This page displays the personal reflection and evaluation for my Final Major Project. It includes my weekly reflection diary that I completed and added to in the duration of my FMP, along with my final evaluation reflecting on the choices and decisions I made throughout this entire process.
Weekly Reflection Diaries
Week 1 (28/03/2025 - 03/04/2025):
This week, I began my Final Major Project. I had a general idea that I wanted to explore fashion, but I needed to narrow it down. After some thought, I decided to focus on how fashion can express identity and challenge norms. I was particularly interested in subcultures and bold fashion statements. I started setting up my website, and I created the homepage and added a menu to organise different sections like context, research, and evaluations. It was a bit challenging to decide on the layout, but I wanted it to be easy to navigate and visually appealing. I also began collecting images and articles related to fashion subcultures to inspire my work.
Week 2 (04/04/2025 - 10/04/2025):
This week, I focused on research. After uploading all of the previous research I conducted for my unit 12 research chapter, I looked into various fashion subcultures, especially Japanese street fashion like Harajuku and Gyaru. I found it fascinating how these styles emerged as forms of self-expression and resistance during economic downturns in Japan. I created mood boards to visualise the aesthetics of these subcultures. This helped me understand the visual language and cultural context behind the styles. I also started thinking about how to incorporate these elements into my project. Although I wasn't writing yet, this research phase was important for building a strong foundation.
Week 3 (11/04/2025 - 17/04/2025):
I encountered a significant technical issue this week. I attempted to install InDesign on my home computer to start practicing and remind myself how to navigate the software and make sure I had access to all the relevant tools I would need, but I ran into storage problems. My laptop didn't have enough space, which was frustrating. To resolve this, I spent time deleting unnecessary files and transferring others to an external hard drive. After freeing up space, I successfully installed InDesign. This delay taught me the importance of ensuring my tools are ready before diving into the creative process.
Week 4 (18/04/2025 - 24/04/2025):
With InDesign up and running, I began working on creating a mood board on Canva for my magazine. I experimented with different colour schemes, fonts, and layouts to create a visually engaging spread that reflected the themes of my project. I also began researching and analysing a range of magazine covers that stood out to me for inspiration, and added these findings to my research page. This is the stage when all of the ideas that I had began to come together not only in my head, but also visually. This is something that greatly motivated me at this stage and reminded me to stick to my weekly FMP schedule to ensure everything stays on track and I am equally as pleased and encouraged with my final product at the end of this project.
Week 5 (25/04/2025 - 01/05/2025):
This week, I revisited my initial ideas and made some adjustments. I realized that one of my article concepts didn't align well with the overall theme and would require extensive research. Given the time constraints, I decided to discard that idea. Instead, I chose to focus on "shock fashion" and how it pushes boundaries in the fashion industry. This topic felt more relevant and manageable. I also continued to gather feedback from my tutor and my family to gain a second opinion and make sure I was creating engaging and effective work.
Week 6 (02/05/2025 - 08/05/2025):
I spent this week getting everything ready to start writing my articles. Before I began any proper writing, I made outlines/plans for each piece. This helped me figure out what I wanted to say and in what order. I listed the main points I wanted to cover in each article and matched them with the research I had already collected. This made it easier to see which ideas needed more support and which ones were strong enough to move forward with. For example, in the article about shock fashion, I planned out sections where I would talk about famous moments like Lady Gaga’s meat dress and compare those to more meaningful fashion statements made by designers like Alexander McQueen. In my notes, I included quotes and research from articles I found earlier, making sure everything had a purpose and fit the message I was trying to communicate. Even though I hadn’t started writing the full articles yet, this step helped me stay focused and confident about what I was doing. It also showed me where there were gaps that needed more research. So, as I worked on each outline, I kept looking for more examples and sources to support my points. I added links, saved images, and jotted down ideas I could include later. This process gave me a strong foundation to begin writing properly the following week and made the whole project feel much more manageable
Week 7 (09/05/2025 - 15/05/2025):
This week was a big step forward as I finally moved into the writing stage of my project. I started with the article on shock fashion, and I worked on making sure the article didn’t sound too much like an essay, so I had to change the tone to make it more fun and readable. That was a bit of a challenge at first, but I reminded myself that this was for a fashion magazine-style format, not an academic report. To solve this, I started using a more relaxed and conversational writing style. I also made sure the structure flowed nicely from one idea to the next. Choosing images to go alongside the article helped a lot as it made the layout more interesting and gave me ideas for how the text and visuals could work together. While writing, I continued researching to strengthen my arguments and add depth to the articles. Around the middle of the week, I began to experiment with Adobe InDesign to bring my magazine layout to life. This was exciting but also a little overwhelming at first because I had to remind myself how to use all the elements of the software. I ran into a few problems with formatting and placing images, especially when trying to align text boxes properly. Some of the image files were too large, which caused the program to lag. I had to resize and re-export some of them to get everything working smoothly. I also had to figure out how to make sure the font choices, spacing, and colour scheme looked consistent across each article. As I continued building the magazine design, I showed some early drafts to friends, family and my tutor to get their feedback. This week was definitely full-on, but it felt rewarding to see the articles finally take shape both in writing and design.
Week 8 (16/05/2025 - 22/05/2025):
In the final week of the project, I worked hard to finish both the content and the layout of my magazine. Once the writing was done, I focused on editing both articles for grammar, flow, and tone. I double-checked that my sources were properly used and that everything made sense to someone reading it for the first time. I also made sure the images and captions lined up on all of my website pages. During this time, I spent a lot more time working in InDesign to put the final pieces together. I adjusted the layout to make sure everything looked balanced and readable. I experimented with different cover designs before choosing the one that felt the most striking and professional. I also tested the magazine layout on multiple devices to make sure the text and images displayed properly across different screens. I had to go back and fix a few alignment issues, and there were times when the colours looked different depending on the screen, so I had to tweak the contrast and brightness slightly. Toward the end of the week, I began writing my evaluation. I reflected on everything from the early planning stages and the mood boards to the challenges of writing and designing under time pressure. I wrote about the technical problems I faced, like getting used to InDesign and managing my files when storage was running low, and how I overcame them. I also thought about how my writing improved, especially in learning to make it feel more natural and magazine-appropriate. Looking back, I feel proud of how much I’ve learned. This project has helped me grow creatively, but also in terms of planning, communication, and adapting when things don’t go as planned. I’ve developed a real appreciation for the amount of work that goes into creating something that looks simple and polished. It’s been a challenge, but also something I’ve really enjoyed.
Evaluation
Introduce the project in your own words
This project was all about exploring how fashion connects with identity, culture, and expression - on both a global and personal level. I wanted to look beyond trends and aesthetics to understand how style can tell stories, carry history, and reflect who we are as people in a thoughtful, analytical but most importantly engaging manner. From traditional dress to shock fashion and fashion and economics, I was interested in how clothing communicates without words and evolves with the world around it.
Turning those ideas into a magazine felt like the natural next step, and it gave me the chance to bring everything together in a way that felt creative and intentional. I realised that I didn’t just want to write articles, but I wanted to build an experience for my audience. I started by collecting inspiration, mostly from magazines I admire, and then began shaping my own visual language through layout, fonts, and images. Every element from the headlines to the colour palette was what I chose to reflect the tone and message of the content. The whole process pushed me to think like an editor, a writer, and a designer all at once, and it made the final outcome feel much more personal.
List five strengths and weaknesses in your final design
I think that one of the main strengths of my final magazine design is the visual cohesion across the spreads. From the beginning, I was quite intentional about creating a colourful editorial feel throughout, by using a consistent colour palette and layout structure to tie it all together. Another strength is the research and depth in my writing , as I made sure every article explored its topic in a meaningful way, whether that was cultural identity, fashion and economics, or fashion history. I also think the balance between imagery and text worked really well. I used full-page images and a clean sans serif font in my layouts that were inspired by real magazines like 'The Gentlewoman' and 'DAZED', which helped the spreads feel polished and professional. A fourth strength I had is the clear conceptual direction. I was trying to not just put fashion photos on a page and I wanted each spread to be built around a story or idea, in order to the project a strong editorial vibe. Lastly, I think my personal voice came through clearly, especially in the introduction and reflective writing. This was really important to me as I wanted the magazine to feel like mine.
In terms of weaknesses, one issue I noticed was that some images didn’t feel as consistent in quality or style as others. That was partly due to sourcing as I used a mix of high-fashion photos and Pinterest finds, so sometimes the resolution or lighting didn’t match perfectly. Another weakness is that a couple of the spreads feel slightly text-heavy and I feel like I could’ve played more with negative space in places to help the layout breathe more. Also, while I took a lot of inspiration from existing magazines, there were moments where I felt like I could’ve pushed my own design choices further, instead of just following a style I liked. The fourth weakness is transitions and flow between articles - because each one has its own tone, the jump between them could feel abrupt at times. A final weakness is that I didn’t have time to explore interactive or animated elements, which I think could have added a new dimension to the magazine, especially if I was thinking about a digital version.
Was there a theme for the design ideas? Can you describe it? Reference any influences here? – authors, stories, characters, films, TV, art movements, designers, media companies/campaigns etc.
Yes, there was a clear theme running through my design ideas - fashion as a global language and a form of self-expression. This idea definitely guided both my content and my visual direction. I wanted the magazine to explore how fashion is more than just clothing, and how it’s a way people communicate who they are, where they come from, and what they believe in. This came through in articles like 'Style Speaks', where I looked at traditional clothing across different cultures, and also in pieces like 'Denim & Defiance', where I explored how everyday fashion such as T-shirt and jeans can also be political and rebellious.
In terms of influences, I was really inspired by publications like 'Allure magazine' and 'The Gentlewoman' , especially in how they use space, photography, and a mix of illustration and editorial writing. I also looked at Pinterest for layout and photography inspiration, particularly runway images, which helped shape the look of my contents page and spreads. Designers like Rei Kawakubo influenced my thinking around unconventional fashion - especially her quote about beauty not needing to be pretty. I think this really shaped the tone of some of my more reflective pieces. I also took influence from broader cultural themes like recession core and post-pandemic fashion, where I explored how fashion reacts to what’s happening in the world economically and socially.
What experiments and exploration did you do and how did it affect your development?
A big part of my development process involved experimenting with different visual layouts and design styles before coming at the final visual design and vibe for my magazine. Early on, I created rough mood boards for several spreads using different approaches, such as some being very minimalist, some with a lot of images, and some wild bolder typography. I played around with grid structures, hierarchy, and white space to see how my layout decisions could change the tone of a piece. For instance, in my Style Speaks article, I initially tried centring the text in columns over a busy background image, but found that it distracted from the content. I then flipped the approach and opted for two different shades of pink and a range of images scattered around this simple background. This instantly improved the legibility and felt more sophisticated.
I also explored combining photography, illustration, and type to give each article a distinct mood while still fitting within a consistent style. One key experiment was taking visual inspiration from the Sofia Coppola feature in 'Ornament Magazine', where hand-drawn elements and soft palettes were used to create a more intimate vibe. I was especially inspired by how they layered delicate illustrations around images without overwhelming it too much, which made the spreads feel personal and cohesive. I tried applying this to my Style Speaks introduction, however, as I developed the spreads further, I found that the illustration elements sort of clashed with the clean, editorial layout I was aiming for across the rest of the magazine. They made some pages feel a bit too busy or distracted from the photography and typography, which were meant to take the lead. It started to feel incosistent compared to my other articles. In the end, I had to remove many of the illustrated elements altogether to make sure everything flowed well within the design.
Even though this particular experiment didn’t make it into the final design, it helped clarify what did work and it made me think more critically about visual hierarchy. It also reminded me that not every concept has to make it to the end and some ideas could be just stepping stones in shaping the final result.
In terms of my editorial structure, I tested different a few different introductions and hooks for each article - sometimes opening with a bold quote in large type, other times using a textbox or caption. For example, in my Shocking Fashion piece, I started with a provocative pull quote originally instead of a headline to immediately grab attention and reflect the themes of the topic. In contrast, my introduction article opened with a slower, more narrative-driven paragraph to set the tone for the whole magazine. These experiments helped me understand how to pace the reading experience espescially where to add visual pauses, when to be loud, and when to let the content speak more quietly.
My writing process also involved experimentation. I tried writing in different voices, sometimes analytical and historical (like in Denim & Defiance), and other times more conversational or introspective (like my reflective intro). I noticed that changing the tone not only affected how the content was received, but also influenced how I approached the visual design such as more academic articles felt right with clean layouts and classic typefaces, while the more playful or critical pieces allowed for bolder design moves.
The process of choosing the articles themselves was also an experimental journey, as I had so many ideas at the beginning such as niche trend deep-dives to heavy cultural analysis. From trial and feedback from my course tutor Greg and also my peers, I learned what felt relevant, engaging, and balanced. I wanted a sense of variety without the magazine feeling disjointed, so I tested how each potential piece connected to the others. For instance, pairing Denim & Defiance with Recession Core allowed me to explore different versions of minimalism and class identity through clothing, while placing Style Speaks earlier grounded the issue in cultural traditional clothing.
Altogether, these experiments helped me refine both the visual style and editorial voice of the magazine. Without this level of exploration, including testing layouts, visual elements, tone, and pacing, I wouldn’t have been able to build a final product that feels cohesive, intentional, and reflective of what I wanted the magazine to say about fashion.
Find a similar type of project/ professional work - place it next to your own - what comparisons/difference can you identify?
If I had to compare my magazine to a professional one, I’d probably choose 'The Gentlewoman' or 'Dazed magazine', since both were major visual references/inspiration for me. When I look at my work next to theirs, I can see some clear similarities, especially in the use of white space, clean sans serif typefaces, and imagery. Like them, I tried to make my design feel calm and editorial rather than too cluttered.
But there are definitely differences too. Professional magazines often have a very tight visual system across every page , fonts, margins, image treatments, whereas mine still has some variation from spread to spread. I also think the production value of the images in professional magazines is higher, because they have access to original photo shoots, models, and studio setups. That’s something I had to work around using found images and illustrations. On the writing side, I think my tone is quite close as I aimed to be informative but also personal and engaging, like a mix between journalism and opinion.
Overall, the comparison made me realise that I’m on the right track and that with more time and access to better resources, I could push my work even closer to a professional standard.
'The Gentlewoman' magazine spread
'Dazed' Magazine Article
My 'Recession Core' article magazine spread
My 'Global Threads' article magazine spread
Review your proposal - what changed, what developments did you make, did you manage to complete everything you set out to?
When I look back at my original proposal, I can see how much my ideas evolved both visually and conceptually. I initially set out to explore how fashion reflects identity and global issues, and while that main aim stayed the same, the way I chose to express it changed significantly throughout the project. My original vision focused mainly on creating a magazine that educated readers about fashion’s cultural relevance, but through the development process, I found myself leaning more into themes like Recession Core, Shock Fashion, and T-shirt and Jeans culture which were ideas that blended social commentary with visual experimentation.
One of the biggest shifts was in tone and format as I originally thought I would do a more formal, analytical tone across the whole magazine, but as I developed each spread, I found that more reflective, conversational writing felt truer to my voice and more engaging for the reader and my target audience. I also didn't expect to enjoy the design aspect as much as I did but experimenting with layout became just as important as the writing for me. I learned how important visual design, hierarchy, and tone are when it came to shaping how an article is read and felt.
In terms of completion, I did manage to meet most of my original goals. I explored the relationship between fashion and culture, researched the history and meaning behind trends, and created a range of work that balances editorial storytelling with strong visual design. What changed was the way I structured the magazine as rather than focusing on just a few broad themes, I ended up breaking the project down into more specific and distinct articles, each one reflecting a unique tone but staying within a cohesive visual identity.
Although I didn’t go as deep into every global fashion movement I originally planned (like sustainable fashion across different regions), I think narrowing the focus allowed for a deeper insight and a stronger personal voice. I also didn't incorporate as many formal interviews or outside sources as I’d first imagined - partly due to time, but also because the project naturally shifted toward personal reflection and visual storytelling.
Overall, the project grew into something more expressive I originally imagined but it still includes the goals I set out in my proposal which were to explore fashion as more than just style. It also reflects my own journey of experimenting, refining, and finding confidence in my creative decisions.
Did you achieve what you set out to do? What advice would you give to future you about writing articles for a magazine?
Yes, I did achieve what I set out to do however not in the way I originally imagined. My main goal was to create a magazine that explored fashion as a reflection of identity, culture, and society, and I feel like I accomplished that through a mix of opinion writing, editorial storytelling, and visual experimentation. I think that the finished spreads reflect a balance between meaningful content and engaging design, and each article touches on different types of fashion's role in our lives whether that’s through socio-economic themes like Recession Core, everyday uniformity in T-shirt and Jeans, or the use of shock as expression and protest.
If I were giving advice to my future self about writing articles for a magazine, the first thing I’d say is know your tone and the tone that you want to use early. It took me a while to settle into a consistent voice, and I learned that how something is said can matter just as much as what is being said (showing and not telling) especially in article writing. I’d also remind myself that structure matters and even the most insightful ideas can lose impact if they’re not paced well or visually supported by the layout. I would tell myself to start thinking about where quotes, writing or images might fit while writing, not just after.
Lastly, I would say don’t be afraid to go more personal. Some of my strongest writing came when I stopped trying to sound overly formal or academic and just wrote from an honest point of view. I used my research alongside with personal insight and I feel like this made the articles more engaging and authentic, and ultimately helped give the magazine its voice.
How did the planning and article structure help you?
The planning and article structure helped me massively throughout the writing process. Having a clear structure to follow especially one like the article writing template I found, gave me a solid foundation and helped me break down my ideas before I even started writing. Instead of jumping in blindly, I could map out the headline, angle, and key points for each article, which meant I wasn’t scrambling halfway through to figure out what I was actually trying to say.
This structure helped me think more in depth about what each article needed to communicate. For example, using the template’s suggestion to separate the article into clear sections (introduction, body points, and conclusion) made the content feel more digestible and purposeful. It also helped me guide the reader through each piece without it feeling overwhelming or rambling too much, which is often what I struggle with. In my Shock Fashion article for example, I used the structure to build up from a strong, punchy lead into deeper analysis, gradually unfolding the idea of fashion as a tool for provocation.
Planning also gave me the flexibility to explore different tones and approaches without losing the main vibe of each article. By experimenting with a mix of headlines and angles before choosing a final one, I could test what felt most engaging while staying true to the magazine's message. This was especially useful for my Recession Core article as having a plan meant I could test different ways to express the theme of stripped-back fashion without repeating myself or drifting off-topic.
Overall, the structure made the whole project feel more manageable. It helped me pace my workload, keep each article aligned with the overall tone of the magazine, and stay focused. Without it, I think I would have felt overwhelmed trying to hold all the ideas in my head. Below are screen shots from my pre production section of the article writing structure template that I used and how I utilised this when creating my own plans,
This website also reinstated that this template covers the 4 basic elements of a great magazine article, including:
The Headline: Your headline summarizes your article’s substance.
The Introduction: Your introduction, also known in journalism as the lead, is the bridge between your headline and the core of your article.
Body Content: Your article body is what your reader came for; it’s how you deliver on your promise from the headline and introduction.
The Conclusion: Your article conclusion gives your reader a sense of closure. It reinforces the main objective of the article and helps the reader decide what to do next.
I found this website article particularly helpful when it came to planning my content, as it not only provides you with a well-structured template to follow, but it also goes into detail about the key elements of each section in the template.
What about the word choice and imagery?
Word choice and imagery played quite a big role in shaping the tone and impact of my magazine articles. I wanted each piece to feel distinct yet part of a cohesive whole collection of articles, so I was very intentional about the language I used. For example, in the Recession Core article, I leaned into words that felt grounded, stripped back, and resilient, terms like 'survive,' 'practicality,' 'stripped-down,' and 'post-crisis' helped to reinforce the article’s themes of endurance and authenticity. These choices helped to strengthen the connection between the writing and the visuals, which were also muted, raw, and documentary-style.
In contrast, for the Shock Fashion article, I used much more vivid and provocative language to match the bold visuals and high-energy layout. Words like 'spectacle,' 'controversial,' 'ignite,” and 'outrageous' set a punchier tone. I wanted the reader to feel the tension between fashion as artistic expression and fashion as attention-seeking. This contrast was important when it came to the audience thinking about the article’s central question: when does fashion go too far?
Imagery, both visual and written, helped bring the articles to life. I used a lot of metaphors and sensory language, especially in more reflective pieces. Phrases like 'a mirror to society' or 'walking a tightrope between genius and offence' helped readers visualise abstract concepts in a way that felt accessible and thought-provoking. I also found that combining strong visuals like documentary photos or styled fashion shoots with this kind of descriptive writing created a more immersive reading experience.
Overall, being intentional with my word choice and imagery helped me fine-tune the voice of the magazine. Each article had its own mood, but they all felt like they belonged together because the tone, language, and visuals were working in sync.
Did the development of your articles go as planned? Talk about the drafting process and the decisions made, etc.
The development of my articles didn’t go exactly as planned, but I think that this made it become a valuable part of the process. Initially, I had mapped everything out using the article writing template, which gave me a clear structure: headline, intro, key points, and conclusion. This was incredibly helpful in the beginning, but as I started writing, I realised that real-world examples, tone, and narrative flow often forced me to steer away from the template and rethink my approach.
One of the most revealing parts of the process was how often I had to redraft the openings. I learned very quickly that a strong introduction is one of the hardest things to get right, as it sets the tone, establishes the angle, and needs to hook the reader. For example, in the Shock Fashion article, my first version started off a bit flat, too focused on listing examples like Lady Gaga and runway extremes. After rereading it with some distance, I realised it wasn’t engaging emotionally and that it sounded too much like an essay rather than an article. In the redraft, I still opened with the example of Lady Gaga, but I asked a a broader, more provocative question about the fine line between self-expression and spectacle. This shift gave the whole piece more weight and direction.
First attempt
Second attempt:
My drafting process became quite straightforward: write, reread, delete, rewrite. In most articles, the introductions and conclusions were the hardest. I wrote three or four different intros for the Japanese Street Style article before I found the right tone. The early versions were too academic. I wanted the piece to feel vibrant and human, so I ended up starting with imagery - 'Step into the streets of Harajuku, Japan and you’re not just in a fashion district - you’re in a parallel universe. Neon wigs. Platform shoes. Decora girls draped in rainbow accessories. Gyaru queens in sky-high lashes and skin kissed by artificial tan.' It grounded the article in visual detail, which drew the reader in immediately. That switch from abstract to concrete language made a huge difference.
Example:
Challenges, Discoveries, etc.
One of the most significant discoveries I made about my writing process is that research and drafting go hand in hand. Research didn’t just inform my articles but it also really helped to change their direction. For example, I wasn’t originally planning to focus on the working-class roots of T-shirt and jeans culture, but after reading about the history of denim and its ties to rebellion and labour and mining movements, I restructured that article completely. I removed a section on styling tips and replaced it with a reflection on how jeans have been used as a political symbol, from 1950s teen angst to contemporary anti-fashion movements.
I also experimented with word choice and tone throughout. I found that using active, visual language made my points more impactful. Instead of saying, Traditional dress is unique and useful,” I wrote, “What’s especially striking is how traditional garments reflect the environments that they come from. The light robes of North Africa, the thick woven ponchos of the Andes - each piece is engineered not just for beauty but for survival. In today’s era of climate awareness, that kind of design logic feels more relevant than ever.” This choice made the article feel more alive. When I used generic or academic phrases, the energy dropped, so I redrafted with a focus on sensory language and clarity.
What didn’t work was trying to write everything too quickly. When I rushed, the articles felt unfocused or flat. I also learned that some “clever” phrases I liked in early drafts didn’t actually serve the reader or the point I was trying to make and they were just filler. Cutting those made the articles tighter and clearer. Peer feedback was crucial in helping me spot these moments, as well as valuable insights from my tutor Greg after he read through each draft.
In terms of themes, I explored the link between fashion and identity, particularly how clothing reflects rebellion, hardship, and community. I found these themes deeply engaging, and I’d definitely like to continue developing them. Moving forward, I plan to continue working on the magazine, possibly turning it into a zine or online blog. I’d also like to include more interviews or first-person pieces from people who use fashion as expression such as artists, designers, even everyday people with strong street style. The next step is expanding the magazine into a platform that will draw in even more of my target audience.
Overall, this project taught me that good writing takes time, experimentation, and emotional investment. The strongest pieces came from moments when I really questioned what I was trying to say, and why it mattered not just to me, but to my audience.
Looking back on the work I’ve produced, I’m proud of what I’ve accomplished, but I can also clearly see areas I would adapt and improve if I were to take the project further. One of the main things I’d revisit is the visual design across the spreads. Although I explored a lot of different layouts and visual styles to reflect the individuality of each article, I think some of the transitions between articles could be more cohesive. If I had more time, I’d refine the visual language further possibly by establishing a stronger grid system or consistent design motifs that tie all the spreads together, even when the tone of the articles shifts. This would help the magazine feel more unified without sacrificing variety.
Another area I’d like to develop is interactivity and reader engagement. Right now, the content is very much designed for print, and while that was intentional, I can see the benefit of expanding into digital formats , maybe even creating an online version where articles include video clips, animated illustrations, or audio snippets from designers or wearers of traditional dress. That kind of multimedia approach would add depth to the articles and make the whole experience more immersive for the reader. It would also open up opportunities for audience interaction, like comment sections or user-submitted content, which would make the project feel more like a community than just a publication.
Target audience reflection and feedback
In terms of whether the final work is appropriate for my target audience, I do think I achieved that overall. My main audience was young, creative, culturally aware people, especially those interested in fashion, identity, and self-expression. The themes I explored, such as cultural heritage in fashion, Recession Core, and the evolution of T-shirts and jeans, are all relevant to that demographic. These readers are likely thinking critically about the messages they send through clothing and are interested in the bigger social or historical conversations behind trends. I think the magazine’s tone which is thoughtful, reflective, but not overly academic speaks well to that group.
However, what would make it even more relevant, would be broadening the cultural aspect of it and including more diverse voices. I touched on different global styles, like the hanbok and kimono, but I could have gone further in exploring fashion from other regions, particularly places that aren’t always centred in fashion media. Adding interviews or street-style snapshots from a wider range of people would not only make the content more inclusive, but it would also resonate more deeply with an audience that values authenticity and representation of all kinds of people.
I believe my target audience would be interested in this project because it doesn’t just treat fashion as surface-level or trend-driven but instead it dives into the meaning behind clothing including how style intersects with history, politics, rebellion, and self-definition. This kind of approach respects the intelligence of the reader and invites them to think, not just consume. I tried to strike a balance between analytical writing and emotional connection, which I think is something readers in this space are looking for.
Going forward, I definitely want to continue developing the magazine. The next steps would be refining the visual identity, perhaps working with collaborators (such as illustrators or photographers) to expand the aesthetic range, and maybe even planning a second issue. I’d also consider exploring themed editions, for example, one issue focused entirely on resistance fashion, or one centred around youth subcultures worldwide. Overall, the process has shown me how much potential this format has not just for creative expression, but for creating something that people can genuinely connect with.
For my feedback, I reached out to a range of people, mainly focusing on my target audience of young adults. I also included a few others whose opinions I value, especially those who have a strong interest in the themes I explored. Getting different perspectives was really useful, as it helped me identify what worked well and what could be improved. This feedback played a key role in understanding whether I had reached my target audience or not, and also gave me ideas for what I could do differently in future projects.
Overall, my FMP has been one of the most valuable creative experiences I’ve had so far. It taught me so much, not just about layout and visual design, but about storytelling, audience awareness, and how to build something meaningful from the ground up. I learned how to take an abstract concept, like fashion as a cultural language, and develop it into a full editorial product. From idea generation to article writing, designing spreads, experimenting with type, photography, and structure, I’ve had to think like a writer, editor, designer, and creative director all at once.
One of the biggest skills I’ve developed is editorial storytelling and understanding how different articles speak to each other across a magazine, how layout and design affect the tone of an article, and how to guide a reader through a piece visually and narratively. I’ve also become a lot more confident in my writing. Through drafting, redrafting, and thinking carefully about voice and tone, I found a writing style that feels like mine - informed, thoughtful, but still accessible. This is going to be hugely useful at university and beyond, especially as I move into media journalism and publishing at Oxford Brookes. Whether I’m writing feature articles, designing publications, or producing digital content, these are all transferable skills.
I also learned a lot about project management - from setting deadlines, adjusting when something doesn’t go to plan, and knowing when to let go of an idea that isn’t working. That’s a skill I know will carry over into both academic and professional environments. In journalism and publishing, especially, flexibility and problem-solving are essential. My FMP reminded me that a strong final product often comes from knowing how to adapt and refine, rather than sticking rigidly to the first idea.
Another huge takeaway is the power of combining visuals with my writing. I now see how much storytelling happens through imagery, fonts, and structure, not just through words. This awareness will help me stand out in future projects, particularly in roles where multimedia storytelling is key. Whether I’m working on a magazine, producing digital editorial content, or designing social campaigns, this ability to think like this will be very useful.
Most of all, my FMP has deepened my love for storytelling through design and words. It’s made me realise how much I enjoy creating thoughtful, visually engaging content that starts conversations. Going into university with this experience behind me means I already have a sense of what kind of creative voice I want to develop, and I feel more prepared to take on complex, long-term projects with purpose. I’ve built a strong foundation and now I’m excited to keep building on it!
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An outstanding extended project demonstrating a wide range of skills, techniques, understanding of the role of the writer and knowledge of industry, a passion and enthusiasm for your subject, form and themes and reflected upon purposefully and intelligently.
