While this has not increased Medine’s economic capital in the beginning, the website came with the opportunity to reinforce her social capital. As with Sykes’ Twitter example, engagement with Medine’s audience through her website enabled Medine to the network via Man Repeller with other key agents of the field. This resulted in collaborations with brands such as Madewell and Gucci to name a few. In this context, Medine’s social capital was constantly exchanged for that of economic capital. This was clearly evident in the engagement of her...
While this has not increased Medine’s economic capital in the beginning, the website came with the opportunity to reinforce her social capital. As with Sykes’ Twitter example, engagement with Medine’s audience through her website enabled Medine to the network via Man Repeller with other key agents of the field. This resulted in collaborations with brands such as Madewell and Gucci to name a few. In this context, Medine’s social capital was constantly exchanged for that of economic capital. This was clearly evident in the engagement of her audience seen in articles on Man Repeller, which has led to an increase in her social media followings. In addition to this, Medine has seen a rise in the symbolic capital, through her exchange of cultural capital – that of her journalistic professionalism and degree – to the one of status within the field of digital fashion media. Moreover, the increase in social media followers benefited her when securing paid collaborations with other agents of the field, which finally started to increase Medine’s economic capital.
To summarize, it can be argued that both Medine and Sykes have significantly increased their social capital due to the rise of digital media. Interaction online has become the preferred method for fashion journalists, who are now able to engage with their readers and react to feedback on articles and discussions. With the print market still heavily relying on house styles and style codes, it suddenly makes sense why more and more fashion journalists take on digital platforms, especially when considering the lack of creative writing freedom at print publications.