in the workplace, with these
related findings sparking the inspiration to
produce a creative response to the critical
issue by developing a photographic series
focusing on the impact that gender roles
endure for women.
To conclude, women should simply be given
more opportunities in all areas which this
report discussed, for the simple reason of
equality.
There is no reason found,
other than the fact that a woman is a woman,
and the obstacles that this involves, that there is
underrepresentation and the hope for this to change will continue.
29APPENDICES Appendix A: Blackpink Vogue Korea March 2020 Cover Issue (Collins, 2020).
30APPENDICES
Appendix B: Authors own, Research Information, 2021.
Visual Research information
The literal, technical and symbolic aspects of the images were analysed without knowing the gender so that I reduce bias in the research.
I have ensured that my choice of individuals who will be supplying me with the images include a range of ages, ethnicities and genders
(acknowledgement that these people are not representative for society as a whole has been undertaken) and those selected have been
made fully aware of a set of perimeters to which they are to stick to in order for my analysis process to commence as desired so that a
biased viewpoint doesn’t occur. These include participants not informing me of the gender of photographer, choosing from the set website,
choosing images at random, not disclosing the aims of this research so that those assisting do not consciously or unconsciously select
images to fit in line with stereotypes, and for no discussions to occur between I and the participants about this research until the findings are
concluded.
The hypothesis are as follows:
Males focus much more on the technical aspect and so photos taken by men will evidence clearer consideration for geometry, lines and
camera angles.
The storytelling of females is deeper. Females have a natural ability to connect with their subjects much more, and so more emotions are
captured.
It will be possible to assume the gender of photographer based on simply viewing a photo.
31APPENDICES
Appendix C: Visual Research images, fashioneditorials.com, 2021/2020.
1 3 5 7 9
2 4 6 8 10
32Appendix D: Authors Own, Visual Research findings, 2021.
VISUAL COMPARISON ANALYSIS
Image 1 and 2 Image 5 and 6 Image 9 and 10
objects, environments, styling, interactions, colour, texture. objects, environments, styling, interactions, colour, texture. objects, environments, styling, interactions, colour, texture.
Literal Similarities Literal Differences Literal Similarities Literal Differences Literal Similarities Literal Differences
• Both women • Contrasting locations
• Props used • Image 1 was shot on location, whilst image 2 was in the • Use of accessories • Ethnicities
• Both models are in static poses. • Models have different hair colours
• Women models studio. • Both models eyes looking down the camera lens. • Messy hair vs slick back hair
• The photographer of both images is trying to make the • Countryside / maybe a beach compared to a snowy
• Both models are white • Slight age gap in models. viewer focus on the model. forest. • Models interacting with accessories, making these the • Cannot see any clothing in image 10
• Cannot see clothing in image 2. • The use of the colour white • One model wears a hat focus. • Natural make up vs full glam
• White summer dress vs knitwear • Both in a studio
• Image 5 has warm tones and natural light hitting the • Hands act as key element of the image.
Composition, framing, lines, focus, spaces, lighting, camera setting assumptions. models face. Image 6 is cold, blue tones.
Technical Similarities Technical Differences • Model in image 6 has freckles
• Image 6 is more focused on the face.
• The wind (fake or real) is causing movement of hair on Composition, framing, lines, focus, spaces, lighting, camera setting assumptions.
• Shot in colour • More retouching in image 2.
the model in image 5. Technical Similarities Technical Differences
• Models are in focus • Image 1 is an upper body, image 2 is a head shot.
• Backgrounds are unclear / out of focus • Image 1 contains shadows Composition, framing, lines, focus, spaces, lighting, camera setting assumptions. • Head shots • Very few clear technical differences between these
• Both include repetition of shapes. The net in image 1 fill • Image 2 brighter lighting Technical Similarities Technical Differences • Shadows appearing on the face of both models. photos.
the majority of the frame. Image 2 the model is wearing • Natural vs studio light
what looks like a medical dressing and this creates the • Similar amount of negative space around the model’s
• Model in image 2 takes up a bigger portion of the frame. • Both shot in colour • Image 5 perhaps used a higher aperture as the
repletion of lines framing the models face. Does this mean the photographer wants us to feel • Both on location background is clearer compared to image 6 which has a heads.
physically close and thus gain a deeper connection with • Both used natural, sunlight blurred background. • The top of both models’ heads have been cropped out of
the subject? • There is a straight line in the background of image 5. the frame, whether or not this was done in post-
• All elements of the subjects face in image 2 are clear and This goes across the centre of the frame. There are no production of the photographers decided to frame the
consistent lines in image 6. shot like this whilst shooting is unknown.
in focus.
• I prefer the composition of image 5 as the model is
standing directly in the middle of the frame.
Feelings, emotions, figurative. Feelings, emotions, figurative.
Symbolic Similarities Symbolic Differences Feelings, emotions, figurative. Symbolic Similarities Symbolic Differences
Symbolic Similarities Symbolic Differences
• Both use the concept of restrictions. The women are held • Model in image 1 looks almost straight down the camera • The photographer is trying to make the viewer focus on • If I could touch the surface of the photographs, image 9
back both by netting. lens. Model in image 2 looks away from camera. Does the • Both young women placed in what look like quite • The model in image 6 is really cold. Her eyelashes are the models face. would feel smooth due to the piece of ribbon, image 10
• Both models neither look happy or sad. Their facial photographer want the viewer to concentrate less on the deserted locations. Is the photographer trying to show frozen I assume created with the use of makeup). Does • Due to the netting mesh material and ribbon in image 9 would be sharper due to the metal head piece.
expressions are quite neutral and emotional do not model as a person but on what the model is doing? freedom? this represent the model being cold as a person, or does
the photographer want to simply show that the
and the jewellery in image 9, I am drawn to thinking
emphasise a certain feeling. • I find image 2 more intriguing, perhaps as without any • The colour white represents purity or innocence.
• environment is cold? about dance.
context behind the image, I am less clear as to what is
• Image 5 focuses more on the outfit as a whole.
going on in the image compared to image 1 and so am
• If I could touch both images image 5 would feel soft
interested in finding out more. whilst image 6 would feel prickly.
• Feel more connected with image 2, as face is closer to • There is more textures in image 6 due to the knitwear
camera and the hat.
Guess: Image 9 = male , Image 10 = female
Guess: Image 1 = male, Image 2 = female Answer: Image 9 = female , Image 10 = male
Guess: Image 5 = Female, Image 6 = Male
Answer Image 1 = male , Image 2 = female
Answer: Image 5 = male, Image 6 = female
Image 3 and 4 Image 7 and 8
objects, environments, styling, interactions, colour, texture. objects, environments, styling, interactions, colour, texture.
Literal Similarities Literal Differences Literal Similarities Literal Differences
• Women, Similar in age • Natural vs emphasised makeup • Both women • Different ages
• Both models’ eyes look away from the camera. • Colour • Similar styling options, both models styled in what looks • Indoors vs outdoors
• Both models wear a fashion items that sparkle. • Different skin colour like soft, felt like material? • Model in image 7 hold her arm above her head compared
• Both shot in what look like indoor locations (although this • Model in image 4 wears a head piece • Both of the image’s backgrounds have been considered in to model in image 8 who has both arms by her side.
line with the fashion styling choice as the foreground • It looks like the pose held by the model in image 7 is
cannot be known for sure). • Much more skin is on show on the model in image 3.
(both being the women) match in regard to colour. staged, whilst more movement such as the model’s hair
• There is only one model in both image. • A low cut mini dress compared to a high neck frilly style.
• Both models look down the camera. can be seen in image 8, indicating the model was moving
• as the shot was taken.
Composition, framing, lines, focus, spaces, lighting, camera setting assumptions. Composition, framing, lines, focus, spaces, lighting, camera setting assumptions.
Technical Similarities Technical Differences Technical Similarities Technical Differences
• When applying the rule of thirds both models are • Image 3 is a half body, image 4 is a head shot. • There is a shadow on the side of the models face in image • Image 8 in terms of framing could be more appealing by
appealing composition wise and the key points of an • Image 4 has softer lighting, more natural. 7. ensuring that the top of the head is not cut off.
image that has scientifically been proven that we look at • Image 3 is unnatural, looks like gels have been used • A narrow depth of field suggests a wide aperture has • Close up vs half body
has been filled with the key content of the image. creating a more artificial outcome. been used. • There is more space around the model in image 8.
• • Image 4 has used a wide aperture due to the background
being blurred and out of focus
• Feelings, emotions, figurative.
Symbolic Similarities Symbolic Differences
Feelings, emotions, figurative. • Both models’ chests are somewhat exposed, showing the • When applying the rule of thirds and considering where
Symbolic Similarities Symbolic Differences female body. our eyes are naturally drawn in images, the models
breasts in image 8 have been framed to be in the centre
• Both models have serious expressions. • The model in image 3 looks trapped, whilst the model in of the image.
• The glittery textures appearing in both images indicates image 4 looks more relaxed. • Model in image 7 seems more relaxed and connected with
fun and gives me the feeling that the photographer • Image 3 emphasises on the colour green which has the camera. The face of the model in image 8 seem just
aimed for the viewer to think that the time of day is the connotations to good luck, health, and jealousy. slightly tense (this could be due to the scene and the
evening within the narrative. • Due to the design of the dress in image model needing to look lost and out of place with the
location).
• I feel more relaxed when looking at image 4.
• The texture I think of when looking at image 3 is what
plastic feels like due to myself thinking of gels.
• Guess: Image 7 = female, Image 8 = male
Guess: Image 7 = Male, Image 8 = female
Guess: Image 3 = Male, Image 4 = female
Answer: Image 3 = Male, Image 4 = female
33APPENDICES
Appendix E: Authors Own, Cultural Continuum, adapted from (Thind, 2018, p125).
Control Nurturing Collaborative
consistency individual expression teamwork
productivity reward for excellence consensus
financial results creative freedom collective decision-making
34APPENDICES Appendix F: (Mitchell, 2021).
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