Exhibition Statement

Introduction

Fashion magazines have been around for decades, often as an outlet to display high, luxury fashion. It seems exclusive, but Class Z Magazine will open the door for audiences to feel like they can enjoy the art of fashion, too. It can be used for expression, art, or even politics, but it should be more accessible to those who are entry-level and do not want to spend all their money on stylish pieces. Class Z Magazine is a brief look into what accessible fashion for Gen Z looks like. Fashion feels so far out of reach for regular people because of the over-the-topness of high fashion shows and designer prices. In reality, it’s very possible for people to be on-trend not only with their own clothes, but in their own style, too.

Literature Review

It has become apparent that many women’s publications set the trends for clothing, lifestyle, and home. Some individuals feel that magazines and the media create a toxic environment for women because of the way models are used, but research has found that magazines actually have a positive impact on women in America. A scholarly article from Elon University said “Though there are lots of periodicals that are criticized for their unfair representation of women and feminist values, there are just as many, if not more, magazines that strive to address these issues by presenting female values in an empowering light.” (Gemberling). 

The sociological aspects of fashion and fashion magazines come into play here, as there is a debate about whether the industry is positive or negative and how far it can go before it becomes so artistic to the point of impracticality. Many scholars are on the train of thought that fashion should be a form of expression for people who believe it is a positive art form, which Class Z is intended to embrace. “Fashion should not be rejected by feminist theory, but rather should be seen as a means of artistic and political expression,” according to Elon’s “Sociology of Fashion: Order and Change.” (Gemberling). 

For the layout design, an early 2000s Vogue will be referenced. It’s a very clean-cut, readable layout with white backgrounds and black text. (Vogue). The pages surrounding the shoots themselves will be themed, but the rest will tie in this reference to keep the magazine cohesive.

Methods

Artwork from two photographers, Alex Frank and Marina Williams, will serve as inspiration. Their crisp yet fun style is what the goal is for the visual aspect of the magazine. Fashion publications and social media will determine what aesthetics are on trend for this year and used in the magazine. To brainstorm unique style ideas, sketchbook pages with inspiration photos, style sketches, and writing will be produced.

Audience & Impact

Class Z’s goal is to reach an audience of female or feminine people in Generation Z who are interested in the fashion industry yet don’t find high fashion achievable. After looking at the magazine, the audience should see that fashion is achievable, and that they do in fact have the right pieces for great outfits, it’s just a matter of putting it together to create their own styles. The narrative that desirable fashion is only for the wealthy and that artistic fashion is only for the privileged who can afford to take risks must charge. It should be regarded as more of an art form than a surface-level, shallow thing many people think of it as. As the creator, it felt impactful to help the models who participated to feel like they can dip their toes into fashion as art.

Reference List

Gemberling, Kyra. “Feminine Agendas: The Historical Evolution of Feminism as Reflected in the Content of American Women's Magazines.” Elon Journal of Undergraduate Research in Communications, vol. 5, no. 2, 2014, https://doi.org/Inquiries Journal.

Krause-Wahl, A. “American Fashion and European Art--Alexander Liberman and the Politics of Taste in Vogue of the 1950s.” Journal of Design History, vol. 28, no. 1, 2015, pp. 67–82., https://doi.org/10.1093/jdh/epu041.

“Explore the Complete Vogue Archive.” Vogue, Condé Nast, https://archive.vogue.com/.

Acknowledgements

A thank you to the entire Arts Scholars staff–Heather Bremenstuhl, Harold Burgess, and Gabi Tillenburg– as they have all given fantastic feedback, resources, and help that has improved the project drastically. Another thank you to all of the models: Kat Gorlenko, Ren Gilmore, Mars Burggraf, Chioma O, Sophia Moore, and Michelle Reynoso for participating in my photoshoots. Without them, there would be no original photos. Nicole Lieber and Abby Pardoe are also deeply appreciated for their assistance during the shoots.