Vogue - Deep Dive
- Mastering Media
- 21 hours ago
- 6 min read
Past Examination Questions (2019–2024)
2024 (30 Marks): How useful are feminist theories for analysing the representations in the set editions of Vogue and The Big Issue? Refer to at least one of the following theories in your response: van Zoonen's feminist theory or bell hooks' feminist theory,.
2023 (30 Marks): To what extent can audiences interpret the same magazine in different ways? Explore the set editions of Vogue and The Big Issue in your response,.
2022 (30 Marks): Evaluate the strengths and weaknesses of semiotic approaches to magazine analysis. Refer to Roland Barthes’ theory of semiotics and the set editions of Vogue and The Big Issue in your response,.
2021 (30 Marks): To what extent do social and cultural contexts influence audience interpretations of magazines? Refer to the set editions of Vogue and The Big Issue to support your answer,.
2020 (30 Marks): Curran and Seaton argue that media industries are generally controlled by a small number of powerful companies whose main purpose is to create a profit. Evaluate this theory of power and media industries. Refer to Vogue and The Big Issue in your response,.
2019 (15 Marks): Discuss the influence of historical context on representations in the set edition of Vogue magazine.
Point The success of Vogue magazine as a global brand is driven by its publisher, Condé Nast, which balances calculated risk-taking with the replication of successful formats to maximize profit. Evidence Condé Nast is a large global company that produces a wide range of printed magazines and has launched numerous international versions of Vogue. Theory This reflects David Hesmondhalgh’s cultural industries theory, which suggests that powerful companies often minimize risk by replicating successful formats while also taking strategic risks, such as Vogue’s early adoption of expensive color photography in the 1930s. Analysis By operating as a large conglomerate, Condé Nast can afford to "nurture amazing new talent" while maintaining an image of exclusivity and luxury that draws in a global audience. Cultural Context Throughout the early 20th century, Vogue thrived by providing an aspirational lifestyle that audiences dreamed of having, even during wartime, solidifying its status as a leading fashion authority.
Point The magazine utilizes high-quality advertising and an "authoritative" tone to position itself as a vital opinion leader for its target demographic. Evidence Readers often embrace the high volume of advertisements in Vogue because they see the magazine as providing ideas for a specific, desirable lifestyle. Theory This can be analyzed through the concept of opinion leadership, where the magazine's reputation for fashion knowledge makes its commercial endorsements feel like expert advice rather than mere sales pitches. Analysis The high cost of advertising—£36,000 for a full page—demonstrates the industry's belief in the magazine's power to influence the spending habits of wealthy consumers. Cultural Context In the post-war period, Vogue capitalized on a surge in consumerism and the new cultural emphasis on "treating yourself," which allowed it to maintain high circulation even when other magazines suffered.
Point Vogue occasionally challenged contemporary 1960s gender norms by representing women as financially independent, reflecting the early influence of second-wave feminism. Evidence The magazine featured articles by experts like Sheila Black from the Financial Times, who discussed women wanting to invest money and achieve financial independence. Theory This representation of female power challenges the historical context where women were often financially controlled by their husbands, suggesting a shift in gendered power dynamics. Analysis However, the inclusion of basic financial definitions in such articles suggests a lingering assumption that women were still "reliant on their husbands" and new to the world of economics. Cultural Context These progressive articles appeared during an influx of second-wave feminism, catering to an AB socioeconomic demographic that was beginning to seek autonomy outside of domestic life.
Point Despite some progressive elements, the magazine largely reinforced traditional 1960s gender stereotypes by depicting women in passive, domestic, or sexualized roles. Evidence Adverts for brands like Imperial Leather show women as "caring and loving" in domestic settings, while Cutex and Revlon adverts describe women as "alluring," "beguiling," and "sexualized". Theory This aligns with Liesbet van Zoonen’s ideas (implied by the source) that women’s bodies are often represented as objects to be looked at, where femininity is linked to physical appeal and "nakedness". Analysis The "passivity" of women in many fashion pages, where they are seen "lounging around" or nurturing children, fails to reflect the growing power of feminists during that decade. Cultural Context These representations were standard for the 1960s mainstream market, where women were typically expected to marry young and prioritize family life over independent careers.
Point The publication constructs a highly elitist and "utopian" version of reality tailored specifically to the interests and lexis of the middle-to-upper classes. Evidence Vogue uses "complex language" and "advanced lexis" while featuring articles that discuss lords, ladies, and high-end artworks. Theory This creates a "shared conceptual roadmap" (Stuart Hall) of high status, where upper-class people are featured as idealised, aspirational role models for the reader. Analysis By focusing on formal costumes, luxury conferences, and even a "Vogue café," the brand extends its high-end vision into a total lifestyle for its wealthy audience. Cultural Context The target audience’s high socioeconomic status allowed Vogue to remain profitable even with expensive production costs, as its readers could afford the luxury goods being advertised.
Point Representations of ethnicity in the 1965 issue reflect a post-colonial worldview where white identity is normalized and minority groups are marginalized or "othered." Evidence The cover features Sophia Loren in a way that makes her seem "exotic," while Black Egyptian men are placed in the background of fashion shots, out of focus and seen as "staff". Theory This reflects Stuart Hall’s theories on "otherness," where ethnic minorities are represented as different from the white "norm" and are frequently marginalized in the narrative. Analysis The lack of inclusive makeup shades—with "nude" tones aimed only at lighter skin—further reinforces the idea that darker ethnicities were underrepresented and less valued by the fashion industry at the time. Cultural Context This marginalisation mirrors the less inclusive nature of Britain in the 1960s, where Western professional standards were equated with white identity.
Ownership: Which global company creates and publishes Vogue, and in what year did they launch the UK version?
Industry Theory: How does Vogue’s use of international versions reflect David Hesmondhalgh’s ideas about powerful media companies?
Advertising: Why do Vogue readers often "embrace" the advertisements in the magazine rather than finding them off-putting?
Cover Representation: How does the close-up image of Sophia Loren on the 1965 cover signify her importance and "exotic" status?
Subversive Gender Roles: Who was Sheila Black, and why was her presence in the magazine unusual for the 1960s?
Stereotypes: How does the Imperial Leather advert reinforce traditional maternal stereotypes of women?
Class Context: Which specific socioeconomic groups (using the AB scale) does Vogue primarily target with its "advanced lexis"?
Post-Colonialism: In what way are Black Egyptian men represented in the fashion pages to suggest they are "less important" than white models?
Glossary of Key Terms
AB Socioeconomic Groups: A classification for the highest-earning members of society (professional and managerial classes) who are Vogue's primary audience.
Aspirational: A brand image designed to make the audience desire a higher social status or a more luxurious lifestyle.
Condé Nast: The large global media conglomerate that owns and publishes Vogue.
Consumerism: The cultural emphasis on purchasing goods and "treating yourself," which boomed in the post-war era.
Domesticity: A representation that focuses on women within the home, often as mothers or caregivers.
Exclusivity: The sense that a product is high-end and limited to a select group of people, often achieved through collaborations with famous artists.
Lexis: The specific vocabulary used in a text; Vogue uses an "advanced lexis" to appeal to educated, upper-class readers.
Marginalization: Representing a group (like ethnic minorities) as less important or "in the background" of the main story.
Opinion Leader: An individual or publication that has the power to influence the opinions and purchasing decisions of others.
Othering: A theoretical concept where a specific group is represented as "exotic" or fundamentally different from the social "norm."
Passivity: A state of being inactive or submissive; often used to describe how women were represented in 1960s fashion spreads.
Post-Colonial View: A perspective that reflects the power structures of former colonial empires, often placing Western/white identity at the top of a social hierarchy.
Second-Wave Feminism: The movement in the 1960s and 70s that campaigned for women's legal and social equality, including financial independence.
Sexualized Representation: When a character (usually female) is portrayed primarily for their physical appeal or to attract the "male gaze."
Utopia: An idealized, perfect version of reality, used in Vogue to represent the lives of the upper classes
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