Wednesday, 5 February 2014

PRIMARY RESEARCH - VOGUE INT'L LAYOUTS

As part of my primary research into international vogue magazines, I have looked through a small selection of my own international editions to gain a sense of layout and direction for different countries and cultures, analysing similarities and differences. I have chosen a cross-section of magazines and layouts to show the key qualities and differences between editions.

UK - Feb 2014:

British Vogue in terms of aesthetics for this particular issue shown below, is quite stripped back with clear, legible, sans-serif and serif type choices highlighting and emphasising key features, as shown on the cover. A simple colour scheme, of black and white runs throughout with odd highlights of red, especially on the cover. 



Contents page - 4 column grid system, with use of red (page numbers) , and black type along with full colour imagery. 
The headline "inside vogue" uses a combination of type which is adapted throughout the magazine for it's different features, as shown below with the editor's letter.


Use of columns again gives structure without overly grid-ding the layouts.


Different typefaces are shown above, giving a more relaxed and informal approach to issues raised through the magazine. Each topic mentioned is also backed up by a visual engaging the viewer further, and adding context for further and better understanding.


A more gridded page, featuring statement pieces. 'Vogue Spy' has been adapted from the previous headlines, and positioned in the top right. 

The following 2 pages show a more collaged approach to layout aesthetics. It is a more intriguing and appealing approach to design, as seen on the top right, however would be overwhelming if used continuously throughout the magazine due to the intensity of the page and the variety of prints, imagery and colour. A variety of type has been shown on both double page spreads, from the classic 'Vogue' typeface, to sans serif fonts and hand rendered type.




4 block columns used with imagery on the right hand page opposed to being interspersed through the layout design, leaving the body copy as the main focus.  

Overall the UK use classic, and more minimal approaches to design and layout composition, opposed to some of the other layouts shown below.

India, July 2008:

As seen below Indian Vogue use much more colourful, and contextual approaches to design. Not only in terms of layout and composition but in terms of imagery and type.

Unlike most international editions, Vogue India, more often than not use national stars and models for their covers, however the type throughout is in English which is unusual for an international magazine/edition. 



Above shows one of their featured trends pages, showing catwalk photos and fashions relating to combat. The colours and aesthetic are appropriate to the context as well as the ethics of the country. The same is applied to the double page spread below also, with appropriate imagery and bright, colourful patterns and textiles, reflecting indian fashions. However the colours and type choices may clash slightly, this shows differences already between designs for Indian and UK Vogue alone.




Cultural additions to the magazine show contrast between countries, especially with jewellery, photography and textiles as shown below.



Australia, May 2008:

Even more so than British Vogue, Vogue Australia captures a clean-cut, smart, formal and luxurious approach to their layout design. The use of colour on the cover, is the most colour used throughout the editorial spreads. A simple black, white and red colour scheme is used throughout.





Collage approach used above to show current trends, which is then used to reflect the other elements throughout the magazine. 



As shown above, and below, often full size images are used on one page compared to the opposing page, whereby three columns of type are used, with imagery interspersed throughout the spread.



Vogue Australia, often feature more editorials on home and arts, compared to the British edition for example. Collaged images are used throughout the spreads to fit the most content into an A3 spread.

UK, Spring/Summer Collections 2014 (FEB SUPPLEMENT):

With the UK Feb 2013 edition, a Sprint/Summer '14 Collection supplement was also given free, and gives a totally different aesthetic and vision of the magazine than the main issue. The main issue reflects serious luxury, with a high standard of detail to editorials, photography and it's contents, whilst the supplement shows a more fun, colourful, trendy approach to design. 

As the images are scanned in it is hard to clarify the colour on screen, however type used throughout, such as "The Catwalk Issue" on the cover have been printed with fluorescent inks, echoing the designs and colours on trend and reflecting through the mini-magazine which is a slightly smaller in size than Vogue itself.



Angular layout of catwalk models/key looks, whilst the type remains the same as in Vogue itself for consistency.



Different approaches to showing collections have been used, by placing imagery on angles, in grid formats and as close-up views. Below shows a heavily collaged and colourful double page spread, showing beauty trends, with imagery and 'spilt' cosmetics.


Spain, July 2006:

Spanish Vogue shown below, features its cultural language opposed to using English. The cover image seems much more natural and exotic to the classic shots British Vogue uses, or the cultural images Indian Vogue uses. Sans-serif  and more decorative typefaces are much more common throughout the magazine also.




Column-set type is used on the pages above and below, whilst using an alternative sans-serif typeface to those previously shown. Images are interspersed showing different elements and features relating to the topic at hand (being discussed on the page).



The beauty page shown above is much more relaxed and stripped back to the UK spring/summer supplement which is diverse, colourful and collaged.


A more structured and gridded double page spread. I really like the use of captions on each image with black on white type, and white type over imagery adding extra detail.

December 2013, UK (CHRISTMAS SUPPLEMENT):

With the UK December 2013 issue of Vogue, came a Winter supplement showing a dazzling collection of party wear which the cover perfectly represents. 




The contents page shows the classic use of red, black and white used throughout, but used central justification for the body copy unlike other editions whereby type is set in columns. The glittery 'Vogue' logo however shouts luxury and expense which the magazine advertises, as well as being quite christmassy too. The same principal has been applied to the numbers and decorative snowflakes shown in the collaged page below.



A christmas get away page, reflecting the opposite for those sun-seekers. It uses heavy collage with type blocks on top to show information on content.


Christmas reflected through imagery, colour, decorative features and illustrations.

UK, December 2013:

In-keeping with the supplement above, the December 2013 edition shown below features gold foil-blocking for the 'Vogue' headline, however due to the cover being scanned in is not that apparent. This reenforces the magazines ethos and it's content also as well as the season. 



Split type/image used for contrast.


Circus style font used above, reflecting a traditional vintage approach to the editorial feature.

Winter 2011/2012, Italy:

The Italian edition shown below, is slightly smaller again in format. Again due to scanning high-details can't be seen, but the two 'Vogue' logos have been printed using spot varnish, creating a glossy, luxury contrast to the matte stock the cover is printed on. The colours used also reflect the winter/spring palette - cool pastels.



A hand rendered approach has been used above to create illustrations mixed with photography, creating an interesting collage style, combined with type.



The two double page spreads, are the most gridded out of all the layouts shown so far throughout this post, with imagery and type being kept in a tight grid system.


A collage of illustration and photographs has been used above to create an unusual aesthetic. The type choices used for the double page spreads are also much different to those used for different editions. They are much more bold and noticeable.


Again a grid based contacts page for the designers featured throughout the magazine. Really like the contrast between the black, white and purple using an opacity to show layering of type.

Italy, April 2009:

In comparison to the Italian edition shown above, the April 2009 edition proves to be even more gridded and structured in terms of its content and layout placement. As seen in the spreads below it is based upon architectural forms and shape.

The cover itself is also unusual for Vogue being more vintage and rustic looking, with much more minimal type.




Influence of architecture shown above reflecting the layout shown throughout the edition.





Very similar, block layouts have been used on the pages above, with consistency in layout, colour, type, image placement and headline. Even the interview shown below remains without imagery, and emphasises instead on colour and collage style type placement.


Paris, Feb 2011:

The Paris edition shown below, is again in French throughout reflecting it's culture. Similar, experimental and easy to read layouts have been used such as those of Vogue UK/Australia.







The two double page spreads below feature heavy image and type contrasts which work well for the article and imagery used.

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