Email to LCA Blenheim Walk Library regarding Acquisition of The Industry Magazine

I have contacted the Library Manager at LCA, regarding an acquisition of the first issue of The Industry magazine, to allow the magazine to act as an academic tool and sourcebook of information to students interested within the fashion and beauty industries, whom may be studying on Fashion Design pathways, Photography pathways or Graphic Design pathways. My magazine has now become a creative object, as well as an informative ‘book’, and feel it lends itself to a library setting to allow others whom are likeminded and have similar interests within the industry to gain different perspectives.

Below shows my email to the library manager.

Since sending the email on the 13th July 2017 (shown below), I received an email back asking to arrange a short meeting to discuss where and how my magazine would be showcased in the library, meaning that acquisition will take place. This meeting will take place on the 25th July, and the magazine will then be able to view only in the library from this day onwards.

13th July 2017

Hi there,

I hope that you are well.

Janine Sykes passed on your contact details so I could get in touch regarding possibly donating a copy of a magazine I have written, designed and edited to the library to be featured in your magazine section at Bleheim Walk. I am just completing the MA Creative Practice course, and think my magazine would be of interest and academic reference to Fashion, Graphic Design and Photography students at LCA.

My magazine, The Industry aims to highlight cultural truths about the beauty and fashion industries. The MA project and magazine derived from an ‘inside’ interest in how these industries and the rise of social media can affect ones self-perception and self-esteem. It’s aim is to showcase content, articles and truths, whilst educating and informing those who are interested in, or work in the beauty and fashion industries around the world. In addition, it aims to raise awareness of the positve outlets and marketing strategies which are outlined to combat this, and fight for one to be accepting of themselves in a world where we often strive to be like, act like, or look like someone else.This issue looks at Western and Eastern cultures, in an aim to understand how trends, brands, blogger empires and social media compare and contrast, and how this affects perceptions and self-perceptions. The Industry puts a spotlight on cross-cultural ‘ideals’ and critical perspectives relating to self-esteem and narcissim in context.

Nine months of research, candid interviews, collaboration and writing have gone into this first edition of The Industry magazine, gaining exclusive access to the likes of models, bloggers, Vogue Japan and ASOS, to give readers an honest and insightful, yet critical and cynical view of the voices within the industries which are dominating the 21st century, and I believe it would be a great addition to your library.

I am in the process of getting the magazine printed, and I should have the printed and bound copies back by next Friday. 

Please let me know your thoughts, and if possible, I will bring in a copy to showcase within the library.

Many thanks,

Danielle Muntyan

Update 30th July 2017:

The first issue of The Industry magazine can now be found in the Blenheim Walk library at LCA, and will hopefully be included in the Creative Advertising academic reading lists for the academic year starting in Sept 2017.

This is working toward objective:

4. To prototype a range of design work targeted at 18-24 year old women, highlighting impacts of cross-cultural beauty/fashion trends on self-perceptions and body image.

Tutorial Notes – 12/07/17

Below shows a list of points raised in my last tutorial regarding the first issue of The Industry magazine. This will act as a check list for ensuring that any final changes are made before going to print.

By going through the magazine with my tutor, this highlighted occasional errors which were to be fixed, and also highlighted key areas to included throughout my blog to ensure successful completion of the module.

Magazine & Blog

  • Future plans (include sourcing exhibitions for the magazine and future magazine to be in/barriers to selling magazine/collections/own exhibition/digital version and website including submissions -> ‘collective’ approach similar to M&H -> cite collaborations and contributions to date and how this can be expanded)
  • Evaluation – independant mag/creative object in curated exhibition around the country/critique with global perspective/academic document -> use to other students and route to PhD through on-going project and further development of practice
  • When evaluating think about how magazine functions on levels noted above
  • Evaluation on objectives and set new objectives
  • Email Janine ‘editors note’
  • Add ‘contents page’ title and sort numbers
  • Widows on social media page
  • Red lines of selfie spread
  • Bobbi – widow
  • Check widows throughout
  • Intro – perspectives/voices from within and people who work in it (reflection on itself and the industry)
  • Add in ‘about’ – speak to work about mentioning company name on blog and in magazine


  • Ask Bay where/when magazine will be shown & ask for address (will be printed and collected next week to be sent out)
  • Kirsty Carver – library acquisition of magazine
  • Look into relevance of including job/interviews on blog?? (Voices in the industry and ethical perspectives – beauty industry and insider perspective in relation to practice and magazine)
  • Ask Justin for 5 copies, not 4

Magazine Pages and Cover: Final Test Print

Below shows a final print ready PDF of both the cover design, and the inner pages which will be printed prior to sending to the printers. By printing the pages myself beforehand this allows me to proof read once more, for any spelling or grammatical issues whilst also checking the quality of images, as some pages had to be altered in layout/image size, due to print quality when test printed before. This was due to missing links in the indesign file, however some images needed to be made smaller to ensure the print quality was crisp.

In addition, since the last print test, it was found that the point size of the main body copy (12pt) used throughout was very large when printed, so each page had to be redesigned and changed accordingly to accommodate a smaller point size of 9 and 10. This however, reduced the page count by 10 pages and also gave the magazine a much more polished aesthetic, being much truer to the point size used in published magazines such as Glamour, The Ballad Of and Vogue, for example.

If any final changes need to be made, the PDF will be reissued, however if no changes are required, then the PDFs will be supplied to the printers and binders.

Magazine V2 Cover by DanielleMuntyan on Scribd

Pages 9th July by DanielleMuntyan on Scribd

This is working toward objective:

4. To prototype a range of design work targeted at 18-24 year old women, highlighting impacts of cross-cultural beauty/fashion trends on self-perceptions and body image.

Documentary: BBC – 30 Days To Get Instafamous

I came across the below 20 minute documentary on BBC iPlayer which I felt resonated with my research and practice. When I started this course, and wrote my proposal in July 2016, Instagram was not as much of a ‘thing’ as it is now, and it has been interesting to see so many articles, features and documentaries come out in the past year, which have fitted alongside the rising fashion, beauty and social media led industries I feel passionate about.

I found this short documentary (full description below) interesting as it aims to see if someone can reach 10k followers in 1 month, and throughout speaks with ‘professionals’ whose job it is to now help people gain followers and online profiles, through self-branding and photography. On the flip side, it also shows how it can be damaging for the everyday individual and contribute towards eating disorders, for example. Even though the documentary is done in a way which is accessible to all, it touches on theory such as naricissim and the gaze, whilst also raising awareness on how such platforms and obsessions can be damaging if used in the wrong right way, but also lead to fruitful careers if used in the right way. I felt that this embodied many of the key points I have been researching and writing about in my article, and found the timing of the documentary being released interesting as it coincides quite closely with the Instagram app being recently rated by UK 18-24 year olds, as the ‘worst app for mental health problems’. Hopefully these sorts of documentaries will show the mass public the dangers of using such apps obsessively, whilst also allowing for individuals to see how content is created for ‘likes’, opposed to being ‘real life’.


Source: BBC IPlayer

Last Accessed: 4th July 2017

“What would it take to get 10,000 followers on Instagram in just one month? Radio 1’s Dev meets some of Britain’s brightest social media brains to help him build on his starting point of 21 followers. The most recent figures suggest that the photo and video sharing platform is used by 60 per cent of 18-30 year olds, so Dev is pretty late to the party. But if David Beckham can get to 5 million followers in just 3 days, how hard can it be?

In this entertaining documentary we follow Dev as he uses all the tricks of the trade to try to become Instafamous. Social media guru Conor Maynard, who has 1.2 m followers on Insta and even more on Facebook and Youtube, agrees to be Dev’s wingman and promises to help where he can throughout Dev’s 30 day quest for followers. 

And he also enlists the help of a host of other successful Instagrammers who offer their top tips for success. Photographer Joseph Sinclair and his celebrity canine Stewie give Dev a selfie masterclass. Steph, Brad and Joe from social media agency Battenhall, provide him with a much needed re-brand for his page. Health and fitness influencer Kash teaches Dev about the importance of engaging with followers. Mo the comedian, whose account is currently on fire, tells him he needs to step up his game and find his own niche. Along the way Dev also discovers that social media can make you self-conscious, and sometimes have a seriously damaging influence on people’s lives. He meets Frances, who uses her account to promote recovery from anorexia and helps to steer people away from images and hashtags that perpetuate the disease.

After a couple of weeks of hard social media grafting Dev’s following is looking far from respectable, and he is finding the challenge much tougher than he ever imagined. He goes all out with selfies, posting and calls upon familiar Radio 1 faces to give him a boost. Successful instagrammer Greg James lends a helping hand, and other high profile pals (human and otherwise) also step in to promote him. 

As the thirty days are coming to an end, will Dev make his 10,000 target, or will he have to hustle Conor Maynard for a final favour? Tune in to find out.”

This is working towards objective:

1. To understand the ways in which Social Media and Magazines can affect self-perceptions and issues:

A) With body image (Females, 18-24)

3. To work with and interview those both actively working in the Fashion and Beauty Industries, and those on a consumer/follower/user basis, to compare behaviours and perspectives in relation to body image and self-perceptions.

Magazine Cover Development

The initial magazine cover (for issue 01) was originally going to feature the ‘Insta-glam’ photoshoot featuring Charlotte, which I photographed and art directed, however as the designs developed it transpired that this did not work aesthetically once the composition had come together. Following this I experimented with a range of beauty-led images and a fashion-led image, whilst also looking at the typography of the logo and the copy. I wanted to introduce the meaning of the magazine and the context of the issue and the magazine series, so initially the copy stated “fashion, beauty, culture” which I found was too generic and needed to be tweaked to reveal more specific context.

In addition, main contributors and articles were noted on the cover, using full names or brand names, as used in the main content of the magazine.

The chosen image for the cover was an image provided by ASOS, which I felt showed a sense of diversity – in ethnicity, and in gender – opening up the magazine and its content to both males and females. I also felt that the image was resonant of the industries being discussed and that there is a sense of hierarchy and dominance over its readers and viewers, whilst also echoing a sense of elitism, as discussed by Bauman.













Insta-Glam Centerfold Photoshoot

The insta-glam photoshoot was arranged, set-up, casted for, photographed and edited in post-production by myself. The idea was to portray a step-by-step guide to how to achieve a certain, ‘makeup look’, titled “insta-glam”, and would be photographed and staged as if a the model was a blogger on YouTube carrying out a tutorial. The aim of the shoot and how it will be designed and relayed into the magazine was to be satirical, and to show the reader how ‘staged’, edited and curated tutorials are.

The set-up included a Nikon D90, continuous lighting and a backdrop.

Final Selects and Edited Photographs:

Around 150 photographs were taken during the shoot, which I art directed and photographed. Once completed, I printed thumbnails of all of the photos taken and then final selects were made, which would then also be edited by myself, and then later cropped during the design and layout process.

This is working towards objective:

1. To understand the ways in which Social Media and Magazines can affect self-perceptions and issues:

A) With body image (Females, 18-24)


4. To prototype a range of design work targeted at 18-24 year old women, highlighting impacts of cross-cultural beauty/fashion trends on self-perceptions and body image.




















Article: Is This The First Instagram Masterpiece? – Amalia Ulman

With my FMP work taking the format of a fashion and beauty magazine, I have often been seeking feedback in order to critique/deconstruct/question – and also have been doing this myself throughout the course of the writing, designing and editing process. The more I have done, the more I question and more that seems to be added, or taken away, editing the magazine continually and taking on board feedback and inspirations in order to make it the best it can possibly be.

A quote from Sooke, taken from below in regard to Ulman’s work states that, “this was her masterstroke: the fact that Excellences & Perfections exists in the very form that it simultaneously deconstructs is a sleek, sophisticated, intelligent move.”

In simple terms, her Instagram-based work aims to evidence that women are constructed and self-curated in order to come across and appear a certain way, not born a particular way and not born into an Instagram famous, digital-celebrity world. This is a notion and ideology which I too have tried to embody in to my work continually, especially into my FMP magazine, “The Industry”, and believe and have been told that my work “provokes the ethical considerations of this cultural phenomena, and has affinities with Ulman’s work”.

I really resonate with Ulman’s work and believe it was a brave and bold move of her to make, reaping in criticisms and judgements whilst making a stance and proving a point through the platform itself which creates narcissistic Instagrammers – the same notion as with my magazine – utilising a platform which often influences for negative deconstructions of oneself in order to educate, advise and inform on it, rather than promote it. The same can be said with my MA Instagram account.

The following article has been taken from The Telegraph, and can be found here.






“Amalia Ulman’s spoof selfies tricked thousands – and made her the toast of the art world. She talks to Alastair Sooke

In April 2014, a young Argentinian-born artist called Amalia Ulman uploaded an image on her Instagram feed. It consisted of the phrase “Part I”, in black letters against white, accompanied by an enigmatic caption that read “Excellences & Perfections”.

Although 28 of Ulman’s followers quickly “liked” the post, few of them realised that it signalled the beginning of one of the most original and outstanding artworks of the digital era.

Before long Ulman was uploading a series of images – mostly preening selfies taken on her iPhone – that seemed to document her attempt to make it as an “It girl” in Los Angeles.

In some of them she posed in lingerie on rumpled bed sheets in boutique hotel rooms. In others she offered cutesy close-ups of kittens, rose petals, and strawberries and pancakes captioned “brunch”.

So far, so banal: Ulman, who studied fine art at Central Saint Martins in London from 2008 to 2011, had apparently succumbed to the narcissism of social media.

She was mindlessly bragging about her supposedly enviable lifestyle in LA, as she attended pole-dancing classes and underwent breast-enlargement surgery.

“People started hating me,” Ulman, 26, told me recently, speaking via Skype from her studio in downtown LA. “Some gallery I was showing with freaked out and was like, ‘You have to stop doing this, because people don’t take you seriously anymore.’ Suddenly I was this dumb b—- because I was showing my ass in pictures.”

A promising young artist – selected a year earlier by talent-spotting curator Hans-Ulrich Obrist, co-director of the Serpentine Galleries, as one of the leading lights of the YouTube generation – was swiftly wrecking her career.

Except that, unbeknown to the tens of thousands of people who started following her, she wasn’t.

Almost five months later, Ulman posted a black-and-white image of a rose, which she captioned “The End”. Soon afterwards she announced that she had been staging an elaborate performance called Excellences & Perfections via her Instagram and Facebook accounts.

All those “dumb” pictures of Ulman, half-naked, staring vapidly into the lens of her smartphone camera? They were a joke. The shot of her bandaged breasts, after her operation to have them enlarged? It was faked.

Ulman, it turned out, had been playing a role – or, indeed, several roles. And almost all of the 89,244 followers she had amassed by the end of the performance had been fooled.

“Everything was scripted,” explains Ulman, who grew up in Asturias in north-west Spain. “I spent a month researching the whole thing. There was a beginning, a climax and an end. I dyed my hair. I changed my wardrobe. I was acting: it wasn’t me.”

Now, a year and a half on, several of the 175 photographs that Ulman created for Excellences & Perfections will be shown in two new exhibitions: Electronic Superhighway, at the Whitechapel Gallery in east London, which will trace the impact of computerised technology on artists from the Sixties to today; and Tate Modern’s Performing for the Camera, which will examine the relationship between artistic performance and photography.

Ulman first had the idea for Excellences & Perfections while she was at college, but she “never had the budget to do it properly, because I was on the dole when I was living in London, which is a very elitist place”.

Towards the end of her time in the city, she tells me, she earned money as a “sugar baby” – an escort. “I’d rather not talk about it,” she says. “It’s too dark. It was out of necessity: I wasn’t playing around. But being an escort is how most of my female peers are paying for their student fees. It’s very common during these s—– times of recession.”

The experiences of her escort friends, she says, informed the narrative of Excellences & Perfections, which Ulman finessed while recovering in hospital after her legs were “destroyed” in a coach crash in 2013. “I still can’t run, and suffer from chronic pain,” she says.

Planning her comeback on Instagram, she decided to divide her performance into three distinct “episodes”, inspired by stereotypes of how young women present themselves online.

To begin with, in the finished piece, Ulman plays the part of an artsy, provincial girl who has moved to Los Angeles for the first time. This fictional version of herself breaks up with her boyfriend and becomes a “sugar baby” to make ends meet.

This marks the start of the second episode, which offers a pastiche of the “ghetto aesthetic” popularised by American celebrities such as Kim Kardashian. At this point, Ulman says, her anti-heroine self “starts acting crazy and posting bad photos online”. She “gets a boob job, takes drugs, has a breakdown, and goes to rehab”.

This initiates the denouement of Ulman’s social-media satire, as she devotes herself to “recovery”, and uploads pictures inspired by Gwyneth Paltrow’s blog Goop: “Kind of girl next door,” Ulman explains. “I liked yoga and juices. That was the end.”

When I first heard about Excellences & Perfections, I assumed that it was a spoof lampooning the self-regarding way we all behave on social media. It seemed like a modern-day, digital version of Hogarth’s Rake’s Progress: a sharp diatribe against vacuity.

Not so, says Ulman, who had something more specific in her sights. “It’s more than a satire,” she explains. “I wanted to prove that femininity is a construction, and not something biological or inherent to any woman. Women understood the performance much faster than men. They were like, ‘We get it – and it’s very funny.’ ” What was the joke? “The joke was admitting how much work goes into being a woman and how being a woman is not a natural thing. It’s something you learn.”

In this respect, Ulman was following in the footsteps of important older artists who have explored the fluid nature of female identity, from the 20th-century French photographer Claude Cahun to the American Cindy Sherman.

Yet, from the beginning, Ulman knew that she should stage her performance online. She wanted to play with the conventions of Instagram, such as labelling images with hashtags.

This was her masterstroke: the fact that Excellences & Perfections exists in the very form that it simultaneously deconstructs is a sleek, sophisticated, intelligent move.

It also explains why the performance created such a buzz. As a result of Excellences & Perfections, Ulman is now feted as one of the sensations of contemporary art.

“The idea was to experiment with fiction online using the language of the internet,” she explains, “rather than trying to adapt old media to the internet, as has been done with mini-series on YouTube. The cadence and rhythm were totally different.”

Is this why the work was so successful? “Yes,” she says, before laughing. “But I also know that photos of half-naked girls get a lot of ‘likes’.”

Ulman’s Exhibitions:

Performing for the Camera is at Tate Modern, London SE1

This is working towards objective:

1. To understand the ways in which Social Media and Magazines can affect self-perceptions and issues:

A) With body image (Females, 18-24)

3. To work with and interview those both actively working in the Fashion and Beauty Industries, and those on a consumer/follower/user basis, to compare behaviours and perspectives in relation to body image and self-perceptions.

Saatchi Gallery: Selfie to Self-Expression Exhibition






Source: Saatchi Gallery. Last Accessed: 8th June 2017.

“Saatchi Gallery and Huawei have joined forces to offer artists, photographers, and enthusiasts around the globe a chance to show their most creative selfies internationally, and have their work exhibited at The Saatchi Gallery as part of the #SaatchiSelfie competition. 

This international competition offered a chance to be part of a worldwide cultural phenomenon and for entrants to express themselves, by exploring and advancing the creative potential of the selfie today. 

Entries have taken the form of a photographic selfie. We encouraged entries that were experimental and innovative that took the selfie in exciting new directions.”

This is working towards objective:

1. To understand the ways in which Social Media and Magazines can affect self-perceptions and issues:

A) With body image (Females, 18-24)

3. To work with and interview those both actively working in the Fashion and Beauty Industries, and those on a consumer/follower/user basis, to compare behaviours and perspectives in relation to body image and self-perceptions.