1 voice volume 10, ISSUE JAN 2024 FASHION & TRAVEL MAGAZINE THE POWER OF SPEECH SIXTH SENCE 50 UNIQUE FASHION STYLES POWER OF MONEY WHAT MONEY CAN BUY IN 2023 40% OFF FEEL THE POWER OF LOVE & PEACE NEW SAMPLE ARTICLE HEADLINE ARE YOU UPGRADE LOVE FASHION? YOUR STYLE
2 C O N T E N T S FASHION .......................... page 1-2 INDEPENDENTS ............ page 4 HIDDEN GEMS ............... page 5
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4 A magazine is a periodical publication, which can either be printed or published electronically. It is issued regularly, usually every week or every month, and it contains a variety of content. This can include articles, stories, photographs, and advertisements.To create your own, choose a topic that interests you. It can be anything from fashion and beauty to travel and the news. Once you have your overall theme, you can start brainstorming the content. Just starting? Design a memorable masthead with an equally memorable name. This goes on the cover and sets up the branding for your entire magazine. What style are you going for? Is it playful? Classic? Bold? A good masthead captures the essence of your magazine, so it needs to be flexible, meaningful, and consistent enough for future issues.for years to come. Now for those of you interested to learn more, please read on. Just take note that the borders between those different types of photography are fluent and may not be as distinct as I describe them here. Nonetheless, I am sure that this article will help you to easily distinguish between them. First of all let me tell you that Fashion Photography and Commercial are usually summarised in the category of Advertising Photography, While Editorial Photography tends to be a category of its own. The reason being is that both Commercial and Fashion foremost try to sell a certain product, while Editorial Photography is more concerned with a story. Just take note that the borders between those different types of photography are fluent and may not be as distinct as I describe them here. Thanks to the global pandemic, jewellery designers seem to be a dime a dozen. Theres the famous far being famous influencer who sells minimalist chaines for prices that rival big city rents. Invanably theres the friend ora freod who creates nostasgia inducing beaded pieces that evoke memories of Toys “R” Us art kits and summer camp. There’s the OG middle aged maker who use kitschy materials and larger than life pendants that have a tendency to cause neck pain. And then theres the new wave of jewelry designer those who are seylish. But that’s beside the point. They’re winning us over with talent, innovation and purpose driven design geared toward the disability community. Jewellery designers have joined the adaptive-rashion w FASHION
5 A magazine is a periodical publication, which can either be printed or published dectronically. Flash ahead to 1992 and the Didone aesthetic is powerfully resuscitated in Fabien Baron’s re-design of Harper’s Bazaar. Baron commissioned Jonathan Hoefler to create a new digital Didot, a kind of super-Didot, drawn in extremely large sizes that allowed the type to be set in enormous display sizes while still retaining its razor-thin lines. When I interviewed Baron in 1995 for Eye, he seemed irritated when I asked if his choice of Didot was self-consciously referring to the Brodovitch era: ‘No, We used Didot because it’s very feminine, not because of the magazine’s history. When we started atBa-zaar things were very elegant and the direction of the magazine was about elegance.’ He applied the same spirit to his advertising and brand work with Valentino and Calvin Klein, and, more recently, his art direction for a book on Balenciaga. FASHION STYLE agery, showing how mental images are subject-to bending, folding and stretching. Typefaces associations, rather than purely mental ones. In my mind, the attenuated forms of Didone letters are not unlike the flattened geometries of dress patterns: accelerated curves and tapered rectangles meeting at precise junctures. Because of its radical thick-thin structure, the mass of the letterforms are greatly diminished: words typeset in Didone fonts act as a typographic veil over photography, making them particularly useful for magazine covers. One can imagine the fine lines of the Didone serifs as the seams and stitches that connect into an ensemble of parts. While we can speak of this ‘imaginary’ and associative dimension to Didone fonts, we can also point to one of its most salient, pragmatic are greatly diminished. As late as 1955, Vogue covers vacillated between serif and sans serif typefaces, as well as script faces and illustrative, photographic letters. It was after 1955 that the magazine appears to have legislated a consistent use of the all-capitals banner headline set in Didone letter-ing. Apart from minor details, it has remained absolutely fixed since then, the trade-dress of a powerful international franchise. prissy / posh attitude. To paraphrase Jack Parr’s line ‘Whenever I hear the word culture, I take out my chequebook’, consumers are now trained to take out their chequebooks whenever they see Didot. So why are Bodoni and Didot used so much in relation to fashion, apart from their stylishness and pedigree? Can it be that within the very forms of these typefaces they evoke the precision of tailoring, the flatness of fabric, the dynamics of gathering, draping and folding? In Dreaming by the Book, Elaine Scarry discusses how writers create and manipulate .
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7 THE LAST OF THE INDEPENDENTS Washington may be bailing on the planet, but the fashion industry isn’t. Yes, we’re part of the problem as the second-biggest-polluting industry-after oil and gas-but these 12 forward thinkers at the intersection of style and sustainability want to be part of the solution. They’re retrofitting factories and building stores that rely on clean energy and emit less of the carbon contributing to global warming. They’re transforming the discarded plastics choking our oceans and waterways into jeans and sneakers. They’re developing innovations that reduce waste, recycling materials and leaving nature be, and leading by the example of their personal choices. Just as the problem wasn’t created overnight, the solution won’t be, either. Fashion doesn’t have to be the enemy of the environment. That’s one trend that defies all seasons. Brodovitch had used Didot while working in Paris on Cahiers d’Art in the 1920s. In his reign as art director of Harper’s Bazaar, Didot was the black blade that cut the white space of his layouts. The font became the signature of Harper’s Bazaar as well as Brodovitch’s own signature. Laboratory at the New School. J e w e l l e r y d e s i g n e r s h a v e j o i n e d the adaptive fashion move - m e n t . G e t t o k n o w s o m e o f t h e t r a i l b l a z e r s w h o a r e d e s i g n i n g for people with disabilities.
8 H I D D E N G E M S Jewellery designers have joined the adaptive fashion movement. Get to know some of the trailblazers who are designing for people with disabilities. Thanks to the global pandemic, jewellery designers seem to be a dime a dozen. Theres the famous far be- ing famous influencer who sells minimalist chaines for prices that rival big city rents. Invanably theres the friend ora freod who creates nostasgia inducing bead- ed pieces that evoke memories of Toys “R” Us art kits and summer camp. There’s the OG middle aged mak- er who use kitschy materials and larger than life pen- dants that have a tendency to cause neck pain. And then theres the new wave of jewelry designer those who are seylish. But that’s beside the point. They’re winning us over with talent, innovation and purpose driven design geared toward the disability community. According to the World Health Organization, rough- ly 15 per cent of the world’s population about one million people is living with a disability a figure that hasn’t gone unnoticed. The adaptive-fashion indus- try, which caters to reach $366.8 million by the end of 2026 and jewelry designers are emulating their counterparts, creating inclusive pieces with modern flair. With that in mindstrich crosthetio imba have boon very limited. The early 1900s can be described as a time of contradiction. We see a change of technology, the existence of motorcars and female independence and on the other hand we see romance blossom, and greed take over by the leisured classes. The Belle Epoque, which in English is called “The Beautiful Era”, was a time of luxury for the wealthy upper class. The lifestyle of the upper class reflected truly on the fashion of this era especially in footwear. Lucile, Lady Duff Gordon, in her memoirs described the era perfectly; “ Society tottered through the last of the pre- Warm waved tiny lace handkerchiefs, and carried elaborate parasols untill the war came with its sweeping changes. From 1900 1909, boots were the most fashionable amongst men and woman. They were worn mostly in the day for working and were often edged in fur to keep their feet warm from the cold winter weather. Wearing narrow shoes was very common. Men and woman often wore shoes that were one size smaller that had a pointed toe and a medium height heel. an was a court.W
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