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  • Writer's pictureGwennan Jones
    • Aug 4
    • 6 min read

Week 6: Designing My Cover & Written Profiles

Introduction

This week I leaned into the more creative aspect of the project by developing and designing the cover of the publication. I also wrote profile-inspired pieces based on interviews I was able to obtain for people directly involved in this year's Met Gala.


Independent Study 

Designing the Publication Cover

To inspire ideas for the design of the publication, I was open to all ideas as I did not have any tunnel vision going into the experience. I have created mock-up covers before for the ‘Introduction to Fashion Media’ and ‘Magazine Publishing & Media Business’ modules, so I am confident in knowing how to create this type of project. I looked at publisher websites such as TASCHEN, Assouline and Rizzoli among others. I wanted the cover to make a statement but was unsure on how to actually execute this, so I collected covers I liked to produce the following moodboard:

I liked the idea of a bold colour and enlarged text - perhaps titled ‘The Met Gala: The Garden of Time’, in association with The Met and Vogue; especially as the exhibition catalogue is titled ‘Sleeping Beauties: Reawakening Fashion’ directly after the exhibit. The Cabana covers served as inspiration with the use of texture differentiating the magazines - which could be done using a fabric of an outfit from the event like Tyla’s sand dress by Balmain or Gigi Hadid’s gown by Thom Browne. I also enjoy illustration-focused designs, so I could commission an illustrator to create minimalistic fashion drawings of some iconic Met Gala looks from the night or use initial dress sketches by designers - all inspired by the David Hockney ‘My Window’ cover. The TASCHEN books are minimal but effective, utilising an emblem to speak on the nature of the book. It’s clear to me that covers with real-life photography (e.g. a paparazzi picture of the Met Gala) wasn’t to my personal taste unless it has a documentary / candid feel. I want the book to have a more fine art look. 


As a tester, I looked to see what illustrations were already available on the internet to get an idea of what the cover could look like. Surprisingly, I couldn’t actually find many on the internet but I found this online from an illustrator on Behance:

(Shchedrova, 2024)


At first glance, I was worried this type of illustration may have more of a college project feel to it, as opposed to work that is to industry standard. I am continuously thinking ahead to the graduate exhibit, where I want to show something I am truly proud of and would be excited to hold for pictures or show to guests. I feel as though I have ‘an eye’ for good design so this is a way for my subconscious for me to tell if something is of quality. For this reason, I’m not sure if an outfit illustration is the direction for this cover.


I took textures from Balmain’s sand looks to create the following covers:


(Balmain, 2024) (Rousteing, 2024)


While creating the covers on PhotoShop, I ensured to work in CMYK at 300 DPI as the images have been taken from the internet. I like their simplistic message and tone-of-voice of the covers without using text to convey meaning. The Tyla sculpture was one of the top 3 MIV looks of the entire evening so would be a hit with viewers as opposed to the Rousteing cover. However, I am worried that if the books were on display at a museum, they would look like a book of artefacts. 


Inspired by the TASCHEN books, I recalled an emblem I saw on TikTok for the red carpet tent on the night of the event. An upside down rose taken from the Philip Treacy hat featured in the exhibit. I feel as though the emblem symbolises the theme perfectly as the rose is untraditionally upside down, implying something is wrong in ‘The Garden of Time’.


(Seventeen, 2024)


With this emblem on the cover, there are no direct associations with any particular brands on the cover so it feels neutral and unbiased in tone which is vital for a publication like Vogue. I therefore needed to find a high quality image of the hat. I found the following on Instagram:

(Philip Treacy Archive, 2021)


As this was a low quality image, I took to PhotoShop to increase the DPI, remove the mannequin and used the Filter Gallery to give the rose a painterly effect to make up for any lost quality. I also added an off-white background so it wasn’t so stark pure white and off-putting but also for user accessibility reasons.


The Final Cover

(Bolton, 2024)


I asked classmates for their opinion on a favourite cover and it was very mixed between the emblem and Balmain cover to the point I was considering merging the two with a dust collector so I could have two covers. I decided to go with the emblem on its own in the end as it reflects the exhibition catalogue well as they look visually harmonious side by side and mirror the colour palette of each, especially with the incorporation of roses in the Undercover dress. In the past, being decisive is a skill I have struggled with, so I intend on standing by this decision. The final cover is simple and unique but identifiable to the 2024 Met Gala, a legacy that can be continued year by year with various emblems. The cover holds weight as a coffee table book cover as opposed to a magazine. I thoroughly enjoyed leaning into my art direction and Adobe Creative Suite (e.g. PhotoShop) skillset with this activity; in addition to creativity, typography, colour theory and branding.


Writing the Written Profiles

Additionally this week, using my email interactions with industry insiders that actually participated in this year's Met Gala, I decided to do a written profile style of writing in the book for each as I did in the ‘Fashion Journalism’ option module. For both pieces, some information had to be kept confidential for their clients, which meant their quotes would not have been substantial enough to write a whole piece with the intricacies I wanted - I therefore included background research found online to inform the pieces further to give the body of work more context, volume and flow. I worked on my confidence, preparation and communication skills through this activity. I have attached a snippet of both pieces below.


The Shakira Effect: A Prelude to the Red Rose on the Red Carpet 

With Jodie Chan (VP Global Marketing and Communications)


Where Grandeur Gathers: From The Mark Hotel to the Met

With Andrew Cosenza (PR Consulting for the Mark Hotel)


Key Takeaways

  • I understand the relevance of using an emblem as symbolism for your branding for consistency across platforms. In addition to the technical skills required to produce a publication cover.

  • Visual balance is important when designing a body of work to be sold in conjunction with another; evidenced in designing a cover for a book about the Met Gala to be sold alongside the exhibition catalogue. 

  • Background research is vital not only for interview preparation, but it can also help contextualise the written pieces and give the reader further information on why the interview is taking place.


Next Week

Throughout this experience, I have been continually referring back to the calendar I set myself which had been amended for the midpoint. According to my calendar for next week, I will be conducting timed news pieces to give publication readers the run-down of events at the Met Gala.


Reference List

Images Reference List



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