In light of Rocamora’s argument, it can be said that fashion journalists working for heteronomous magazines share a close interest with brands and specifically advertising. Mainly driven by commerciality, their aim for fashion publications is to accrue economic capital on a constant basis. This concerns some established fashion magazines including British Vogue, which is heavily “supported by investments from advertisers rather than from subscribers.” A journalist working for a publication that situates itself closer to the heteronomous pole works foremost on stories where advertising takes center stage. Advertised content ranges from editorial shoots...
In light of Rocamora’s argument, it can be said that fashion journalists working for heteronomous magazines share a close interest with brands and specifically advertising. Mainly driven by commerciality, their aim for fashion publications is to accrue economic capital on a constant basis. This concerns some established fashion magazines including British Vogue, which is heavily “supported by investments from advertisers rather than from subscribers.” A journalist working for a publication that situates itself closer to the heteronomous pole works foremost on stories where advertising takes center stage. Advertised content ranges from editorial shoots with featured credits, to shopping pages and reviews on a designer’s collection. With luxury goods as the main focus in the fashion pages, publications not only create the notion of being in-sync with top leaders of the fashion industry but also convey an image of belonging to the elite to the reader. Hence although the relationship appears natural and unbiased at first sight, it is rather more a forced one, with fashion magazines having little said or choice in the type of brands they want to include in print issues. It is also what Kawamura observes as “a collaboration between press and trade” where journalists encourage readers to buy fashion products in order to support fashion brands to sell their goods in fashion pages. For Findlay it is a blurring of lines, between production and consumption, where symbolic and economic capital is increased for both, the fashion brand and the fashion publication For the fashion brand, this results in staggering sales in the market and an increase in economic capital, while fashion publications benefit from reinforced status and symbolic capital in the field of fashion media.
