As reportagens de perfil da revista Vogue são o foco desta pesquisa, que busca definir quais estilos a revista institui como modelos de ser e viver do sujeito contemporâneo. A amostragem reuniu 12 revistas, do período entre Janeiro e Dezembro de 2006. Foram analisadas 102 reportagens do subgênero perfil jornalístico, com o objetivo de responder quais os modelos que a revista Vogue constrói, tomando como referência categorias (estilos de vida Inovador, Tradicional e Vanguardista) preexistentes e exteriores ao jornalismo, ligadas ao referencial teórico da pesquisa, para nortear a busca dos principais sentidos representados nas matérias. O trabalho está inserido na perspectiva construcionista, que considera o poder do jornalismo na construção da realidade. A Análise de Discurso serve como suporte metodológico. Os estilos de vida encontrados na revista são representados pelas marcas discursivas que permitem evidenciá-los e demonstram a freqüência com que são reiterados por Vogue. Entre as conclusões, ganha destaque o fato de que o estilo de vida Inovador é dominante, presente em 44,11 % do corpus, enquanto o estilo de vida Tradicional representa 37,27% do total e o estilo de vida Vanguardista está presente em 18,62 %. A análise revela que, destituindo o estilo de vida Vanguardista da transgressão que o define, a Vogue realinha este estilo de vida como apenas uma atitude de valorização de uma estética diferenciada. O que a revista mostra – e busca vender – é a idéia de que, por meio da adoção das orientações guiadas pelo jornalismo nos modos de ser sujeito e mostrar-se aos outros, pode-se obter “estilo”, a partir da exposição e consumo de bens simbólicos. Assim, o que a pesquisa conclui é que de fato o jornalismo de Vogue investe na construção de dois estilos de vida: o Inovador e o Tradicional. / The profile reportages from the magazine Vogue are this search focus, which wants to define what styles the magazine institutes as being and living models of the contemporaneous subject. The sampling gathered 12 issues, of the period between January and December 2006. There were observed 102 reportages of the subgenus journalistic profile, with the objective of answering what models that the magazine Vogue builds, taking as reference categories (Innovative, Traditional and Vanguard lifestyles) preexisting and exteriors to journalism, linked to the theoretical reference of the survey, to guide the search of the main senses represented on the materials. The work is inserted on the constructionist perspective, which considers the power of journalism in the reality construction. The Analysis of the Speech serves as a methodological support. The life styles found in the magazine are represented by the discursive brands that allow showing them and demonstrating the frequency they are repeated by Vogue. Among the conclusions, points out the fact that the Innovative life style is dominant, present in 44,11% of the corpus, while the Traditional life style represents 37,27% of the total and the Vanguard is present in 18,62%. The analysis proves that, dismissing the Vanguard lifestyle from the transgression that defines it, Vogue realigns this Vanguard lifestyle just as an attitude of recovery of a different aesthetics. What the magazine shows is the idea - and seeks to sell - is the idea that, through the adoptions of orientations guided by journalism in the ways of being subject e showing yourself to others, it is possible to obtain "style", from the exposure and consumption of symbolic goods. This way, what the search concludes is that indeed the Vogue journalism invests on the construction of two lifestyles: the Innovative and the Traditional.

As reportagens de perfil da revista Vogue são o foco desta pesquisa, que busca definir quais estilos a revista institui como modelos de ser e viver do sujeito contemporâneo. A amostragem reuniu 12 revistas, do período entre Janeiro e Dezembro de 2006. Foram analisadas 102 reportagens do subgênero perfil jornalístico, com o objetivo de responder quais os modelos que a revista Vogue constrói, tomando como referência categorias (estilos de vida Inovador, Tradicional e Vanguardista) preexistentes e exteriores ao jornalismo, ligadas ao referencial teórico da pesquisa, para nortear a busca dos principais sentidos representados nas matérias. O trabalho está inserido na perspectiva construcionista, que considera o poder do jornalismo na construção da realidade. A Análise de Discurso serve como suporte metodológico. Os estilos de vida encontrados na revista são representados pelas marcas discursivas que permitem evidenciá-los e demonstram a freqüência com que são reiterados por Vogue. Entre as conclusões, ganha destaque o fato de que o estilo de vida Inovador é dominante, presente em 44,11 % do corpus, enquanto o estilo de vida Tradicional representa 37,27% do total e o estilo de vida Vanguardista está presente em 18,62 %. A análise revela que, destituindo o estilo de vida Vanguardista da transgressão que o define, a Vogue realinha este estilo de vida como apenas uma atitude de valorização de uma estética diferenciada. O que a revista mostra – e busca vender – é a idéia de que, por meio da adoção das orientações guiadas pelo jornalismo nos modos de ser sujeito e mostrar-se aos outros, pode-se obter “estilo”, a partir da exposição e consumo de bens simbólicos. Assim, o que a pesquisa conclui é que de fato o jornalismo de Vogue investe na construção de dois estilos de vida: o Inovador e o Tradicional. / The profile reportages from the magazine Vogue are this search focus, which wants to define what styles the magazine institutes as being and living models of the contemporaneous subject. The sampling gathered 12 issues, of the period between January and December 2006. There were observed 102 reportages of the subgenus journalistic profile, with the objective of answering what models that the magazine Vogue builds, taking as reference categories (Innovative, Traditional and Vanguard lifestyles) preexisting and exteriors to journalism, linked to the theoretical reference of the survey, to guide the search of the main senses represented on the materials. The work is inserted on the constructionist perspective, which considers the power of journalism in the reality construction. The Analysis of the Speech serves as a methodological support. The life styles found in the magazine are represented by the discursive brands that allow showing them and demonstrating the frequency they are repeated by Vogue. Among the conclusions, points out the fact that the Innovative life style is dominant, present in 44,11% of the corpus, while the Traditional life style represents 37,27% of the total and the Vanguard is present in 18,62%. The analysis proves that, dismissing the Vanguard lifestyle from the transgression that defines it, Vogue realigns this Vanguard lifestyle just as an attitude of recovery of a different aesthetics. What the magazine shows is the idea - and seeks to sell - is the idea that, through the adoptions of orientations guided by journalism in the ways of being subject e showing yourself to others, it is possible to obtain "style", from the exposure and consumption of symbolic goods. This way, what the search concludes is that indeed the Vogue journalism invests on the construction of two lifestyles: the Innovative and the Traditional.

Made available in DSpace on 2016-12-08T16:59:58Z (GMT). No. of bitstreams: 1 DANI.pdf: 5483514 bytes, checksum: 22ca7fada44c309eb83fd2820433017d (MD5) Previous issue date: 2009-02-27 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This research looked to check how publicity announcements of five national marks, at the magazine Vogue Brazil , in the period from 2000 to 2001, explored cultural concepts associated to the youth now a days, through the notion of 'youth s cult', when it was thought as a social producing category of senses in the century XX. Methodological-theoretical notes demonstrated that this notion is built historically and operated by the publicity, being the body place of signification and subjetivation of this category. Through discussions of the youth s papers to the appearance of a new contemporary social ethos, the young creators fashion and the consecration of an youth s aesthetics, we noted that images are key pieces for the youth s cult. These were considered as products and historical agents at the same time, since they allowed the establishment of a bridge for the historical context in study and for the relations established in our current society. The publications were analysed methodologicaly in his set, qualitative and quantitatively, being the magazine treated historically and considered as fountain and object of this research, therefore the analyses of his materiality and his content made possible valuable discoveries on connections of the magazine with the target readers, through the increase in value of a concept strongly supported by the vanguard, by the pleasure in the urbane and daily life, for the novelty, the glamour, the fashion in the cultural Brazilian context, the excellence of the collaborators and the high publishing quality of the presented matters. In this context, the next aspects associated to the youth were identified in more than forty announcements: fashion, daring, exhibition of the body, sensuality without prejudices, authentic casualness, adventure, emotional pleasure, extreme contrasts, amusement, mystery, fantasy, irony and attitude. Methodologies of analysis and interpretation of publicity images by three important authors were applied in the announcements of the marks H.Stern, Zoomp, Sagena, Reinaldo Lourenço and Freixenet: the rhetoric of the connotation of Roland Barthes, the visual message of Martine Joly and the poetics of having of Georges Péninou. The results pointed to the positivation, affirmation and increase in value of a great deal of the aspects quoted previously. Fact that proved the strength of the youth s cult in the analysed period, being operated so much in the announcements analysed all that in the set of the corpus of the research / Esta pesquisa buscou verificar como anúncios publicitários de cinco marcas nacionais, veiculados na revista Vogue Brasil , no período de 2000 a 2001, exploraram conceitos socioculturais associados às juventudes na contemporaneidade, através da noção de juvenilização , considerada como uma categoria social produtora de sentidos no século XX. Os apontamentos teóricos e metodológicos demonstraram que essa noção é construída historicamente e operada pela publicidade, sendo o corpo sede de significação e de subjetivação dessa categoria. A partir de discussões sobre os papéis das juventudes na formação de um novo ethos social contemporâneo, a moda dos jovens criadores e a consagração de uma estética juvenilizada, verificamos que as imagens são peças-chave para a juvenilização. Estas foram consideradas como produtos e agentes históricos ao mesmo tempo, pois permitiram o estabelecimento de uma ponte para o contexto histórico em estudo e para as relações estabelecidas em nossa sociedade atual. Metodologicamente, as edições foram analisadas em seu conjunto, qualitativa e quantitativamente, sendo o periódico historicizado e considerado como fonte e objeto de pesquisa, por isso as análises de sua materialidade e de seu conteúdo possibilitaram valiosas descobertas sobre conexões da revista com os leitoresalvo, através da valorização de um conceito fortemente amparado pela vanguarda, pelo prazer na vida urbana e cotidiana, pela novidade, pelo glamour, pela moda no contexto cultural brasileiro, pela excelência dos colaboradores e pela alta qualidade editorial das matérias apresentadas. Nesse contexto, os seguintes aspectos associados às juventudes foram identificados em mais de quarenta anúncios: moda, ousadia, exposição do corpo, sensualidade sem preconceitos, despojamento autêntico, aventura, prazer emocional, contrastes extremos, diversão, mistério, fantasia, ironia e atitude. Metodologias de análise e interpretação de imagens publicitárias de três importantes autores foram aplicadas nos anúncios das marcas H.Stern, Zoomp, Sagena, Reinaldo Lourenço e Freixenet: a retórica da conotação de Roland Barthes, a mensagem visual de Martine Joly e a poética do ter de Georges Péninou. Os resultados apontaram para a positivação, afirmação e valorização de muitos dos aspectos citados anteriormente. Fato que comprovou a força da juvenilização no período analisado, sendo operada tanto nos anúncios analisados quanto no conjunto do corpus da pesquisa

As reportagens de perfil da revista Vogue são o foco desta pesquisa, que busca definir quais estilos a revista institui como modelos de ser e viver do sujeito contemporâneo. A amostragem reuniu 12 revistas, do período entre Janeiro e Dezembro de 2006. Foram analisadas 102 reportagens do subgênero perfil jornalístico, com o objetivo de responder quais os modelos que a revista Vogue constrói, tomando como referência categorias (estilos de vida Inovador, Tradicional e Vanguardista) preexistentes e exteriores ao jornalismo, ligadas ao referencial teórico da pesquisa, para nortear a busca dos principais sentidos representados nas matérias. O trabalho está inserido na perspectiva construcionista, que considera o poder do jornalismo na construção da realidade. A Análise de Discurso serve como suporte metodológico. Os estilos de vida encontrados na revista são representados pelas marcas discursivas que permitem evidenciá-los e demonstram a freqüência com que são reiterados por Vogue. Entre as conclusões, ganha destaque o fato de que o estilo de vida Inovador é dominante, presente em 44,11 % do corpus, enquanto o estilo de vida Tradicional representa 37,27% do total e o estilo de vida Vanguardista está presente em 18,62 %. A análise revela que, destituindo o estilo de vida Vanguardista da transgressão que o define, a Vogue realinha este estilo de vida como apenas uma atitude de valorização de uma estética diferenciada. O que a revista mostra – e busca vender – é a idéia de que, por meio da adoção das orientações guiadas pelo jornalismo nos modos de ser sujeito e mostrar-se aos outros, pode-se obter “estilo”, a partir da exposição e consumo de bens simbólicos. Assim, o que a pesquisa conclui é que de fato o jornalismo de Vogue investe na construção de dois estilos de vida: o Inovador e o Tradicional. / The profile reportages from the magazine Vogue are this search focus, which wants to define what styles the magazine institutes as being and living models of the contemporaneous subject. The sampling gathered 12 issues, of the period between January and December 2006. There were observed 102 reportages of the subgenus journalistic profile, with the objective of answering what models that the magazine Vogue builds, taking as reference categories (Innovative, Traditional and Vanguard lifestyles) preexisting and exteriors to journalism, linked to the theoretical reference of the survey, to guide the search of the main senses represented on the materials. The work is inserted on the constructionist perspective, which considers the power of journalism in the reality construction. The Analysis of the Speech serves as a methodological support. The life styles found in the magazine are represented by the discursive brands that allow showing them and demonstrating the frequency they are repeated by Vogue. Among the conclusions, points out the fact that the Innovative life style is dominant, present in 44,11% of the corpus, while the Traditional life style represents 37,27% of the total and the Vanguard is present in 18,62%. The analysis proves that, dismissing the Vanguard lifestyle from the transgression that defines it, Vogue realigns this Vanguard lifestyle just as an attitude of recovery of a different aesthetics. What the magazine shows is the idea - and seeks to sell - is the idea that, through the adoptions of orientations guided by journalism in the ways of being subject e showing yourself to others, it is possible to obtain "style", from the exposure and consumption of symbolic goods. This way, what the search concludes is that indeed the Vogue journalism invests on the construction of two lifestyles: the Innovative and the Traditional.

Syfte: Syftet med uppsatsen är att undersöka vilka stereotyper av kvinnor som förekommer i reklamen i Vogue under år 2021. Detta baserat på Goffmans sex stereotyper om genus i reklam, Hirdmans teorier om genussystem och genuskontrakt samt feministisk teori. Frågeställningar:  ●      Vilka stereotyper av kvinnor förekom i reklamen i Vogue under året 2021? ●      Vilka skillnader finns med tidigare etablerade stereotyper?   Metod: För att kunna göra en generalisering av innehållet valdes metoden kvantitativ innehållsanalys. Denna metod användes för att kunna göra en generalisering av reklambilderna och vilka stereotyper som förekommer i bilderna. För den här analysen slumpades 100 analysenheter fram genom obundet slumpmässigt urval, ur en population på 242 reklambilder utgivna under år 2021. För att kunna analysera analysenheterna konstruerades en kodbok och ett kodschema baserat på Goffmans stereotyper samt tidigare forskning. När analysenheterna har processats med kodschemat så analyseras och diskuteras resultaten med feministisk teori och Hirdmans teorier om genussystem och genuskontrakt för att kunna dra slutsatser och svara på frågeställningarna.   Slutsatser: Utifrån analysen har jag kunnat dra slutsatsen att de stereotyper som förekommer är: den ömtåliga kvinnan som försiktigt interagerar med sin omgivning, vidrör objekt mycket mjukt och hon smeker objekt och sig själv; den underordnade kvinnan som sitter och ligger passivt, hon tittar på i stället för att själv göra något och är mindre än mannen; och den frånvarande kvinnan distanserar sig mentalt från situationen hon befinner sig i, viker undan blicken och döljer sitt ansikte. De skillnader som finns i den här studien jämfört med tidigare etablerade stereotyper är framför allt en avsaknad av Goffmans stereotyp om the family, av 242 annonser förekom barn i en bild; nakenhet är sällan förekommande, bara kroppsdelar förekommer men inte till den grad att personen kan anses vara naken; slutligen är det avsaknaden av ansiktet som den förlängda armen som bryter mot tidigare stereotyper, kvinnorna trycker inte ansiktet mot och kelar med ett objekt eller person. / Purpose: The purpose of this essay is to analyse which stereotypes of women are present in the advertisements in Vogue 2021. This based on Goffman's six stereotypes about gender in advertisement, Hirdman’s theories on gender system and gender contract and feminist theory. Research questions:  ●      What stereotypes were present in the advertisements in Vogue 2021? ●      What differences are there compared to established stereotypes?   Method: To generalise the content, the most suitable method would be a quantitative content analysis. This method was used to do a generalisation of the advertisements and what stereotypes are present in the pictures. For this analysis 100 images were chosen through a simple random sample from a population of 242 images from 2021. To be able to analyse the images a coding scheme and a coding book based on Goffman’s stereotypes as well as previous studies in the field. When the sample has been processed the result is analysed through a feminist theory angle along with Hirdman’s theory on gender systems and gender contracts to be able to come to conclusions and answer the research questions.   Conclusions: Based on the analysis I have been able to come to conclusion that the stereotypes present are: the fragile woman who carefully interacts with her surroundings, softly touches objects and caresses objects and herself; the subordinate woman who sits and lays passively, she watches from the sidelines instead of actively participating and is smaller than the men around her; and the distant woman who mentally distances herself from the situation she is in, she looks away and hides her face. The differences found in this study compared to established stereotypes is mainly the lack of Goffman’s stereotype about the family, out of the population of 242 images only one image contained children; nakedness is rare in the images, some body parts are bare but not to a degree that the person can be considered naked; finally, the lack of the face as an extension of the arm as the women in the images are not pressing their faces against and cuddle with objects or other persons.

The purpose of this research is to examine how masculinity is represented on Vogue’s front covers in 2020 and to what extent it differentiates from the cover in 1992. To do so, a visual analysis with a semiotic approach has been made where applied theory about queer and representation is used to analyze and discuss the development of masculinity over time. Furthermore, a comparative analysis has been made to point out how masculinity is represented differently from the cover in 1992 to the cover in 2020. The main findings were that Vogue’s representation of masculinity has gone through a vast development. In 1992, masculinity was represented in a stereotypical and gender normative way where the man dominates and acts protective towards the woman. This cover does not have an inclusive representation of masculinity. In comparison, the cover in 2020 represents a social constructivist approach and gender norms are more fluid. Thus, the cover challenges the hetero normative view on gender, which makes it appear more including.

This study explores the political messages framed within the cover of Vogue magazines by reviewing the published issues that surround election season. By focusing on the intersection of politics and fashion through the visual representation provided by a prestigious, globally known fashion magazine, the research will observe the potential increase and growth of political involvement within influence of the fashion industry. This study will begin with the October, November, and December covers from the 2016 and 2020 presidential election. These will be accompanied by the January, February, and March covers of the following years. Guided by semiotic analysis and visual rhetoric theories, this study will focus on developing this upcoming avenue of research by exploring how fashion is utilizing its power to bring attention to current events within a political atmosphere. While typically seen as feminine, Vogue magazine has been able to tap into a variety of audiences including previously politically charged groups such as feminists. As such, this research will allow for new insight regarding the overarching effects of visual media as seen through magazines, as well as their potential impact with targeted audiences.

CoordenaÃÃo de AperfeÃoamento de Pessoal de NÃvel Superior / Esta pesquisa, motivada pelo interesse em investigar, de forma crÃtica, como as revistas constroem identidades por meio de seus discursos, situa-se no debate cientÃfico atual sobre a relaÃÃo entre o conceito de discurso, da linguÃstica, e identidade, das ciÃncias sociais, filiandose ao campo da AnÃlise de Discurso CrÃtica (ADC). O suporte escolhido para essa investigaÃÃo, que tem como objetivo principal analisar a construÃÃo discursiva das identidades, foi revista Vogue Brasil, reconhecida como normatizadora dos estilos de vida e formas de existir (ELMAN, 2008; NOVELLI, 2009). Os conceitos e as consideraÃÃes acerca das identidades propostos por Hall (2006), LarraÃn (2001) e Castells (1999) sÃo relacionados Ãs noÃÃes de discurso trabalhadas no campo da ADC por MagalhÃes (2006, 2010, 2011), van Dijk (2009) e Fairclough (2001, 2003). A prÃtica consumista e o processo de comoditizaÃÃo do conteÃdo dessa publicaÃÃo sÃo reconhecidos como mediadores dessa relaÃÃo e, portanto, tambÃm contribuem para o debate sobre discurso e identidade. O corpus selecionado para anÃlise corresponde a 20 matÃrias publicadas em Vogue Brasil entre os meses de janeiro e junho de 2016, que sÃo analisadas com foco na intertextualidade e interdiscursividade, propostas por e MagalhÃes (2010) e Fairclough (2001, 2003) como categorias para analisar o significado identificacional do discurso, alÃm das contribuiÃÃes sobre a multimodalidade, desenvolvidas por Kress e van Leeuwen (2006), para a anÃlise das imagens e elementos grÃficos que compÃem as matÃrias e, por consequÃncia, os discursos materializados pela revista. Os resultados da anÃlise sugerem que sÃo construÃdas identidades comoditizadas (LIRA, 2015), ao mesmo tempo em que o pÃblico leitor exerce forte influÃncia nas escolhas e na construÃÃo dos discursos da revista, estabelecendo uma relaÃÃo dialÃtica que tambÃm se configura como uma disputa pelo controle das identidades e dos discursos manifestados. / This research is motivated by an interest in investigating critically how magazines construct identities in their discourses. It is situated in the current scientific debate about the relation between the concept of discourse, from linguistics, and the concept of identity, from the social sciences; and it is embedded in the field of Critical Discourse Analysis (CDA). The focus in this investigation is the magazine Vogue Brasil, which is recognized as normalizing life styles and ways of existing (ELMAN, 2008; NOVELLI, 2009). The main purpose here is to analyze the discursive construction of social and cultural identities. The concepts and considerations about identities proposed by Hall (2006), LarraÃn (2001) and Castells (1999) are related to the notions of discourse that are examined in the field of CDA by MagalhÃes (2006, 2010, 2011), van Dijk (2009), and Fairclough (2001, 2003). The consumer practice and the commodification process of this magazine are taken as mediating this relation, and, therefore, they also contribute to the debate about discourse and identity. The selected corpus for the analysis corresponds to 20 stories published in Vogue Brasil from January to June 2016, which are analyzed with a focus on intertextuality and interdiscursivity proposed by MagalhÃes (2010) and Fairclough (2001, 2003) as categories to analyze the identificational meaning of discourse. In addition, the contributions about multimodality that were developed by Kress and van Leeuwen (2006) are also adopted for the analysis of images and graphic elements which are parts of the stories. Consequently, the discourses that are materialized in this magazine are also investigated. The results of the analysis suggest that commodified identities are constructed (LIRA, 2015), while readers exert a strong influence in the choices and in the construction of the magazine discourses, establishing a dialectical relation that is also configured as a dispute for the control of the identities and discourses manifested.

En esta tesina investigamos el empleo de préstamos en el ámbito de la moda española, basándonos en el número febrero de la revista Vogue España. Usando un método cualitativo hemos analizado los préstamos encontrados en la revista, teniendo el enfoque tanto en si se marca que una palabra es de origen extranjero, cómo se hace esto estilísticamente y en cuáles palabras, como en si hay algunos rasgos generales entre los préstamos empleados. En los resultados hemos visto que hay mucha variación en la manera de marcar que una palabra es un préstamo. También parece que muchas veces el contexto estilístico de los textos influye en el tratamiento de los préstamos, resultando en que una palabra puede aparecer varias veces marcada en diferentes maneras o no marcada de ningún modo. Además hay algunos préstamos que tienen la manera de marcar más fijada, y por lo tanto “vencen”  a esa influencia estilística. En cuanto a los rasgos generales de los préstamos, hemos visto una construcción con préstamos en la que se emplean sustantivos como adjetivos; una carencia de verbos; y que el origen de los préstamos se concentra en solo unas lenguas.

Cette thèse examine l’image de mode éditoriale en contexte(s), au sein de la presse magazine américaine entre les années 1960 et les années 1980, à travers une étude de cas sur les publications mainstream Vogue, Harper’s Bazaar et un nouveau magazine, Interview. On postule que la production photographique de ces trois titres représente à la fois le cœur de leur activité et de ces objets matériels, en raison de leur positionnement, de leurs codes et de leurs objectifs. On étudiera comment, dans ce cœur et à travers ses « grandes » séries éditoriales, se dégage un certain rapport à l’image comme plateforme entre une production collaborative et des réceptions, ainsi qu’une fonction de négociation par rapport au contexte historique. A travers l’étude des conditions de production des images, puis à travers leur analyse, et enfin par l’examen de leurs circulations, on démontrera l’existence d’une norme mainstream manifestant un certain conservatisme. Puis nous nous interrogerons sur les négociations éventuelles avec cette norme, sans cesse contestée, changeante en surface mais tenace.Un examen attentif de l’ensemble des tensions et des compromis au fil des moments de flottement que sont les décennies 1960 à 1980 nous permettra d’aboutir, sur la période étudiée, au constat qu’il existe bien un système articulé autour d’un discours hégémonique très difficile à questionner tant il est puissant et, en fin de compte, fermé. Ainsi, de manière transversale à tout notre travail, il émergera que l’ensemble des images de mode éditoriales est varié, mais lissé par un discours des magazines construit sur le long terme. Pourtant, il offre aussi bien des modèles que des contre-modèles, des contre-discours et des contre-points qui tous se déploient dans un cadre strict et souple, fermement orienté et adaptable, même s’il comporte quelques possibilités de subversion, toujours exercées à la marge. On conclura, en définitive, à la puissance de ce système, normé quoique toujours à l’équilibre entre des tensions contradictoires, structuré autour d’un format très fort, se nourrissant et s’exprimant par l’image de mode qui reste son fleuron. / This doctoral thesis examines fashion editorials through a case study of three American magazines in context, from the 1960s to the 1980s: Vogue and Harper’s Bazaar, two mainstream publications, and a new magazine then, Interview. It is postulated that the photographic editorial production of those magazines is central to them – as material objects, and as the core of their activity as well, both aspects enabling and unfolding their positions, their codes and their purposes. By looking at major editorial series, I explore how these images stand out as "contact zones" between a highly collaborative production process and their receptions, and how their function is also one of negotiation with regards to its context.A close analysis of the conditions of production, the content and the circulations of these images demonstrates that magazines express undeniable conservatism through the perpetuation of a mainstream norm. However, as this norm constantly changes on the surface, I argue that conditions regularly emerge for it to be negotiated. An attentive study of the tensions and compromises unfolding in the « uncertain moments » that characterize the period running from the 1960s through the 1980s demonstrates the existence of a powerful system. Structured around a coherent and hermetic narrative, it proves indeed hard to challenge. Yet, as this thesis argues, the ensemble of editorial fashion images homogenized by these long-term processes is in fact varied and diverse. If these images construct models, they also offer counter-models, counter-narratives and counter-points. All these possibilities converge into a strict but agile framework, firmly oriented by its producers but adaptable, even though its subversive potential is only realized at the margins.This system—structured around a powerful format—is highly restrictive yet it still performs a constant balancing act between conflicting tensions and goals, fueled by and unfolded in the fashion images at its core.