Tracing fashion transformations: a comprehensive visual analysis of fashion magazine covers

2.1 Visual indicator analyses: Groupe μ and design analysis

Groupe μ (or Group μ) is a Belgian research group known for its semiotic and semiotic studies. It was founded in 1967 and focuses on the analysis of visual and literary texts. Semiotics is a scientific field that studies the meaning of signs and symbols and their role in communication. The name of the community, which specializes in rhetoric, is also inspired by rhetoric. The letter μ of the Greek alphabet is the first letter in the word “Metaphor,” the best known of the rhetorical writings (İnceoğlu and Çomak 2009: 281–282).

The work of this group is particularly important in the field of visual semiotics. Groupe μ’s methods for analyzing visual semiotics are used to understand how different signs (signs, symbols, colors, shape, composition, etc.) used in visual media and designs create meaning and how these meanings can be interpreted.

Groupe μ is a research group that works on theories of rhetoric, poetry, semiotics, linguistics, and visual communication. It is said that the first source of semiotics is the work of Barthes and Marin (İnceoğlu and Çomak 2009: 282–283). Groupe μ (1992), which studies objects of a visual nature within the framework of a general lexical theory, distinguishes between linguistic semiotics and visual semiotics with clear boundaries while criticizing visual analysis that remains dominated by linguistic research. In traditional semiotics, it is distinguished from communication and understanding systems by the canal it uses and by the human perceptual apparatus. According to the Groupe μ, a general theory of semiotics for understanding visual indicators requires the consideration of properties that can significantly influence our perception of colors and shapes; in other words, certain properties of the visual canal.

Canals can be uniquely defined by the type of sensory signals they can transmit, whether these signals are auditory, textual (i.e., consisting of recognizable signs), visual (i.e., based on optical quanta), etc. Here the distinction between short and long range seems to depend entirely on the range of the sensory “media.” Communication theory emphasizes the fact that the act of communication relies equally on two moments of realization, the first being the establishment of the communication link and the second being the act of communication itself (Sebeok and Posner 2010: 160).

Verbal linguistics is concerned with the transmission and reception of text or oral communication. This canal refers to messages that are transmitted through the use of linguistic elements, i.e., words, sentences or texts. This canal includes forms of communication in which texts are transmitted in written or oral form and the meaning of these messages is based on linguistic structures. For example, the written text of a book, the oral expression of a speech or the front page of a magazine are transmitted via the oral language canal.

This canal has a fairly clear and unambiguous structure in the transmission of written or spoken messages, and since these messages do not differ significantly in their semantics, the canal itself is usually less important than the essence of the transmitted message. This means that the linguistic canal is not unique and is characterized by the language elements it contains. However, the situation is different for sign systems that use a visual canal. In such strings, causeless connections are rarer, and the visual canal used adds specific features, including physiological properties that are particularly associated with perceptual processes. Researchers studying visual perception have identified the basic elements in the perception of visual strings; these elements include factors such as border or line, outline, surface, shape, texture, and color (Öztokat 1999).

As far as visual objects are concerned, Groupe μ states that there is no important difference between a signe (‘sign’) and a signifié (‘signified’). The signified is a concept that helps us understand how symbols work and how they generate meaning in a semiotic analysis. Furthermore, the signified explains how symbols come together in the semiotic system and carries the semiotic function that enables operations such as prioritizing and remembering something. Therefore, the operations of a perceiving subject, be it an object or a sign, are concentrated in the scriptural phrase. The form, on the other hand, has a social and cultural character. Klinkenberg (1996), a member of the Groupe μ, emphasizes that the quality of the signified is not sufficient to define a level. From forms of writing about the white cane, the cane, clothing and nautical indicators, many script phrases are used deliberately. Visual signs can be divided into four main groups: signs (seeing smoke as an indication of fire), symbols (colors), images (signs produced according to the principle of similarity and causality), and signs in the narrower sense.

The visual indicator is divided into two parts: the visual sign (which refers to an object of external reality by mimesis or analogy) and the plastic sign (which uses the patterns of line, color, and textuality, independent of any reference at the mimesis level). The plane of mimesis is a concept used in art and visual communication that refers to how realistically a visual element imitates objects, events or situations in the real world. The mimesis plane of visual elements is measured by their similarity to reality. This means that the more realistically or accurately a visual element is imitated, the higher the level of mimesis (Gürgün 2021). This concept is frequently addressed in fields such as visual arts, photography, and film, and plays an important role in determining the proximity of a work or image to reality and the way in which the viewer perceives that work.

Both types of signs can appear in a single whole (painting, sculpture, film, graffiti, stamp, cartoon, carpet, rug, etc.), but there are two separate codes at the example level, a painting, a photograph or at most a simple picture can be described as an example of a very regular discourse. They differ, however, in the configuration of their signifiers: “Those that are visually represented consist of discrete units because they are bound to a system of images. This cannot be said of those to whom plastic is shown, the substance is another.” Klinkenberg states that plastic indicators are close to symbol or indicator classes. In most colors there is a considerable number of symbols. Undoubtedly, the symbolic and emblematic qualities of these signs depend on a particular cultural perspective (Öztokat 1999).

According to the Groupe μ, the explanation of the relationship between the signifier, signified and sign should use plastic signs that show the esthetic level of the design and iconic sings including their symbolic meanings. This approach states that the artistic level of design has semantic value in its own name and in itself. There are three values that are considered important in relation to plastic signs; these are shape, colors, and textures. Accordingly, the connection between meaning and indicator is established by form. In his predictions for the analysis of Groupe μ under shape, color, and texture; it is stated that the relationship of meaning will vary according to the conditions of various plastic factors such as light, shadow and direction. (Andersson 2008: 2–11)

4.1 Evaluation scale of plastic sign types

See Tables 1 and 2.

Table 1:

Total number of women’s fashion magazines.

Fashion magazines	2000–2020	Missing numbers	Total
Vogue	December–January and June–July are published in combined and other monthly numbers (210 covers).	–	252
Elle	Each month-specific issue is published separately.	–	252
Marie Claire	Each month-specific issue is published separately. Published only from June to July 2020 combined.	2001: January 2002: August 2003: May 5 units 2006: July 2007: April	247
Cosmopolitan	Each month-specific issue is published separately. Only 2019–2020 December–January combined is published.	2000: January–March–August–December 2001: August–October 2002: February 2003: May–October 2005: May–June–July–December18 2006: August–September 2007: August 2008: February 2010: August	234
	Grand total:	985 magazine front covers examined.

5.1 Visual elements of the narrative

In our study, the visual narrative elements used in the covers of leading fashion magazines Vogue, Elle, Marie Claire, and Cosmopolitan published between 2000 and 2020 were analyzed in detail. Our results show that elements such as photography, typography, and color were widely used in all fashion magazines during this period. The use of photography in fashion magazines in particular can be seen as an important turning point in the development of visual expression in this area. The leading role of Vogue magazine in this area is a remarkable example of the development of visual expression in the fashion world. In this period, the use of typography and abstract elements (such as fashion, beauty, slogans, names of living models, and general titles of content) on the covers of magazines shows the diversity and richness of the visual communication strategies of magazines. In particular, the pioneering use of symbols by Vogue magazine can be seen as an indicator of innovative approaches in visual communication.

1. Widespread use and influence of photography: the use of photographs in all fashion magazines shows how powerful and effective visual expression is. The photographs ensure realism, glamor, and professionalism on the covers of the magazines as well as an impressive presentation of models and fashion products.

2. The importance of typography: typography emphasizes the aesthetics and legibility of the texts on the covers of magazines and at the same time shows how they can attract the reader’s attention. The typography also reflects the personality and style of the magazine brand, which has a certain impact on readers.

3. The visual impact of using color: how colors are used on magazine covers and how these colors affect the overall tone, emotion, and brand identity of the magazine. Colors increase the visual appeal of magazine titles and help to captivate readers.

4. Meaning and impact of the use of icons and symbols: one can analyze how the icons and symbols used on the covers of magazines reinforce the brand identity and message of the magazine and how they convey meanings to the reader. Icons and symbols give the cover design more depth and ensure more intensive communication between the magazine and the reader.

5. Lack of illustration: the fact that no illustrations are used in any of the magazines shows that photography is a preferred means in the visual narrative strategies of the fashion magazines. The lack of illustrations may reflect the fashion industry’s emphasis on realism and direct representation.

The elements of visual expression were analyzed on the basis of five different values: photography, typography, color, icon/symbol, and illustration. Photographs were used for all covers of the fashion magazines shown as Figures 5–7. While in Elle and Cosmopolitan, the photography focuses only on the model, in Vogue it varies with compositions consisting of a combination of model and background. The typography of magazine covers is characterized by the name of the magazine and the main headings that explain the content. In the context of the use of icons and symbols, elements used as accessories in Vogue and Elle, such as Coco Chanel’s iconic “CC” monogram, were found to reflect the luxury, elegance, and minimalist design approach of the Chanel brand. This logo consists of two intertwined “C” letters and is known worldwide as an easily recognizable symbol in the fashion industry. Elle features a cross symbol, which is also used as an accessory. The symbol of the cross is a symbol that has a deep meaning in a variety of cultural and religious beliefs. Cosmopolitan shows an asymmetrical jacket inspired by the design of the American flag. The stars, stripes, and colors on the jacket were considered elements of a national symbol that symbolized the history and unity of the United States. In this context, the iconic and symbolic elements of the images in the magazines were analyzed in this way.

Figures 5–7 (this page and the next two pages):

Comparative analysis of the elements of visual narrative. Figure 5: The cover of Vogue, 2018 April issue. Source: https://models.com/work/vogue-paris-vogue-paris-april-2018-cover.

Figure 6:

The cover of Elle, 2019 December issue. Source: https://models.com/work/elle-france-kristen-stewart-by-philip-gay-elle-france-dec-2019-cover.

Figure 7:

the cover of Elle, 2017 January issue. Source: https://www.famousfix.com/topic/cosmopolitan-magazine-france?year=2002.

5.2 Line element

The use of line elements in the cover images of leading fashion magazines Vogue, Elle, Marie Claire, and Cosmopolitan was analyzed comparatively. The results show that visual expression elements such as photography, typography, and color are widely used in all magazines, but there are significant differences in line elements. It has been noted that all fashion magazines generally use straight and thick lines, but each magazine also uses its own unique line elements. These differences depend on the background decisions of the magazines’ visual designers, the cover model’s clothing style, the patterns, the accessories, and the use of symbols and icons.

Our study evaluated the use of line elements in the cover images in general:

1. Vogue: circular and dashed lines are used more intensively compared to other magazines.

2. Elle: diagonal, curved, thin, and grainy lines are the outstanding features of its cover designs.

3. Marie Claire: grainy lines have become a prominent element on the covers, used in a similar proportion to Elle magazine.

4. Cosmopolitan: covers emphasize broken lines more than other magazines.

In our analysis of line elements, straight, broken, thick, pinstripe, curved, grainy, circular, diagonal, and dashed lines were analyzed. In this context, we have focused on the clothing of the model and the use of the background on the covers of the magazines. On the cover of the April 2013 issue of Vogue, the female model wears a multicolored and patterned crop blouse with straps and a mini skirt (Figure 8). On the straps and in the chest area of the blouse there are patterns consisting of dashed lines, and on the front center part of the skirt there are patterns consisting of curved and circular lines. When analyzing the background, it becomes clear that the natural landscape consists of curved lines.

Figures 8–10 (this page and the next two pages):

Comparative analysis of line elements. Figure 8: The cover of Vogue, 2013 April issue. Source: https://models.com/work/vogue-paris-vogue-paris-april-2013-cover.

Figure 9:

The cover of Elle, 2019 July issue. Source: https://models.com/work/elle-france-elle-france-july-2019-cover-1.

Figure 10:

the cover of Cosmopolitan, 2018 August issue. Source: https://models.com/work/cosmopolitan-france-cosmopolitan-france-august-2018-cover.

On the cover of Elle, the female model can be seen wearing a bustier in shades of purple, a brick-colored jacket, and mustard yellow lace-up shorts (Figure 9). The strap shape of the bustier draws attention to itself by creating a curved line, while the lines on the shorts are an example of a straightforward design. Grainy lines were discovered on the background of the cover, giving the impression that the background has a structure.

In the issue of Cosmopolitan, the female model wears a blouse with a pattern consisting exclusively of broken lines. Grainy lines formed by sand and sea can be seen in the background. These details show that natural elements and modern lines blend together in the magazine’s cover design (Figure 10).

Some of the points identified in relation to the use of line elements on magazine titles are as follows:

1. Line diversity and its effect on design: the use of straight, broken, thick, thin, curved, grainy, circular, and diagonal lines on magazine covers shows that these lines enrich the visual expression and create different esthetic effects. Any kind of line affects the visual balance, composition, and reader perception of magazine covers.

2. The role of lines in visual expression: lines are used on the covers of fashion magazines to add visual interest, direct the visual flow, and support the overall structure of the design. The widespread use of thick and straight lines creates a strong visual impact and clarity on magazine covers.

3. Brand identity and line usage: the line usage preferences of different magazines reflect each magazine’s unique brand identity and visual language. The fact that Vogue and Elle prefer different types of lines shows that they have their own esthetic understanding and visual strategies that are tailored to their target audience.

The functions of lines in visual designs, especially their functions such as boundary, movement, direction, and balance, are important factors that influence the meaning and perception of magazine designs. The quality and movement of the lines create different effects and meanings, from the overall design to its features. This shows that preferences for the use of linear elements play a crucial role in determining the visual identity and communication strategy of the magazine brand. To summarize, the use of line elements on the covers of fashion magazines is a fundamental aspect of design and plays an important role in shaping the visual narrative of any magazine. These lines have a significant impact on the aesthetics of magazine covers, the interaction with the reader and the brand identity. These differences reflect the unique visual language and design approach of each magazine and reveal the diversity and creativity of fashion magazines in visual expression.

5.3 Color element

We studied in detail the use of color elements in the design of the covers in our sample (Figures 11–15). The research results show that although a wide range of colors is used in all fashion magazines, certain magazines favor certain color groups more than others. Vogue, for example, used neutral colors, Elle used warm colors, Marie Claire used intermediate colors, and Cosmopolitan used rather cold and contrasting colors.

Figures 11–15 (this page and the next four pages):

Comparative analysis of color elements. Figure 11: the cover of Vogue, 2020 September issue. Source: https://models.com/work/vogue-paris-vogue-paris-september-2020-cover.

Figure 12:

the cover of Elle, 2018 September issue. Source: https://models.com/work/elle-france-lara-stone—sweet-week-end-1.

Figure 13:

the cover of Marie Claire, 2015 May issue. Source: https://models.com/work/marie-claire-france-marie-claire-france-may-2015-cover.

Figure 14:

the cover of Elle, 2016 January issue. Source: https://models.com/work/elle-france-elle-france-january-15-2016-cover.

Figure 15:

the cover of Vogue, 2005 September issue. Source: https://models.com/work/vogue-paris-nicole-kidman.

The color element has an undeniable importance among the design elements, and this is clearly evident in the design of magazine covers. Each magazine is designed with color combinations that match its own image and brand identity. In addition, it was found that the background of the magazine and the clothing of the cover model also play a role in the color selection. This suggests that color preferences are closely related to the personal style of the magazine brand or designer. The use of colors in the cover designs of fashion magazines therefore focuses on the emotional and psychological requirements of the magazine and not on personal ideas or tastes.

Our detailed analysis of color elements covers primary colors, accent colors, contrasting colors, bright colors, cool colors, and neutral colors. Examination of the cover of Vogue magazine revealed that the cover model preferred a yellow blouse, red trousers, and a purple jacket; a blue glove was also used as an accessory (Figure 11). While the title of the magazine is highlighted in blue, the other headlines are in red and white, and the background is black. On this cover, yellow, red, and blue are classified as primary colors, black and white as neutral colors, and purple as an accent color group. In addition, the colors yellow and red belong to the category of bright colors, while blue belongs to the group of cool colors.

The investigation of the Elle 2018 September issue revealed that the cover model was wearing a white sweater and cream-colored boots (Figure 12). The title of the magazine is highlighted in yellow, while the other titles are predominantly in yellow and white. In this cover picture, which is dominated by brown and mustard tones in the background, it is noticeable that predominantly warm colors are preferred.

On the Marie Claire cover (Figure 13), the model is wearing a blue denim shirt and jeans and the background is in shades of blue. The shades of blue used in the title of the magazine and in the subheadings of the cover design show that the cover was generally designed with cold colors.

In the analysis of the January 2016 issue of Elle revealed that the cover model was wearing a shawl in different colors (Figure 14). The shawl is in the contrasting colors red-green and yellow-purple. The title of the magazine is in red and harmonizes with the shades of the shawl, while the subheadings are in white, blue, and red. In the design of this cover, the contrast between the colors of the cloth and the headdress forms a clear contrast, while both warm and cool color palettes are used in a balanced way.

Examination of the Vogue cover revealed that the cover model was wearing a sleeveless mini dress, the collar and the stripes at the hem of the dress were in gray, the name of the magazine and other titles were in black, and the background was in white (Figure 15). It was noted that only neutral colors were used on this cover.

Some of the points noted regarding the use of color on magazine covers are as follows:

1. Color psychology and emotional impact: the psychological impact of colors plays an important role in magazine covers. For example, warm colors can evoke energy and excitement, while cool colors can convey a sense of calm and professionalism. This suggests that the choice of color in the design of magazines is used as a strategic tool to manipulate readers’ emotional responses.

2. Brand identity and color harmony: the colors used on the covers reflect the brand identity and character of the magazine. The choice of color can influence a magazine’s appeal to its target audience and brand perception. For example, magazines that want to represent luxury and sophistication often opt for neutral and pastel shades.

3. Seasonal and trend-dependent use of color: the colors used on magazine covers can also reflect seasonal effects and fashion trends. For example, more vibrant and brighter colors can be used in spring and summer and darker and more saturated colors in autumn and winter.

4. Visual interest and attracting attention: colors are also used to increase visual interest and attract attention. Bright and eye-catching colors can help attract attention on magazine shelves and appeal to potential readers.

5. Cultural and social context: cultural and social meanings of colors can also play an important role in magazine covers. A particular color can have different meanings in different cultures, which can be an important consideration for magazines targeting a global audience.

5.4 Texture element

The use of texture elements in the cover designs of our sample was analyzed in detail (Figures 16–18). Our results show that real textures are used extensively in all fashion magazines, with visual and spatial textures being used most intensively in Vogue. We found that real textures on the covers of fashion magazines are evaluated by tangible elements such as the models’ clothes, the accessories they wear, and natural backgrounds. The contribution of textural features to design is important to create dimension and depth and to give products and services a sense of time and space. Textural features on magazine covers are used as an interactive style to shape the experience and emotion of the visual story together with the consumer’s imagination. These characteristics can be interpreted to mean that magazine covers not only appeal to the eye, but also enrich the consumer’s sensory experience. Therefore, in addition to visual expression, the use of textures on magazine covers also has the potential to create a deeper and more interactive communication with the consumer.

Figures 16–18 (this page and the next two pages):

Comparative analysis of texture elements. Figure 16: the cover of Vogue, 2005 October issue. Source: https://models.com/work/vogue-paris-vogue-paris-october-2005-cover.

Figure 17:

the cover of Marie Claire, 2019 August issue. Source: https://models.com/work/marie-claire-france-marie-claire-france-august-2019-cover/1174877.

Figure 18:

the cover of Elle, 2017 February issue. Source: https://models.com/work/elle-france-elle-france-february-2017-cover/973549.

In our comprehensive analysis of texture elements, different texture types such as real texture, visual texture, and spatial texture were considered. Real textures are physical textures that can be perceived with the sense of touch. The clothing and accessories of the analyzed cover models of Vogue and Elle are a representation of such textures. The softness of the fur on the cover of Vogue or the hard texture of the model’s leather jacket and skirt in Elle are examples of real textures that can be perceived with the sense of touch (Figures 16–18).

Visual textures are textures that are only perceived through visual perception without being physically touched. The flower-patterned blouse of the model on the cover of Marie Claire is an example of visual texture (Figure 16). In this case, the floral patterns are not real flowers, but are placed on the garment as a design element and provide visual richness.

Spatial texture is the type of texture that visually represents a space or scene, often conveying a sense of movement or depth. The dynamic image created by the sky in the background of the Vogue cover is an example of a spatial texture (Figure 17). Spatial structure is often represented on magazine covers by natural landscapes or photographs taken at specific locations. In this way, magazine covers can create both a visual effect and an experience for the viewer.

The following are some important points on the use of texture elements on magazine covers:

1. The role of texture in arousing visual interest and curiosity: textures on magazine covers help to increase visual interest and arouse the curiosity of potential readers. Above all, the wealth of structural elements can make covers more attractive and memorable.

2. Technological developments and texture design: innovations in printing technologies make it possible to use more varied and sophisticated textural effects on magazine covers. For example, techniques such as embossing, and glossy or matte surfaces can improve the texture of magazine covers.

3. Texture’s contribution to brand identity: certain texture features can become part of a magazine’s brand identity. A luxury fashion magazine, for example, can reinforce the impression of sophistication and quality by using high-end and authentic textural features on its covers.

4. Reflection of cultural and contemporary trends: the textures used on magazine covers can reflect cultural and contemporary trends. Textural features that are popular in different eras and cultures can also be found on magazine covers.

5. Sensory marketing and magazine covers: sensory marketing is an approach that targets consumers’ senses, and the textures used on magazine covers can be part of this strategy. The use of structural elements on magazine covers can enrich the sensory experience of readers and increase their interest and loyalty to the magazine.

5.5 Form element

The use of form elements (Figures 19–22) in the covers of our sample was analyzed. The results of the research show that the use of live models on all fashion magazine covers contributed to the organic form being more widespread than other forms. It was also found that different magazines favored different types of forms. Vogue used limited and geometric shapes, Elle used artificial and free shapes, Marie Claire used natural shapes, and Cosmopolitan used geometric and artificial shapes more than other magazines. Although form is a three-dimensional element, it can be visualized on two-dimensional surfaces such as magazine covers. The lines that define the outlines of the visual elements on the magazine covers create an effect of depth and allow different shapes to emerge.

Figures 19–22 (this page and the next three pages):

Comparative analysis of form elements. Figure 19: the cover of Marie Claire, 2016 January issue. Source: https://models.com/Work/marie-claire-france-january-2016-cover.

Figure 20:

the cover of Elle, 2018 February issue. Source: https://models.com/work/elle-france-elle-france-february-2018-cover-1.

Figure 21:

the cover of Vogue, 2014 April issue. Source: https://models.com/work/vogue-paris-vogue-paris-april-2014-cover.

Figure 22:

the cover of Elle, 2014 December issue. Source: https://models.com/work/elle-france-elle-france-december-5–2014-cover.

In our in-depth analysis of form elements, geometric, organic, natural, artificial, free, and limited form types were analyzed. When analyzing geometric shapes, forms such as cubes, squares, and prisms were examined; the cover model of Marie Claire, for example, who wears cylindrical jewelry, is an example of this genre (Figure 18). This type of form was mostly observed in accessories and background designs.

Organic forms were valued by elements that contain life, such as human and animal figures. The use of real models on all the magazine covers examined shows the presence of an organic form. No illustration was found on the covers.

Natural forms were selected from covers with a natural background. This category includes objects found in nature, far from human intervention; an example of this type appears in an issue of Vogue (Figure 21).

Artificial forms include all man-made objects. Clothing, accessories, and various objects used on covers fall into this category. For example, the image of a car in an issue of Vogue is an example of an artificial form (Figure 21).

Free forms are forms that do not resemble any existing object in nature and are created without being subject to any rules. The garment of the cover model examined in the December 2014 issue of Elle is an example of a complex style based on the designer’s own creativity, combining a variety of colors and types of fabric without any sense of harmony (Figure 22).

Limited forms are forms that are shaped according to certain rules, either occurring in nature or designed according to a certain geometric order or function. The cover model’s black and white polka-dotted jacket and trousers, analyzed in the February 2018 issue of Elle (Figure 20), show that the regular spacing and distribution of the dots is an example of a limited shape.

The following are some important points on the use of form elements on magazine covers:

1. The influence of shape on visual balance and composition: shapes play an important role in determining the visual balance and composition of magazine covers. For example, symmetrical or asymmetrical shapes can affect the overall balance of the cover design and the way it draws the reader’s attention.

2. Form and visual expression: different forms can express different stories and feelings. Organic shapes can evoke a sense of naturalness and comfort, while geometric shapes can convey a more structured and organized impression.

3. Use of forms in the context of cultural and fashion trends: the use of forms can also reflect cultural influences and fashion trends. For example, fashion trends that were popular at a certain time can influence the type of shapes on the covers of magazines.

4. Form and brand image: the form of each magazine reflects the brand image and style of the magazine. By using certain forms, magazines can set themselves apart from their competitors and convey a special message to their target group.

5. Technological developments and visualization of forms: developments in printing and design technology are making it possible to use more complex and interesting forms on magazine covers. This offers designers the opportunity to create more innovative and creative covers.

5.6 Light and shadow element

The use of light and shadow elements on the covers in our sample was analyzed (Figures 23–25). The results of the study show that the light value is used particularly used in Cosmopolitan, while the shaded and dark values are used intensively in Vogue. Marie Claire used the shadow value more intensively than Elle and Cosmopolitan, while Cosmopolitan almost never used the dark value. The use of light and shadow elements in visual design is important for various purposes, such as adding volume to visuals, highlighting visuals, and attracting attention. If you look at magazine cover designs in general, you will notice that the light value is more favored. It is assumed that the cover of a magazine is the first point of contact with the reader and has the ability to establish rapid communication with the consumer, to motivate, and inspire them. Therefore, the frequent use of bright light values on the covers of fashion magazines is seen as a strategic decision to increase the attractiveness of the magazine.

Figures 23–25 (this page and the next two pages):

Comparative analysis of light and shadow elements. Figure 23: the cover of Marie Claire, 2013 June issue. Source: https://models.com/work/marie-claire-france-marie-claire-france-june-2013-cover.

Figure 24:

the cover of Elle, 2019 March issue. Source: https://models.com/work/elle-france-elle-france-march-2019.

Figure 25:

the cover of Vogue, 2019 June–July issue. Source: https://models.com/work/vogue-paris-vogue-paris-junejuly-2019-cover.

In the analysis of light and shadow elements, light, dark, and shadow values were emphasized. On the cover of Marie Claire, the cover model posed in a very bright environment; this shows that only the brightness value is dominant on the cover (Figure 23). When analyzing Elle, it was found that dark and shadowy values were used together. The lack of direct lighting on the cover meant that some areas remained dark and others shaded (Figure 24).

When looking at the cover of Vogue, it is noticeable that the light reflected onto the cover model from the right angle creates a balanced contrast by displaying both bright and shadowy values together (Figure 25).

The following are some important points on the use of light and shadow elements on magazine covers:

1. Atmosphere through light and shadow: the light and shadows used on magazine covers have a great influence on the atmosphere to be created on the cover. Bright and vibrant lighting can evoke a sense of joy and energy, while shadowy and dark tones can create a more dramatic and mysterious mood.

2. Creating emotional impact and meaning: the use of light and shadow can enhance the emotional impact of the images on the cover. Contrasts of light and shadow can be used strategically to emphasize a particular emotion or meaning.

3. Arouse visual interest and curiosity: light and shadow effects increase visual interest and make magazine covers more attractive. This is particularly important on magazine shelves to attract attention and arouse the interest of potential readers.

4. Model and product emphasis: on magazine covers, the use of light and shadow on the model’s face or body can emphasize the features to be highlighted. Similar techniques can be used in product advertising to ensure that certain products attract attention.

5. Technical innovation and creativity: digital processing and advanced printing technologies enable more creative approaches to the use of light and shadow. These techniques increase the visual quality and impact of magazine covers and enable more innovative designs.

6. Cultural and esthetic values: the use of light and shadow can reflect certain cultural or esthetic values and create a visual language that corresponds to the magazine’s target audience.