THESIS

Research and Planning:

Before producing my magazine, I carried out detailed research into both traditional and digital fashion media. I studied Vogue, Harper’s Bazaar, Dazed Digital and The Fashion World website to understand how professional magazines combine photography, text and branding. I analysed mastheads, typography, and article placement, noticing that mainstream magazines use bold serif fonts for authority and clean sans-serif fonts for features. I decided to merge those styles — using a bold serif for “Urban Vogue” to feel established, and a lighter sans-serif for headlines to appear modern. 

From my research, I also learned about color psychology. Warm tones such as orange and beige create a welcoming feeling, while black and white imply sophistication. These insights shaped my palette: the Black & White Minimalist Fashion Page spread establishes professionalism, while the Orange Neutral Modern Fashion and Pink and Orange Bold Fashion spreads bring youthful warmth. The White and Beige Classic Minimalist pages reinforce the eco theme with natural simplicity. 

For planning content, I brainstormed article ideas linked to sustainability. Pieces like “Casual Outfits That Wow”, “Why Buying Less Means More”, and “Vintage Sustainable Fashion” were chosen because they blend practical fashion advice with ethical awareness. I structured each article around short, engaging paragraphs — the kind my target audience (aged 16–25) would actually read on their phones as well as in print. I also created pull quotes and sub-headings to break up text and add visual rhythm.

Photography planning was equally important. I researched lighting and composition tutorials and experimented with Lightroom to give all photos a soft, cohesive tone. I used natural light where possible, avoiding harsh contrasts to maintain realism. My images focus on fabric textures, close-ups of recycled materials, and relaxed poses instead of typical posed glamour. This choice reflects how Gen Z embraces authenticity over perfection. 

Software played a huge role in realizing my vision. Photoshop allowed me to retouch images carefully without losing natural texture; Canva made layout alignment simple; and Lightroom helped create consistent colour grading. Using these tools taught me practical industry skills such as grid design, typography pairing and exporting print-quality PDFs. I also learned to manage layers and transparency effects to blend text with imagery effectively. 

Time management was one of my biggest challenges. At first, I underestimated how long it would take to maintain consistent branding across multiple pages. To solve this, I built a style guide — listing my fonts, colour codes, spacing and logo placement. This kept the design cohesive and saved time later. Peer feedback also guided my process; classmates noted that early drafts looked too plain, so I added more contrast and stronger headlines without losing the minimalist tone. Research also included understanding audience expectations. I conducted a short questionnaire among friends aged 17–22, asking what they value in a fashion magazine. Most said they wanted “honest” and “creative” content that didn’t pressure them to buy expensive items. This insight confirmed that Urban Vogue should feel relatable and aspirational at the same time. By the end of the planning phase, I had a clear vision: Urban Vogue would be a high-end-looking magazine with an ethical heart — sleek enough to compete with professional publications, but meaningful enough to speak to modern readers. 

Media Language and Representation:

In media studies, media language refers to the way meaning is created through images, text, colour and layout. Every design choice in Urban Vogue was made deliberately to communicate ideas about sustainability, creativity and youth culture. I used Roland Barthes’ semiotic theory to guide my visual symbolism. For example, the use of beige backgrounds and organic textures connotes earthiness and environmental awareness. The masthead “Urban Vogue” itself combines two seemingly opposite ideas — “urban” (modern, city life) and “vogue” (style, sophistication) — to suggest that sustainability can be fashionable. This pairing reflects Levi-Strauss’s theory of binary opposites: city versus nature, new versus old, luxury versus responsibility. The magazine resolves these opposites by showing how they can coexist harmoniously. Typography also carries meaning. Serif fonts, used in article titles like “Winter and Autumn Sustainable Fashion”, convey tradition and seriousness, while sans-serif body text keeps readability and modernity.

Large margins and white space create calmness, contrasting the clutter often seen in fast-fashion advertising. Each spread invites readers to slow down — mirroring the ethos of slow fashion. For representation, I drew on Stuart Hall’s encoding/decoding model. I encoded images of diverse individuals wearing thrifted or re-styled clothing to challenge the stereotype that sustainability is only for a certain social group. Audiences decode these visuals according to their values; for Gen Z readers, the message “eco can be cool” is likely to be read dominantly, reinforcing positive identification. David Gauntlett’s theory of identity also influenced my approach. He argues that media offers “resources for identity.” By featuring real, relatable looks instead of unattainable perfection, Urban Vogue provides readers with identity models they can emulate realistically. It shows that being stylish does not require overconsumption. I considered Judith Butler’s theory of gender performativity while designing imagery. 

Many poses and outfits blur gender expectations — for example, oversized jackets, neutral palettes and fluid silhouettes — representing fashion as a space of freedom rather than rigid roles. The soft lighting enhances inclusivity and avoids the hyper-sexualisation common in fashion photography. Language in the articles is conversational and empowering. Sentences such as “Style is about creativity, not cost” position the magazine as a friend giving advice rather than an authority dictating trends. The tone balances professionalism with warmth, appealing to a young audience who appreciate authenticity. Visual cohesion across pages builds a recognisable brand identity. The Orange Neutral Modern Fashion Spread uses warm hues and diagonal text placement to symbolise energy and youth. The White Beige Classic Minimalist page conveys purity and simplicity. The Pink and Orange Bold Fashion article introduces vibrancy, ensuring that sustainability doesn’t appear dull. The Black and White Minimalist Page provides contrast and sophistication, echoing traditional fashion layouts. Through these creative choices, I aimed to represent sustainability as desirable — not a limitation but an evolution of style. Each page invites the audience to imagine themselves as part of a fashionable yet responsible movement. 

Audience and Industry Context:

The primary audience for Urban Vogue is Gen Z readers aged 16–25, both male and female, who are socially conscious and digitally engaged. This group is used to consuming fashion content on social media but still appreciates curated visual design. They are influenced by environmental activism and prefer authenticity over extravagance.

Applying Blumler and Katz’s Uses and Gratifications theory, Urban Vogue satisfies multiple audience needs:

• Information – articles on sustainable fashion educate readers.
• Personal Identity – features allow readers to see themselves reflected in eco-friendly lifestyles.
• Integration and Social Interaction – the relatable tone fosters community.
• Entertainment – aesthetic visuals and layout provide pleasure and inspiration.

In terms of psychographics, the magazine targets “Reformers” and “Explorers” (from Young & Rubicam’s model). Reformers seek personal growth and social awareness; Explorers crave new experiences and creativity. Both align perfectly with sustainable fashion ideals.

From an industry perspective, Urban Vogue could fit within independent fashion publishing or digital lifestyle brands. The design is suitable for both print and tablet display, acknowledging how young audiences often access media across platforms. The project mirrors real shifts in the fashion industry, where brands now combine online presence with printed editorials to strengthen credibility.

I also considered Henry Jenkins’ concept of participatory culture. Gen Z audiences are active participants, not passive consumers. If Urban Vogue were a real brand, it would encourage reader engagement through social media — inviting users to share thrift-store finds or DIY styling tips using hashtags. This interactive element turns the magazine into a community rather than just a product.

Ethical production is part of the magazine’s brand identity. All photography used royalty-free or original images, avoiding exploitative practices. The tone of the writing respects diversity, body positivity and sustainability, avoiding harmful stereotypes.

In comparison with established magazines, Urban Vogue would occupy a niche similar to Dazed Digital or Eco-Age — stylish yet meaningful. However, its clean design and aspirational branding could also appeal to readers of Vogue who are transitioning toward ethical consumption. The name “Urban Vogue” symbolises that bridge between mainstream glamour and new-age responsibility.

By designing for this audience, I learned that media products must balance aesthetics with message. Gen Z readers notice authenticity instantly; anything that feels forced loses trust. Keeping the tone natural and relatable was therefore crucial to maintaining audience connection.

Evaluation and Reflection:

Looking back over both A1 and A2 stages, I can clearly see how my creative and analytical skills developed. In A1, my focus was mainly on learning media conventions — mastheads, by-lines, cover lines and basic layout design. By A2, I had moved beyond imitation to creating a distinct visual identity with a consistent message. My understanding of media theory also deepened, allowing me to apply ideas from Hall, Gauntlett and Barthes consciously during production.

Technically, I became confident using Photoshop for image composition, Canva for grid design, and Lightroom for tone correction. Early challenges included matching colour grading across pages and maintaining text readability over images. I overcame these by experimenting with opacity layers and subtle shadows behind text. Time management was another challenge; to stay organised, I created a schedule and mood board at the start of each term, which helped me stay consistent.

Feedback played an important role. Teachers and peers commented that my first drafts looked too plain, so I learned to use contrast and highlight elements strategically — for instance, orange text blocks against beige backgrounds to draw the eye. These refinements gave the final product professional polish without losing its minimalist aesthetic.

From a theoretical standpoint, producing Urban Vogue helped me understand how media representations construct meaning. Every design decision carries cultural implications. For example, choosing to feature thrifted clothing rather than designer brands subverts capitalist ideals embedded in traditional fashion media. This demonstrates how independent creators can challenge dominant ideologies — a practical application of Hall’s theory.

I also reflected on audience responsibility. Creating a magazine that promotes sustainability means being aware of the messages it sends. I avoided unrealistic body imagery and made sure captions celebrated creativity rather than consumption. This taught me how media can empower rather than pressure its audience.

The combined A1 and A2 process simulated the workflow of a real media professional: research → planning → production → evaluation. I learned to integrate creative software with theoretical analysis, bridging artistic intuition with academic understanding. The final magazine communicates a clear brand identity: Urban Vogue stands for conscious style, minimalism, and self-expression.

If I were to extend this project further, I would build an online edition with interactive features such as short videos, links to sustainable fashion brands, and user submissions. This would strengthen the participatory aspect of the brand and expand audience reach globally.

Overall, I am proud of how Urban Vogue developed from concept to completion. The magazine successfully conveys that sustainability can be fashionable and that modern media can inspire responsibility as well as creativity. The process taught me not just design skills but also critical awareness — understanding how every image, word and layout decision shapes meaning.

By combining aesthetics with purpose, Urban Vogue embodies what contemporary fashion media should be: smart, ethical, and empowering.