Magazines - A Level Media

• Lower-case on masthead


  Opposes 'rules' for capitalisation of proper nouns, implies an 'alternative' to conventional expectations
• Sans Serif fonts


  The modern font used for the masthead creates a contemporary and progressive tone
• Lack of cover lines

  Simplistic layout with lack of typography creates an atypical layout to evoke theme of originality and non-conformity
• Centralised label


  The celebrity's name is the only other text apart from the masthead title, issue no. and pricing, on the page; it acts as a caption for the portrait above, providing an anchor to the image, and makes a statement that she is important and worth noticing
• Minimalist aesthetic


  The focus is on the women featured; there is no competing information such as the use of puffs and banners to distract or divert the reader's attention. The bold colours utilised 'fill' the cover as opposed to the usual additions of puffs, banners, graphics and images
• Themes

  Femininity as a thing to be cherished, and strength as mental and emotional rather than physical
• Narratives


  Journeys of resilience, quests for saving nature, and endeavours on how to be an ethical consumer
• Low-angle shot of the model

  Elevates the model and refuses to serve an objectified agenda; the styling of her hair and make-up suggests that the magazine is focused on visual appeal but not for a male gaze
• Simple masthead


  Use of the definitive article 'the' ensures that the female gender is promoted and given status; the name carries similar connotations to that of 'gentleman', which includes ideas surrounding civility, class, wealth and standards
• Bold orange colour scheme


  Connotes both a fresh and confident quality which mirrors the values of the publisher
• Minimal layout


  The full-page photograph of a well-respected and familiar face (actress Scarlett Johansson - known from film franchise Avengers as well as others) capitalises on stardom to sell the issue
• Absence of coverlines


  Clear focus is on the person featured. It also creates an enigma for what else the audience might find within the magazine
• Writing style


  Article titles of various sizes positioned in odd spaces, perhaps to prompt the reader to take notice
• Minimalist approach


  Suggests a no-nonsense mode of address with a focus on the idea of 'woman' and what that means in the current era. The overall 'look' helps to establish the identity and values of the brand
• Niche product


  Partly because of the content it covers but also in the visual style and layout. The content celebrates women for their authenticity, intelligence and successes as opposed to the usual fare of celebrating women for their physical 'successes' (youthfulness, size, etc.), or critiquing them for these things also
• Narrative story


  One of transformation. Pattinson is seen as reaching a 'new equilibrium' through his makeover and by confronting just what it means to be masculine today
• Implosion


  The notion of the breakdown between the digital simulated world and the 'real', tangible universe we live in. The front cover image of Robert Pattinson restyled as a 'punk' creates a 'hyperreal' impression of the man; his image has been constructed, which in turn is a simulation of a persona - not the 'real' Pattinson
• Subversion of binary format


  The inclusion of the story with Jonathan Bailey subverts Strauss' typical binary format; instead of strict 'male' versus 'female' presentations, femininity and masculinity lines are blurred and presented as something far more fluid
• Narrative communicated


  One of quests for success and the betterment of the natural world. The story being told throughout the articles contains a common theme: women are formidable and can achieve great influence on many circles of society. The narrative delivered subverts those told to women in generations past; preoccupation with all things domestic, romantic or wholly aesthetic are omitted. In its place are stories of women who fight for the planet, fight for status, and fight for commercial success
• Visual style


  Places it outside the mainstream, defying the conventions of the genre. Genre categories could be seen as an example of structuralism. Magazine genres group unrelated texts by linking through common features, thereby creating structures by the way they have been organised. In order to defy conventions of women's mainstream magazines, this relies on the creator's knowledge of their conventions and format
• Traditional notions of masculinity

  Are challenged in GQ with the subversion of the heartthrob image of Pattinson and the in-depth interview with Jonathan Bailey as being an inspiration to 'both men and women'. GQ positions itself to 'mirror' the evolution of man - the social and historical ideas of the modern man being preoccupied with grooming and self-care as opposed to being 'macho' and 'rough'. Metrosexuality is celebrated and encouraged through the choice of celebrities featured and allows readers to identify with the ideals as well as aspire to be as 'stylish' as those presented through the brands worn
• Gender performativity


  Butler states that we all 'perform' a gender - a set of rituals and routines that are expected from the gender which we ascribe to. The men featured 'play' a part or version of masculinity - Pattinson looks 'wild', yet we know this is a different version of the actor we 'know'; Bailey plays a straight man in Bridgerton yet is open about his sexuality as that of a gay man. Masculinity is presented as something beyond archaic notions of maleness
• Front cover model


  A famous white woman, which might speak to the primary audience of The Gentlewoman being young affluent women. Precedence has been given to the celebrity's appearance in terms of make-up; however, the daring colour choices are unconventional and imply a 'different' side to the actress
• Presenting the male as a 'punk'


  Retains typical traits that are associated with masculinity (like aggression, for example), therefore reinforcing the idea that to be male you have to be powerful, strong and dominant
• Depiction of men and masculinity


  In the studied excerpts, there are no men. There are indirect references to the challenges women have faced when it comes to being viewed as secondary to men. The Gentlewoman chooses to feature women rather than men in order to give more of a voice to women
• Values and messages


  GQ focuses on topics relating to style and culture which reinforces the brand values of Condé Nast: capitalism, status and wealth. The fashion wardrobe featured on the actor Jonathan Bailey indicates the audience will have much disposable income (Armani trousers alone costing £1,200!)
• Diversity


  Although the CSP cover edition typically features a youthful, white, successful male, other editions have included individuals such as John Boyega and Lashana Lynch, thus showing more pluralistic representations with females and POC included
• Objectification


  Although females have featured on the covers of previous editions, many are still posed for voyeuristic pleasures with scantily clad actresses and seductive body language. Reinforcing this image of women as sexual objects indicates a conventional set of values towards femininity. Men are positioned as powerful, active and in control; progressive interpretations would suggest that there is now a 'male gaze' for men themselves through the lens of a homosexual gaze
• Pluralistic masculinities


  Hegemonic masculinity is the stereotypical ideal of masculinity in a patriarchal society. Gender roles are becoming less static. Since the 1990s the term 'metrosexual' was coined to depict men who subvert traditional traits and demonstrate more interest in their appearance and self-care
• Representation


  The Gentlewoman does not seek to label or define the limitations of femininity and provides an array of interpretations of what being 'female' means or looks like. Woman of all backgrounds, sizes, ethnicity, age, etc. are featured and presented as valuable. Such binaries of male/female appear to be irrelevant as the featured articles do not focus on relationships but rather accomplishments and ambition
• Race, ethnicity and cultural background

  The Gentlewoman articles that have been selected feature one POC (Ramla Ali Somalian boxer). However, all other woman featured including those on the front cover are white women, but this is not a convention of every edition. Black female athletes (Caster Semenya and Simone Biles) have also graced the covers of some editions
• Fluid and ever-evolving identity

  Gauntlett's belief that identity is a fluid and ever-evolving state of being can be applied to this text. The inclusion of both Francis Ford Coppola and Jonathon Bailey could perhaps be seen as appealing to all types of male reader both straight and gay
• Fashion and beauty content

  Have traditionally inhabited the realm of women's magazines; however, GQ dedicates much of its content to this, demonstrating a movement towards a less binary interpretation of gender while also appealing to perhaps the female demographic of secondary readers
• Representation of masculinity


  Within the magazine there are more progressive representations of masculinity; Jonathan Bailey is presented as a thoughtful, creative and sensitive male who happens to be gay. This subverts traditional stereotypes and provides audiences alternative interpretations of masculinity
• Changing social norms


  Social attitudes towards rigid gender roles are becoming more embracing of fluidity and personal identity. Progressive gender ideas that alter through cultural, social and historical contexts are reflected through the media and presented by the media to evoke recognition of altered identities
• Social groups


  The women featured would appeal to typically British, affluent and educated females. The access to both education and social contacts that enable them to 'make it' are the groups that would relate and celebrate the content of this magazine
• Representation of women


  Women are represented as interesting, educated and successful in this magazine. This is contrary to the versions of femininity in typical mainstream magazines that present women as being obsessed with gossip, clothes, family, relationships and being desirable. The Gentlewoman provides an alternative by shedding such limiting depictions of women and presenting them as intelligent, i
• Social attitudes towards rigid gender roles

  • Becoming more embracing of fluidity and personal identity
• Progressive gender ideas that alter through cultural, social and historical contexts are reflected through the media and presented by the media to evoke recognition of altered identities
• Women featured in the magazine

  • Appeal to typically British, affluent and educated females
  • Have access to both education and social contacts that enable them to 'make it'