This paper attempts to analyze different representations of "androgyny‟ as fashion tendency in contemporary fashion magazines (Vogue, i-D and LOVE Magazine) for the period of 2010 and 2011. In order to show the development of "androgyny‟ as fashion tendency, this study first explores how androgyny metamorphosed from a "hidden‟ signifier of unconventional sexuality to "visible‟ postmodern teaser for sexual identities. Currently, we live in the "Age of Androgyny‟ where the modern androgynous dandy is being seen as an aphrodisiac for the fashion industry. This study also tries to provide explanation of how "androgyny‟ and "dandyism‟ evolved from concepts to parallel trends in fashion due to their frequent and simultaneous reappearance in fashion media. In order to create nuanced portrayal in the understanding of androgyny and dandyism, qualitative method was used by describing, analysing and interpreting the representation of these trends in three different fashion and art publications. The fact that this tendency for "gender fusion‟ is increasingly finding its way into mainstream culture, with emphsis on the fashion industry, raises the question of whether the society is more open towards different gender expressions or is "androgyny‟ just another exploitative form for the fashion industry.

<p>ABSTRACT</p><p>Title: Elle & Café – a study of fashion magazines cover pages.</p><p>Number of pages: 38</p><p>Author: Greta Simonsson</p><p>Tutor: Amelie Hössjer</p><p>Course: Media and Communication Studies D</p><p>Period: Spring Semester 2008</p><p>University: Division of Media and Communication, Department of Information Science, Uppsala University</p><p>Aim: The purpose of this essay is to:</p><p> Analyze the cover images from the 2007 editions of the magazines Elles and Café, using semiotic analysis.</p><p> Analyzes eventual resemblances or differences between the two magazine's cover images based upon the result of the semiotic analysis.</p><p>Material and methods: The study of Elles's and Café's cover pages has been done using a model built upon semiotic analysis, developed with the purpose of suiting observation and examination of cover pages of fashion magazines. The cover pages were analyzed from the categories character, context, and environment.</p><p>Main results: The main results include the observation that both Elles and Café chooses well-known figures from women's fashion industry as prime characters on their covers. In Elles, all main characters are famous women emerging from the music, television and fashion industries. The women in Café are known for similar professions. However, the men in Café are associated with politics, sports and music. Men and women are, through the ideals and styles conveyed in the magazines, associated with gender-specific roles, contrasting and contributing to, a problematic contemporary definition of gender, identity and ideal.</p><p>Keywords: Fashion magazines, semiotic analysis, identity, gender ideal and information society.</p>

ABSTRACT Title: Elle &amp; Café – a study of fashion magazines cover pages. Number of pages: 38 Author: Greta Simonsson Tutor: Amelie Hössjer Course: Media and Communication Studies D Period: Spring Semester 2008 University: Division of Media and Communication, Department of Information Science, Uppsala University Aim: The purpose of this essay is to:  Analyze the cover images from the 2007 editions of the magazines Elles and Café, using semiotic analysis.  Analyzes eventual resemblances or differences between the two magazine's cover images based upon the result of the semiotic analysis. Material and methods: The study of Elles's and Café's cover pages has been done using a model built upon semiotic analysis, developed with the purpose of suiting observation and examination of cover pages of fashion magazines. The cover pages were analyzed from the categories character, context, and environment. Main results: The main results include the observation that both Elles and Café chooses well-known figures from women's fashion industry as prime characters on their covers. In Elles, all main characters are famous women emerging from the music, television and fashion industries. The women in Café are known for similar professions. However, the men in Café are associated with politics, sports and music. Men and women are, through the ideals and styles conveyed in the magazines, associated with gender-specific roles, contrasting and contributing to, a problematic contemporary definition of gender, identity and ideal. Keywords: Fashion magazines, semiotic analysis, identity, gender ideal and information society.

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The purpose of this study is to examine how different cultures within clothing and fashion are featured in the magazine Vogues fashion reportages. The aim is to enlighten editors with infashion media of these cultural differences in order to increase diversity. To pursue the purpose of the study a qualitative approach was chosen where photographs were used as the data that later on was studied through an image analysis. The study looks at six different editions of the fashion magazine Vogue, which indicates a chosen research design as multiple case studies. The six Vogue editions are: US, Japan, Paris, Arabia, India and Brazil, in which clothes, color and context have been analyzed in each editions reportages. The editions Vogue US, Vogue Japan, Vogue Paris, Vogue Arabia, Vogue India and Vogue Brazil reportages wa sanalyzed and compared, and distinct cultural differences was seen in terms of color, cultural clothing and fashion contexts. While Vogue US, Vogue Japan and Vogue Brazil had a widerange in diversity regarding models with different appearance, which were light-skinned anddark-skinned, Vogue Arabia, Vogue India and Vogue Paris had not. Vogue Arabia, Vogue India, Vogue US and Vogue Japan were however diverse in the cultural clothing, where clothes that was shown in the reportages was a mix of different cultural clothes. The researchers therefore found Vogue US and Vogue Japan the most diverse.

This thesis researches the construction of gender ideals for the new Middle Class and women’s involvement in the same by analysing fashion magazines published in Germany and Sweden between 1786 to 1827 and 1818 to 1844, respectively. The analysis consists of two parts: first, the share of women’s involvement in the public sphere as defined by Habermas as well as the justification of the inclusion of female-written texts and second, the nature of gender ideals in relation to the separate spheres’ framework. They show that the highest percentage of female contributions to fashion magazines was 5.3 % for the Swedish magazine from 1840 to 1844, while the lowest percentage of female contributions was 2.1 % for the German magazine from 1820 to 1827. Furthermore, the inclusion of texts written by women was often justified through their domestic virtue or the statement that they never wanted their texts to be published. The publication was thus against their will, which firmly anchors the female authors in the private sphere. In the second part, this study shows that women authors in the fashion magazines mainly advocated for the separation of the public and private but, in comparison to gender ideals shared by male authors, did not advocate for the submission of women. Regarding the stereotypes of emotionality and rationality, I find that women were mostly portrayed as emotional by men but would contest these negative portrayals of their sex. At the same time, men were portrayed as emotional and rational by both female and male authors, which is surprising considering the prominent male ideal of rationality.

Analyzing 549 advertisements in Chinese and U.S. women's fashion magazines, this research studies the role of western culture in reshaping Chinese cultural values in terms of modernity, tradition, individualism, and collectivism as well as in the use of western fashion models and language. Results indicate that there is no statistical difference in individualistic and modernity values between U.S. and Chinese print ads in women's fashion magazines. In 1 of the product characteristics, shared products, collectivism values in Chinese ads are not found more than those in U.S. ads as it is assumed. In addition, almost half of the Chinese ads employ western models and only 2 out of 226 Chinese ads are applying merely Chinese language to name the brand. The implications for future research and limitation of this study are discussed.

A tese analisa o jornalismo de moda, problematizando o funcionamento dessa prática comunicativa em relação ao seu discurso. Concluímos que este é um discurso híbrido, fortemente constituído pela interdiscursividade do jornalismo, da publicidade e da estética. O trabalho busca compreender de que modo o discurso jornalístico de moda se organiza, como resultado de um processo, e como realiza a gestão dos outros discursos que o conformam como um gênero discursivo singular. Para examinar o funcionamento deste discurso híbrido, selecionamos três tipos de matérias jornalísticas de moda: as reportagens de desfiles, as matérias de tendências e os editoriais fotográficos. Os objetos empíricos escolhidos são as edições das revistas Elle, Estilo, Manequim, Vogue e Harper's Bazaar publicadas em 2015, formando um corpus de 4.406 páginas de matérias jornalísticas. Utilizamos como método a Análise de Discurso de linha francesa, operando especialmente o conceito de paráfrase, que permite, a partir das marcas discursivas verbais e não verbais encontradas no texto, identificar as principais estratégias dos discursos jornalístico, publicitário e estético. De acordo com nossa pesquisa, o jornalismo aciona as estratégias de novidade, atualidade, veracidade, didatismo, uso de fontes especializadas, autoridade e normatividade para cumprir suas finalidades. A publicidade aciona especialmente as estratégias de magia, idealização, personalização e linguagem figurada. Já a estética mobiliza as estratégias de cenografia, cores, escala, formação de conjuntos, estilo, ritmo e tipografia. Concluímos que, a partir de dinâmicas que cruzam certos conjuntos de estratégias, o jornalismo de moda é tecido como um discurso híbrido, e este hibridismo é sua condição de existência. Destacamos ainda que é o discurso jornalístico, atuando como regente nesse contrato de comunicação particular, que vai elencar, com maior ou menor intensidade, as estratégias dos outros dois discursos, estabelecendo diferentes movimentos de dominância para atender ao leitor do jornalismo de moda. / The thesis analyzes fashion journalism, discussing this communicative practice performance regarding its own discourse. It is concluded that this is a hybrid discourse, strongly consisted of journalism, advertising, and aesthetics discursiveness. This paper aims to understand how fashion journalism discourse is structured, as the result of a process, and how it controls the other ones that shape it into a unique discourse genre. In order to examine how this hybrid discourse works, three types of fashion news articles were selected: news reports of fashion shows, articles about trends, and fashion editorials. The empirical materials chosen are issues of Elle, Estilo, Manequim, Vogue, and Harper’s Bazaar magazines published in 2015, raising a corpus consisted of 4.406 pages of journalistic news articles. The method used was the French Discourse Analysis, being applied – especially- the paraphrase concept which allowed us, through verbal and non-verbal discursive markers found in the text, to identify the main strategies of journalistic, advertising, and aesthetic discourses. According to our research, journalism triggers strategies of discoveries, updates, veracity, didacticism, use of sources of expertise, authority, and normativeness to meet its goals. Advertising especially activates the strategies of magic, idealization, customization and figurative language. Aesthetics, on the other hand, impels scenography, color, scale, ensemble formation, style, rhythm, and typography strategies. It is concluded that, from the dynamics that cross certain strategy groups, fashion journalism is built as a hybrid discourse, and this hybridity is its own survival condition. Also, it is possible to highlight that the journalistic discourse, which works as the conductor of this particular communication agreement, is the one that will list, with more or less depth, the strategies of those other discourses, establishing different movements of preeminence to serve fashion journalism readers.

Examining periodicals and novels from 1847 to 1886, I analyze the feminine fake to argue that individuals were beginning during this period to grapple with the discomforting idea that identity, especially gender, might be a social construct. Previously, scholars have contended that this ideological shift did not occur until the 1890s. I apply the term "feminine fake" to the tools that women use to falsify their identities and to the women who counterfeit their identities. Equally, I consider the fake as a theatrical moment of falsifying one's identity. In my first chapter, I set up my theoretical framework, which draws from Laqueur's writings on the cultural history of sex and gender, Poovey's work on the "uneven development" of gender ideology, and Baudrillard and Eco's respective concepts of the simulacra and the hyperreal. Chapter II examines issues of The Englishwoman's Domestic Magazine and La Mode illustrée to analyze the feminine fake during the period surrounding the Franco-Prussian War. Using Fraser, Green, and Johnston's writing on the periodical alongside Hiner's theories of the ideological work of the accessory, I argue that the women's magazine, particularly via the "rhetoric of the fake" therein, fashion, and the accessory were crucial sites for the construction of gender at the time. Chapter III looks at performance and the feminine fake in Vanity Fair and La Curée. I re-evaluate Voskuil's theories of "acting naturally" to analyze the charades and tableaux vivants within the novels and illustrate how these performances metaphorically function as society's failed efforts to render feminine identities legible. In Chapter IV, I analyze Lady Audley's Secret and L'Eve future, situating Lady Audley and the android as hyperfeminine, or marked by an identificatory excess rendering them more feminine than any real woman. The threat they pose to legible feminine and human identity drives the need to control their unmanageable identities: at the ends of the novels, the women, along with what I characterize as their inhuman fakery, are irreversibly contained. / text

A tese analisa o jornalismo de moda, problematizando o funcionamento dessa prática comunicativa em relação ao seu discurso. Concluímos que este é um discurso híbrido, fortemente constituído pela interdiscursividade do jornalismo, da publicidade e da estética. O trabalho busca compreender de que modo o discurso jornalístico de moda se organiza, como resultado de um processo, e como realiza a gestão dos outros discursos que o conformam como um gênero discursivo singular. Para examinar o funcionamento deste discurso híbrido, selecionamos três tipos de matérias jornalísticas de moda: as reportagens de desfiles, as matérias de tendências e os editoriais fotográficos. Os objetos empíricos escolhidos são as edições das revistas Elle, Estilo, Manequim, Vogue e Harper's Bazaar publicadas em 2015, formando um corpus de 4.406 páginas de matérias jornalísticas. Utilizamos como método a Análise de Discurso de linha francesa, operando especialmente o conceito de paráfrase, que permite, a partir das marcas discursivas verbais e não verbais encontradas no texto, identificar as principais estratégias dos discursos jornalístico, publicitário e estético. De acordo com nossa pesquisa, o jornalismo aciona as estratégias de novidade, atualidade, veracidade, didatismo, uso de fontes especializadas, autoridade e normatividade para cumprir suas finalidades. A publicidade aciona especialmente as estratégias de magia, idealização, personalização e linguagem figurada. Já a estética mobiliza as estratégias de cenografia, cores, escala, formação de conjuntos, estilo, ritmo e tipografia. Concluímos que, a partir de dinâmicas que cruzam certos conjuntos de estratégias, o jornalismo de moda é tecido como um discurso híbrido, e este hibridismo é sua condição de existência. Destacamos ainda que é o discurso jornalístico, atuando como regente nesse contrato de comunicação particular, que vai elencar, com maior ou menor intensidade, as estratégias dos outros dois discursos, estabelecendo diferentes movimentos de dominância para atender ao leitor do jornalismo de moda. / The thesis analyzes fashion journalism, discussing this communicative practice performance regarding its own discourse. It is concluded that this is a hybrid discourse, strongly consisted of journalism, advertising, and aesthetics discursiveness. This paper aims to understand how fashion journalism discourse is structured, as the result of a process, and how it controls the other ones that shape it into a unique discourse genre. In order to examine how this hybrid discourse works, three types of fashion news articles were selected: news reports of fashion shows, articles about trends, and fashion editorials. The empirical materials chosen are issues of Elle, Estilo, Manequim, Vogue, and Harper’s Bazaar magazines published in 2015, raising a corpus consisted of 4.406 pages of journalistic news articles. The method used was the French Discourse Analysis, being applied – especially- the paraphrase concept which allowed us, through verbal and non-verbal discursive markers found in the text, to identify the main strategies of journalistic, advertising, and aesthetic discourses. According to our research, journalism triggers strategies of discoveries, updates, veracity, didacticism, use of sources of expertise, authority, and normativeness to meet its goals. Advertising especially activates the strategies of magic, idealization, customization and figurative language. Aesthetics, on the other hand, impels scenography, color, scale, ensemble formation, style, rhythm, and typography strategies. It is concluded that, from the dynamics that cross certain strategy groups, fashion journalism is built as a hybrid discourse, and this hybridity is its own survival condition. Also, it is possible to highlight that the journalistic discourse, which works as the conductor of this particular communication agreement, is the one that will list, with more or less depth, the strategies of those other discourses, establishing different movements of preeminence to serve fashion journalism readers.