The development of media sources between 1930-1999 - Essay Example

?As with much of the modern era, developments in media sources as well as the way in which marketing and advertisement take place have helped to craft a new identity for individuals living within the 20th century and beyond. However, rather than focusing upon an unbelievably large topic such as how media impacts upon people in the modern era, this particular research analysis will focus upon how media sources developed between 1930 and 1999 and had a direct, measurable, and noticeable impact upon the world of women’s fashion. As such, it is the hope of this author that the following unit of analysis will be useful in helping the reader to come to a broader and more appreciable level of understanding concerning the way through which media sources transformed the world of women’s fashion during this period and how a sense of consciousness and fashion awareness was specifically cultivated as a means of marketing new products and styles to individuals around the globe. Firstly, it must be understood and appreciated that the 1930s was a period in time in which radio was coming into its own. Although developed in the late 19th century, by the 1930’s radio had come to be exhibited within society to very much the same level and extent to which television is exhibited within the society of today. However, although able to integrate a degree of advertising, radio was ultimately incapable of presenting any form of image to the listener. This is where mass marketing of stores such as Woolworth’s, Sears, and a number of other mail order or local outlet stores began to take shape. As a direct result of chain stores that were able to open offices within a given area and even send out advertisements and catalogues, a sense of uniformity was able to be developed and instituted within the minds of those who thought themselves to be conscious concerning female fashion. Another aspect of media growth that impacted upon the way in which individuals viewed themselves and view the remainder of society has to do with the level and extent to which internationalism and an increased sense an understanding of globalization came to be evidenced in society after the first and second world wars. Subsequently, the First World War was enough to integrate world culture (Rigsby, 2010). Countless tens of thousands of traveled from one place to another in order to fight the Axis powers. Upon returning, a more metropolitan understanding of the world and the means through which fashion transcended culture was brought back. Although this is specifically with regards to man, these men with the ones who would go off to found and direct many of the firms and marketing agencies that would in turn seek to market specifically towards women’s fashions and women’s trends (Kozar, 2013). Similarly, the second world war further exists international scope and understanding; incorporating a litany of different cultures that would otherwise have taken many more decades to become globalized at their own speed and/or at their own pace. Thus far, the analysis has been concentric upon listing some of the cataclysmic and life altering situations that forced a further level of integration to the current world model. However, the fact of the matter is that the level of globalization, combined with the impacts of radio and/or the impact of mass marketing through print media represented only the nascent impacts that media could have upon seeking to integrate a broader and more international approach to women’s fashions (Alles, 2013). It was the invention and widespread use of the television that was what ultimately provided a mechanism and means of marketing for women’s fashion that accelerated the industry far beyond its wildest expectations. This was a unique dynamic for a number of reasons (Phillips & McQuarrie, 2009). The first reason has to do with the fact that television media was ultimately supported through sponsorship. Sponsorship took the form of advertisements which in turn allowed women’s fashion to directly be marketed to a massive audience around the globe. As a direct function of the particular media in question, a visual media, television was able to market to women, and by extension command, concerning women’s fashion without specifically advertising a women’s fashion product (Daniels, 1951). For instance, and advertisement concerning a new car could picture a perfectly fashionable woman, wearing the latest trends, shoes, accessories, and a litany of other fashion statements (Christie-Robin et al., 2012). By the same token, television programming itself sought to represent individuals living within the middle class and specifically targeted the self image and approach to which the viewers understood women’s fashion (Chang, 2011). Even a cursory review of television programming in any of the decades since TV has become widespread and accepted around the globe, illustrates the differentials between seasons in which the main cast dress and understand/integrate with evolving fashion of the particular era in question. Naturally, one would be remiss not to discuss the way in which the Internet impacted upon an understanding and/or and appreciation for fashion. Whereas television allowed individuals to be presented with images and understand that a particular look or a particular fashion accessory could be purchased from a specific retailer, with the exception of certain types of television advertising, a link between a particular fashion and/or the means of purchasing it was elusive (Parveen & Mishra, 2012). The Internet has close this gap and has allowed for individuals to view and purchase fashion within the same medium and within the comfort of their own homes. In much the same way as massmarketing and the creation and proliferation of mail order catalogs fundamentally shifted the way in which fashion was understood throughout the world, the same can be said with regards to the way in which the Internet has transformed the era of fashion by providing a new means of stakeholder participation in the review and purchase of women's fashion in an online and web enabled format (Yung, 2013). In conclusion, each of these successive trends that have been discussed have helped to redefine and increase the speed at which fashion is presented to the consumer and consumed. As with any other consumer product, the end goal of the producer is not only to derive profitability but to increase the volume (Summers 1970). Whereas a finite number of close can fulfill the needs of any individual within the society, an infinite number of close is required to keep up with the fashion industry that rapidly changes its expectations and styles. In this way, the progression that is been analyzed throughout the course of this brief analysis underscores the level and extent to which fashion producers have focused upon different forms of media as a means of representing new and potentially fast selling fashion trends to the consumer base. References Alles, G 2013 'September Women's Fashion/Beauty Magazines Have a Winning "Super Bowl", Media Industry Newsletter, 66, 29, p. 1, Business Source Complete, EBSCOhost, viewed 18 September 2013. Chang, B 2011, 'WE LIVE BY THE DRESS, WE DIE BY THE DRESS', Fast Company, 159, pp. 118-126, Business Source Complete, EBSCOhost, viewed 18 September 2013. Christie-Robin, J, Orzada, B, & Lopez-Gydosh, D 2012, 'From Bustles to Bloomers', Journal Of American Culture, 35, 4, pp. 315-331, Academic Search Complete, EBSCOhost, viewed 18 September 2013. Daniels, AH 1951, 'Fashion Merchandising', Harvard Business Review, 29, 3, pp. 51-60, Business Source Complete, EBSCOhost, viewed 18 September 2013. Khare, A, Parveen, C, & Mishra, A 2012, 'Influence of normative and informative values on fashion clothing involvement ', Journal Of Customer Behaviour, 11, 1, pp. 9-32, Business Source Complete, EBSCOhost, viewed 18 September 2013. 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