After doing visual research on the leading digital fashion magazines, I created a couple of layouts on Wix. The webpage of the digital magazine will have the following

1. Name – Fashion Navigator (working title)
2. Featured story accompanied with a 360 degrees video
3. Name and thumbnail for the latest issue
4. Thumbnails of previous stories and articles
5. Instagram feed
6. Online boutique (Tentative)
7. Contact – Submission form
8. Archive of previous issues

Here are 2 references. 1st layout – Illustration when the webpage is opened which is a link to the digital magazine. This layout is a simple chic layout. Using 3 colours.

2nd layout – This layout is minimal. Black being the background colour, with a simple font and layout.

https://www.nytimes.com/2020/04/09/fashion/magazines-coronavirus.html

Fashion magazines showcasing escapism with models wearing luxury products is not something that would work for them during and post the lockdowns. Consumption is changing, with lesser access to shop and be victims of advertisements and marketing, people are consuming consciously. Still some bit of escapism and glamour is still needed to engage the audience. i am trying to figure out how to create content that is realist in this situation at the same time has hints of glamour and escapism.

Since I don’t have access to a 360 degrees video camera, I thought of using a few apps on my phone to shoot 360 degrees content. Fyuse app offers the best quality among other apps that I tried using like Cyclorama and 360camera.

Arti Sandhu’s book Indian Fashion Tradition, Innovation, Style discuses how combining traditional clothing global trends have resulted into the popularity of the Indo-Western style. Such fusion not only helps Indian women to style themselves by being at par with societal pressures, it also allows them to be a part of the larger network of the global fashion, yet simultaneously maintain a sense of distinction. This supports the  Although the book provides insight on the emerging fashion landscape in India, it fails to elaborate on the reasons behind the emerged adaptability towards fusion fashion and the production processes.

I am creating a project that would help me get a job at a publication after I graduate as a creative director. I am also interested to work with creative agencies that have fashion brands and publications as their clients.

Solutions I can think of –

• Curating content from home by reaching out to people by asking them to submit their experiences in the form of photos and videos. Interviewing them and writing about their stories.
• Creating virtual spaces to place the submitted content in to make it more appealing visually.

Current practices in the fashion media (publication) industry

• Vogue India has focused the May issue on words and how words have the power to provide escapism, they are posting stories on their Instagram account as they cant shoot for more content. The new issue is only digitally available on Instagram and there is no print version available.
• Tatler UK has made its April issue free with Priyanka Chopra on its cover. Post that, they are posting videos from the Royal gardens, cooking inspirational stories, posting a lockdown maintainance series whether Dr. Michael Prager gives beauty advise in episodes.
• Elle Mexico used a drone to shoot a model from her balcony who did her make up and styling on her own.
• The America Vogue is asking for quarantine submissions from celebrities who are recording what they are doing at home during the lockdown.

As Clay Shirky, professor at New York University said that a lot of experiments are needed, each may seem as minor as minor at launch at Craigslist and Wikipedia did. The single most powerful thing about digital technology is not multimedia. Unlike static magazines or the web is inherently a two-way medium that offers tremendous possibilities for dialogue and interaction

COVID 

Due to the pandemic, consumption in the new world will be mainly about sustaining native communities, preserving the culture and our planet. Countries with authentic crafts and heritage will rise up to create new and substantial economies (Sabyasachi)  The need of a global platform that would uplift such arts and crafts along with their use in the fashion industry is felt right now more than ever before.

The concept of ‘sustainability’ in relation to Indian crafts is connected to environmental,  cultural and economic concerns. Craft provides employment opportunities, and the ability  to earn an income from craft contributes to the longevity of cultures, and craft  communities.  In that context, a review of theories around consumption, and a  desire for an alternative to industrial production, has opened up the market for Indian craft.   In particular, craft enterprises that utilize, and, or adopt environmentally responsible  practices, are well positioned to tap into emerging markets (Wood, 2011).

There is ample evidence that the non-industrialized, the local, the particular, and the handmade still intrigue us, but it is less clear why an academic study of the apparently old-fashioned might be anything but quaint.

Critical Craft : Technology, Globalization, and Capitalism, edited by Clare M. Wilkinson-Weber, and Alicia Ory DeNicola, Bloomsbury Publishing Plc, 2016. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/ual/detail.action?docID=4189289.

Created from ual on 2020-05-27 05:46:44.

where our agenda was to question the utility of certain categorizations, and draw attention to the contradictions within the arena of labor and value that craft is seen to inhabit.

Critical Craft : Technology, Globalization, and Capitalism, edited by Clare M. Wilkinson-Weber, and Alicia Ory DeNicola, Bloomsbury Publishing Plc, 2016. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/ual/detail.action?docID=4189289.

Created from ual on 2020-05-27 05:47:43.

The Indian craftsman was [therefore] artist, designer, and technician, working in all three ways to serve his users’ needs. He was a source both of inspiration and problem-solving, functioning always within the core of his society . With the advent of colonialism and industrialism, the integral quality of his role, however, began to disintegrate. Efforts at craft regeneration during India’s freedom movement and in the years after Independence have not yet been able to draw crafts back into the center of national consciousness.

Chatterjee, A. (1988), “Challenges of Transition: Design and Craft in India, ” in M. Meister (ed.), Making Things in South Asia: The Role of Artist and

Critical Craft : Technology, Globalization, and Capitalism, edited by Clare M. Wilkinson-Weber, and Alicia Ory DeNicola, Bloomsbury Publishing Plc, 2016.

About 

Fashion Navigator is a magazine that aims to connect the dots between fashion, cultures and consumerism. Our goal is to link sustainable and ethically made products which are created by artisans across the countries and lesser known cultural mosaics. We create an aesthetic that is a fusion of local creations and global fashion to show the versatility of the creative work and uplift the artists/creators. Every issue of the magazine is be inspired by a country/culture. The magazine has 360 degrees that showcase the process and stories of the artisans. Their work is amalgamated with contemporary styles to promote it internationally. The need to appreciate such artists/creators is more at the moment than ever before. The post COVID 19 consumption pattern will encourage sustainable, durable and ethically created products. 

We aim to Collaborate with artists and activists to reframe powerful narratives embedded in the culture of fashion and inspire people to consume less, value quality and take better care of their clothes. This magazine is a platform that enables more visibility and fewer barriers between consumers and producers. 

What I want to seek are the people involved behind the creation the product. How the life of an artisan woven in the colours or shapes of their creations. 

An effort towards economic sustenance for millions of people.

Heritage crafts 

Fabrics 

An interactive magazine that draws a connection between the future of fashion and cultures by reinvigorating heritage crafts. 

How can the future of fashion and cultures be connected by reviving heritage crafts?

Sustainable fashion is part of the slow fashion movement, developed over the past decades, and used interchangeably with eco, green, and ethical-fashion (Carey and Cervellon, 2014). Ethical fashion is associated with fair working conditions, a sustainable business model ( Joergens, 2006), organic and environmentally friendly materials ( Johnston, 2012), certifications, and traceability (Henninger, 2015). The Rana Plaza incident in Dhaka, Bangladesh marked an increased interest in sustainable fashion and ethical practices in the industry (Westervelt, 2015). Due to the COVID 19 pandemic, consumption in the new world will be mainly about sustaining native communities, preserving the culture and our planet. Countries with authentic crafts and heritage will rise up to create new and substantial economies (Sabyasachi) . This pandemic has given us an opportunity to pause and reflect over our consumption behaviour. The need of a global platform that would uplift heritage arts and crafts along with their use in the fashion industry is felt right now more than ever before because consumers want to invest in products which are durable