Figure 3: leather connotations
established through a shared
lifestyle vision constructed
through the magazine. Machin
and van Leeuwen believe that
lifestyles “rest on the rule of
the role model and the expert”
(2005,
p.594),
the
celebrity
functioning as the role model
and the fashion team as the
expert. If the celebrity is being
distinguished as superior to
the reader, then it is possible
that the reader may not feel
capable of wearing certain
items, or feel that they perhaps
do not qualify either in their
appearance or body shape to
carry the look. However, people
often feel more comfortable
following crowds, as Kant (1978)
remarks about the workings
of fashion: it is better to be
mad in a world where everyone
is mad, than to be sane alone
(p.68). With expertise in fashion
and styling, the fashion team’s
advice already seems credible,
however, by making the reader
feel as though they are one of
their trustworthy friends, they
may be more inclined to copy
their actions.
As Bignell (2002) notes, “the
semiotic
codes
of
women’s
magazines work to construct a
mythic world of the feminine
which compensates for the
lack of a satisfying social
identity
for
real
women”
(p.60). This mythic world has
the function of providing
comfort and community for
women. The celebrity is an
image that is assumed to be
representative of the ideals
of this shared community. It
is often through fashion that
people are able to communicate
their “affiliation with certain
values and attitudes”, as well
as recognising others around
the world who share these
common values, tastes and
attitudes (Machin & van Leeuwen,
2005, p.584). Within the text, the
celebrity is represented in a
position of superiority, which
may appeal to some readers who
consequently take inspiration
from their appearance. Other
readers may be deterred from
buying the promoted items
due to this positioning, so
the producers must employ
techniques that will bring a
shared sense of community, a
sense of a relationship between
the reader and producer.
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