Essay - Final

How does editorial design challenge the gender gap and inequality in the design industry?

Contents page

Illustration Index: 3

Introduction: 4

Main Text: 5 - 14

Conclusion: 15 - 16

Images: 17 - 19

Bibliography: 20 - 21

Illustration Index

Figure 1 Communications Arts

https://www.commarts.com/magazines

Figure 2 Charm Magazine

http://www.robertnewman.com/charm-the-magazine-for-women-who-work/

Figure 3 Wolfgang Weingart

https://lib.dr.iastate.edu/cgi/viewcontent.cgi?article=4514&context=etd

Figure 4 Pussy Galore Typeface

https://www.grafik.net/category/feature/wd-ru

Figure 5 Riposte Magazine

http://www.ripostemagazine.com/shop-1/riposte-issue-10

Figure 6 The Riveter Magazine

http://www.therivetermagazine.com/product/issue-6-vol-3/

Figure 7 Printed Pages Magazine

https://www.itsnicethat.com/features/printed-pages-magazine-pre-order-aw17-191017

Introduction

Focusing predominately on magazines as a form of editorial design, I will explore the ways in which the design decisions may or may not have challenged the evident gender gap within the design industry and explore the reasons for the gender inequality. As early as the 1920s, Michael Spondé states that ‘anyone who wanders through the classes of our art academies is surprised by the high percentage of women among the students’ (Meer. J, 2018) which does not reflect the current creative industry which is shown to have only 11% of creative directors as women. Editorial design is a large part of the graphic design field relying on the design decisions of layout and aesthetic in magazines to communicate particular messages to the intended audience. Editorial design is used as a method for communicating issues within the industry and design considerations are made in response to the content and what is thought to best communicate it effectively to the target audience. ‘Graphic design is the communications framework through which these messages about what the world is and what we should aspire to’ (Hustwit. G, 2007) and it has potential to make quite an impact within society. The design movements of feminism, modernism and post-modernism will be explored to see if the issue is challenged differently in any of them and how women within the creative industry have been represented in regards to the design decisions over the years, in regards to the change in design movements. There are also a number of different theories contributing to the explanation of the formation of the gender gap and the maintenance of the inequality. Imposter syndrome looks at the confidence of the designers, how without it they may struggle in the industry and the exploration of the role of editorial design in promoting confidence through the design decisions made. Hegemonic masculinity is a theory also relevant to the comprehension of the gender inequality; investigating the men’s dominant position in society and why the maintenance of social roles over women may occur.

Main body

Until just a few decades ago it was considered inappropriate for a woman to pursue a career. Focusing on the editorial design sector in particular, factors such as social causes have played a part in preventing women from investing as much time and energy into their design work as men. The apprehension about projecting an image of creativity and self-assurance into the public realm may be present for women as gender stereotyping has always been very influential within society. This stereotyping is shaping the ways in which individuals feel as though they should act and the existing expectation of women to be family focused whilst the male holds a respectably paid job, is further represented by the inequality in opportunities that women have been offered in order to even begin a professional design career. (Breuer. G, 2012). As far back as the modern era and parallel to the emergence of the women’s movement, women have worked in various fields of graphic design and despite the inability to initially gain access to the institutionalised forms of creative training and education, women have still succeeded in professionalising their training through specialist courses at academies and private schools. As well as the confirmation that women were trying to enter the design industry at a professional level it is also thought that ‘qualities such as creativity and talent are socially constructed characteristics often associated with privileged masculinity.’ (Reimer. S, 2015). Editorial design effectively acting as the ‘…communications framework through which these messages about what the world is and what we should aspire to’ (Hustwit. G, 2007) shows just how easily the gender stereotypes can effectively be communicated to a large audience of people and distributed very easily. The communication of these gender expectations within society may show editorial design decisions to have played an initial role in the reasoning behind why women are not in the higher positions within the creative industry. Perrons explains how ‘experiencing a double shift at work and at home face greater pressures and stress at work than do men’ (Reimer. S, 2015), a reason for the lack of women in higher positions. In relation to socially constructed expectations of gender roles, gender is shown to order human activities and in parallel orders the status hierarchy of the creative department which may be a result of the development and sustainment of the masculine paradigm; the biased system of independence and assertiveness. The socially constructed traits of gender suggest that women are seen to show traits such as sensitivity, dependency and expressive emotions. However, in contrast, men are thought to exhibit traits such as bravery, independence and assertiveness, so with ‘the individual as the source of creativity, focusing on factors such as personality, intelligence, and intrinsic motivation’ (Breuer. G, Meer. J and Hauss. B, 2012) the masculine paradigm appears to continue to be sustained, allowing for no narrowing of the gender inequality in the design industry to take place. The more masculine traits are continuing to nourish the biased system built on the traits of independence and assertiveness, unless the editorial design decisions are shown to break down the social constructions that are currently established.

As explored by Hustwit, graphic design acting as the communications framework through which these messages about what the world is and what we should aspire to, is a powerful tool within editorial design as it enables the push of new social constructions in terms of gender to be communicated and as a result influences the gender inequality within the design industry. It is the violation of these social constructions that allow for change in society and the change in gender roles over the last decade, particularly women’s roles as they have been shown to possess more of the traits traditionally considered as masculine and socially constructed characteristics of ‘creativity and talent’. A movement very relevantly responding in this manner of breaking the already developed constructions is the feminist movement. The feminist movement has had a powerful influence on editorial design decisions over the years, addressing the fact that past inequality has happened but it should not continue into the future. At the start of the 20^th century, women were starting to provoke ripples socially, using the early forms of graphic design to influence the expansion of these ideas within society and promote the need for equality. It became apparent to the suffragettes that design could act as a powerful form of communication for the protesting on trying to gain the voting equality. Editorial designs influence on the gender gap at this point in time was about providing a tool for issues to be communicated and expressed to as wide of an audience as possible. There was seen to be an increase in social equality although the design industry remained a male-dominated world for many more decades and ‘feminist design look[ed] for graphic strategies [enabling] us to listen to people who have not been heard from before. […] Feminism is about bringing public, professional values closer together with private, domestic values, to break the boundaries of this binary system’ (Lupton. E, 1993). Before Graphic Design was formalised as a profession, related fields such as decorative arts, fashion design and art were still heavily dominated by men (Breuer. G, Meer. J and Hauss. B, 2012) and it seemed to be the introduction of editorial exposure such as The New York Times, 1853 running a brief article applauding the establishment of The Ladies Paper, a publication that employed women to create the ‘typography’ of its pages, which lead to more recognition within the Graphic Design field for women. The Ladies Newspaper was a successful platform for the exposure of creative women as the design decisions in relation to the creation of typography were content driven and had a strong focus on the message needing to be communicated. The journals, business management and editorial content remained safely in the care of men, but in terms of the editorial influence, it was a step towards narrowing the gender gap. Women were given the opportunity for employment which would effectively narrow the gap more so than just continuing to focus on the argument surrounding the intellectual equality of the genders.

The editorial communication and exposure of women actively working within the creative industry resulted in a surge of publications during the 1990s debating the lack of flexible working in jobs in general and specifically in the creative industries. Editorials such as ‘Communications Arts’ acknowledged the issue of the need for flexible working schedules, family leave and feasible childcare, affecting both male and female designers but particularly being critical to women who have traditionally been the caregivers. In regards to editorial designs ability to challenge the gender gap within design, Communications Arts magazine was founded in 1959 with the commitment to inspiring all visual communicators, an example of using editorial design to give an issue a voice and reach a large audience of people. The design decisions (fig.1) to use white space and an image for context on the front cover reflects the inclusive target audience it claims to influence. The debate on the lack of flexible working in particular within the creative industry was particularly relevant within the Communications Arts magazine as the founder Richard Coyne and his wife had just established a Foundation with the aim of increasing diversity in visual communications, utilising the idea that design can be used as the communications framework through which messages about the world and what we should aspire to. According to Swazina et al, instrumental traits have become more socially desirable for women and expressive traits have become more socially desirable for men. (Kachel. S, Steffens. M, and Niedlich. C, 2016). Although there is a gender gap, the desirability of women having the instrumental traits may give reason as to why there are now more creative directors than in the past and a higher number of influential female creatives. The shift in what are seen to be feminine or masculine traits may be a result in the increase of the very influential women designers, with the instrumental traits providing a drive to take charge and ultimately be desirable rather than a threat or complete disregard of social expectations.

One influential woman designer in the editorial field was Cipe Pineles, the first autonomous woman art director of a mass-market American publication. Pineles was seen to be a part of the editorial breakthrough when she was taken on by Condé Nast to run the release of the 1950s magazine Charm. The magazine displayed designs focused purely on the idea of editorial design being a means of communication and influence, with an example being the well-groomed front cover and consistent design style throughout to be personification of the women professionals the magazine sought to reach (fig.2). The serif, high contrast typeface contrasted to the common use of Futura currently favoured within editorial design during this time period and as an editorial piece it began to address the fact that women should be seen to be smart, capable of high powered jobs and that the once male dominated editorial studio hired a woman art director who was shown to be very successful. The design decisions such as the serif typeface show that the content is being taken more into consideration and that women are being represented in a more respectful manner than before. Melissa Tardiff describes Pineles approach as: ‘She didn’t teach style – she taught content. She taught you to start with the content of the magazine and then world from there, rather than just think about what design was going to look nice on the page.’ (Scotford. M, 2018) Pineles’ use of editorial design as the ‘communications framework through which these messages about what the world is and what we should aspire to’ (Hustwit. G, 2007) influences the gender gap in a positive manner, attempting to narrow it by the acceptance that male dominance is still present but her work as a designer should be equally respected. Pineles effectively showed how the consideration of content can communicate much more than the overall style of an editorial piece. Pineles obtaining a job as an autonomous art director at Condé Nast, although being an editorial breakthrough in terms of the male dominance in this industry, years later hegemonic theory explains that it was still the males dominant position within society that gave her this opportunity. Hegemonic masculinity theory is a ‘practice that legitimises men’s dominant position in society and justifies the subordination of women, and other marginalised ways of being a man.’ Hegemonic masculinity as a theory refers to the cultural dynamics by means of which a social group claims, and sustains, a leading and dominant position in a social hierarchy. Theoretically, hegemonic masculinity proposes to explain how and why men maintain dominant social roles over women, and other gender identities, which are perceived as “feminine” in a given society. (Connell. R, 1987). In relation to editorial design industry, this is showing that successful traits have been socially constructed to be masculine and reinforced by the leading positon of men in regards to Cipe Pineles and her breakthrough as a result of the dominant position in the social hierarchy that Condé Nast had maintained.

The conviction that designers should be socially responsible developed concurrently with the idea that design could play a role in changing a society in which gender inequalities remain. Modernism as a movement in graphic design, allowed designers to become more aware of their roles as guardians of messages and the ability to bring about social change. Modernist forms have been defined by Shaughnessy as ‘modular, grids, structure, rational… heaven. The Swiss Style is: understandable, readable, rational, straightforward, no nonsense, clear, clean, functional, sensible, timeless, and, through its purity of purpose, beautiful’ (Davis. P 2014). Modernism was also the era where a large number of rules and norms in regards to design style and the use of typography became codified and in present day modernist elements are thought to have conveyed and represented patriarchal values; relating to the hegemonic masculinity theory and the maintenance of dominant social roles over women being due to men possessing the certain types of behaviours associated with dominance and power. ‘Modernism remains a legitimate and purposeful voice, but is not and never has been the only voice in design’ (Davis. P 2014) as editorial design has shown to challenge the modernist, patriarchal approach to design with the second wave of feminism. The women are becoming more aware of the power design has as a way of expressing dissatisfaction in regards to gender roles and the end of the modernist period (1960/70) saw the second wave of feminism, in particular postmodernism. Postmodern editorial design was able to portray strong and clear messages by breaking the boundaries currently associated with the very masculine approach to design and was an also seen to be an opportunity to break free from the supposed confines of the modern movement. As one of the first graphic designers to question and experiment with the modernist ethos, Wolfgang Weingart took the use of the grid by modernist designers to construct orderly layouts and continuously tested ways to work against it. ‘He exposed sections of the grid, violating its purity with jagged outlines, torn edges, random shapes and exploding sheets of texture’ (Outhouse. M, 2013) to deconstruct the grid so much so that the text became close to being unintelligible, as shown in fig.3. Neville Brody’s editorial magazine FUSE is a postmodern platform for experimental typefaces, with one issue being published with the focus of stereotypes, it included the typeface Pussy Galore by WD + RU (fig.4). The publishing of the typeface in the magazine was described by Triggs + Cook to be ‘an opportunity to raise awareness about women working in the profession whilst also critically engaging through an experimental typeface with the language used by, for, and against women.’ (Grafik, 2015) The colour choice of red reflects the phrases which are exploring empowerment, stereotypes, choices and bad language associated with women. The contrast between the message and the design decisions used to present the typeface shows an aggression that would not be expected from females of this time period. The method of deconstruction within editorial design was gradually used more often to react and test the very uniformed and consistent ‘masculine’ design style of graphic design. Deconstruction was seen more to be a critical activity, an act of questioning and often favours complexity over simplicity; contradicting the structured and codified modernist approach. A reaction against the patriarchal, modernist design style was achieved by reshuffling and re-inhabiting the normative structure of mass and design became a critical tool to expose and revise the mechanics of representation. The exploration of design movements over the years has highlighted that the design decisions are consciously made to ensure that the inequalities within the creative industry are addressed and those affected are given a voice. Nicole Killian states that ‘I definitely believe graphic design inhabits possibilities to intervene, change or create larger nuance in questions of inequality’ (Bore. K, 2018). The design movements explored show that the decisions made explicitly celebrate the intelligence of creative women and portray them to be more than capable of the stereotypical feminine design outcomes. Editorial design is a powerful tool when needing to intervene with the expectation that the design industry is male dominated and decisions such as a change of typeface or image use, can really portray creative women in a new light. The suffragettes using editorial design as a powerful form of communication for protest shows the effectiveness of the past movements and how design has intervened, changed and created larger nuance; showing potential to continue to positively influence the gender gap in the creative industry through the introduction of breaking the masculine paradigm.

The evidencing of the past movements influences on addressing the inequality within the creative industry has highlighted the fact that editorial design decisions are consciously made to ensure that the issues are given a voice in the most appropriate manner. In order for the graphic design decisions to continue to ‘intervene, change or create larger nuance in questions of inequality’ the designers need to consider other theories as well as the different design movements, ones such as imposter syndrome. Imposter syndrome is when someone feels as though they are not as skilled or talented as people think they are, accompanying the belief that at any moment, they’ll be recognised as a fraud, resulting in the discounting of their own achievements and attributing them to luck/chance. In regards to the gender gap within the creative industry, Professor Sir Cooper says ‘quite a lot of women don’t think they are as good as other people think they are … They often make unrealistic assessment of their competences and listen only to the negative feedback’ (Higginbottom. K, 2018) and with confidence in what you are producing being a key element to successful design, it is an important issue to address. The attendance to a recent Glug-Xibit Leeds #16 event revealed that men as well as women can experience imposter syndrome to a certain degree as Oli Bentley from Split Design studio spoke about his ‘These Northern Types’ project, a typographic exploration of Northern identity and as a subjective project how admittedly lead to him ‘suffer[ing] from imposter syndrome more than [he] ever realised’ because he had a ‘sheer terror that [he] was going off on this limb and people would make jokes about spending 5 years looking at Northern Identity’. The masculine traits as previously discussed may be an explanation as to why Oli Bentley did continue with the project and eventually had the confidence to publish it, it is a positive example and editorial design can act upon this and help to raise the confidence of women also experiencing this. Until recently, it was still regarded slightly against the norms for women to have a career, let alone a successful one and although these stigmas are still present within society and more specifically the design industry, magazines are starting to focus on valuing the intelligence of the women in design. One example of this is Riposte, a magazine dedicated to spotlighting issues and women across the disciplines and positively portraying their intelligence. Danielle Pender, the founder, is of the opinion that ‘girls shouldn’t think that what they do is lame, or what they want to do is lame’ is very clearly shown through the design decisions that have been made in regards to the magazine. The decision to use minimal, typographic covers reinstates that it is the content as a focus and not the desirability of the women, similar to the likes of Cipe Pineles who ‘didn’t teach style – she taught content’ showing that the consideration of content can communicate much more than just following a design style that is seen to be on trend. The bold splash of colour on the cover also effectively shows confidence in regards to the content and certainty that the designers chosen are of a positive influence to society, addressing the idea of imposter syndrome and designers, especially women, not having confidence in their practice. In contrast to editorial design decisions in the past that have relied on the sexual attraction of the woman on the cover to appeal to the target audience shows that editorial design decisions are beginning to have an influence on the gender inequality within the creative industry by utilising the power of communication effectively. Angharad Lewis discusses the anatomy of a magazine and in regards to the cover an interview with Danielle Pender further expresses the importance of it being able to set the ethos for the content within (Lewis. A, 2016). Riposte has been admired for its bold approach to cover design, turning the conventions of women’s magazines on their head by relegating the ‘cover photo’ to the outside back page and putting typographic design on the front (fig.5). She defines a well-designed cover as ‘something that perfectly and succinctly sums up the ethos of your magazine. Something that is bold and brave and doesn’t follow trends.’ In this case, editorial design decisions have been shown to effectively communicate in a much more powerful manner through the use of associations that have been built in regards to different typefaces, with a serif typeface despite holding the association to masculinity, also portraying intelligence and power.

The Riveter is another magazine focused on the aim to change the way women are portrayed in print, relying on the design decisions to most effectively communicate the ethos of the magazine and to build up a respectable platform for a number of issues to be addressed. Despite the masculine associations the serif typeface (fig. 6) has, in this context it is shown to represent class, intelligence and legitimacy, editorial design decisions are showing that they have been made in order to influence the gender inequality and show women in a positive light. The columns used as part of the layout inside presents the intelligence of the women in a serious manner, showing legitimacy and value to the work they are publishing in the creative industry. In reference to the modernist design movement, this organised and systematic approach to editorial layout is associated to be masculine and hold a patriarchal drive. It seems that now this has progressed and the design decision to present text in an organised way may actually portray the seriousness and intelligence of the designers, potentially having been built up with the link to a newspaper layout. This is in contrast to the likes of FUSE, an example of postmodernist design style which relies on the experimental typeface designs to metaphorically break down the boundaries that have been built up within society and as a result allows for the strong messages to be communicated, in a masculine way as demonstrated by the fairly aggressive typeface Pussy Galore which may have come as a shock in this time period.

It seems evident that although editorial design decisions are having an influence on narrowing the gender gap within society, through the introduction of different design movements and reactions to these in order to communicate the inequality as an issue and raise more awareness in regards to this. The emphasis that editorial design has put on the issue of the gender inequality within the industry is positive and although awareness is being raised, there is a ‘hope that we won’t need special editions for female designers of today’s generation in tomorrow’s press. (Grafik, 2008) Editorial design decisions appear as though they need to be more neutral and with less of a gender focus to them in order to stop focusing on the women within the creative industry and more so on the work and ensuring equality. Sophie Thomas makes the statement of ‘don’t design for women or men – design for people’ (Banks. T, 2017), highlighting this point once again. The design movements over time have shown to make an impact in terms of communicating new ideas within society, so the introduction to a more neutral approach to editorial design may also result in the construction of equality within the design industry. This could be achieved through neutrality and with a more content focus approach to design, responding to the designers work themselves to help determine the editorial design decisions.

In the Autumn/Winter 2017 Printed Pages, Paula Scher (fig.7) is celebrated to be a designer who is ‘one step ahead’, but despite the celebratory tone, the editorial design decisions portray other messages. The use of imagery for this article show Paula Scher to be a confident woman, no sexualisation of her and all in outdoor settings. In terms of her design career, the final image shows her entering the Pentagram office, but the inequality will continue to be present as there is no focus on her actual design work, leaving the audience to naturally focus on her as a person and ultimately her gender. The text layout effectively highlights important quotes that summarise some key points within the text. ‘If I am sitting with a new client, I can see in the first glance that he’s wondering why he’s got this old lady’ effectively points out the gender inequality within the design industry how editorial design decisions need to focus on the pieces of design work rather than the designer themselves. ‘Design is a profession that will ultimately be dominated by women. The numbers are there.’ Paula Scher explains as she discusses the idea that women need to help each other out and see each other as less of a threat. The editorial industry shows a large number of women designers promoting other strong creative women in a positive way, influencing the gender gap within the design industry.

Conclusion

The discussion has ultimately highlighted the importance of editorial graphic design being the ‘communications framework through which these messages about what the world is and what we should aspire to’ (Hustwit. G, 2007) as a particular influence to the gender gap within the design industry and potentially an explanation as to why the inequality is also existent. The socially constructed expectations of gender roles show gender to order human activities and in parallel order the status hierarchy of the creative department which may be a result of the development and sustainment of the masculine paradigm; the biased system of independence and assertiveness. The violation of these social constructions have proven to be a powerful tool of communication within society in attempt to change the gender roles over the last decade, particularly women’s. Editorial design initially played a part in narrowing the gap by giving women the opportunity of employment within the industry. The editorial design work of Cipe Pineles really pushed the idea of content consideration as communication and managed to steer away from the overriding male dominance within the industry by responding against the patriarchal, modernist design. The exploration continued to confirm that the masculine design style was still very much present within editorial design but the postmodern movement began to influence editorial design to portray strong and clear messages. The breaking of boundaries currently associated with the very masculine approach to design was also seen to be an opportunity to break free from the supposed confines of the modern movement, in the creation of a new form of visual expression. A reaction against the patriarchal, modernist design style was based on reshuffling and re-inhabiting the normative structure of mass and design became a critical tool to expose and revise the mechanics of representation. The exploration of design movements over the years has highlighted that the design decisions are consciously made to ensure that the inequalities within the creative industry are addressed and those affected are given a voice. Upon exploration, it is clear that editorial design decisions need to ultimately be neutralised in order to remove any of the gender associations that have been socially constructed within the different design movements as discussed. Editorial design decisions took a focus on spotlighting issues and positively portraying the intelligence of women across the disciplines and elements such as the typeface and colour choice have been shown to effectively communicate in a much more powerful manner through the use of associations that have been socially constructed over the years. The once masculine, organised and systematic editorial design decisions have now developed an ability to portray intelligence of designers and it is these changes within editorial design that are more subtly addressing the gender gap issue rather than drawing attention to it, effectively narrowing it more than in the past. Editorial design as a platform to focus on the design work rather than gender will effectively continue to portray a sense of equality between the genders and hypothetically eliminate the attention towards female designers and work towards a better level of equality within the creative industry.

Images

 

 

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