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总的来说，高端时尚产业与广告业描绘了一种身份范围，通过持续重复和这类主题各种各样形象的探讨，将各类代表者统一于几种类别——年轻女性，地位高，性期望高。这种形象的聚合，由一些薪酬水平最高的艺术家、设计师、模特和摄影师创造， 产生了一环扣一环的结果：以现有的、形象基础的身份为基本来推销产品，并将身份认同向大众推广。

这在高端时尚产业清晰可见，由于花费高昂，产品只能够为少数人提供，但与产品相联系的形象却通过杂志向一般大众推广。通过这种方式，高端时尚产业向大众推广服饰的文化内涵，为人们提供咨询服务：谁是时尚新潮的，谁是落后陈旧的，谁是富裕有权的，谁是贫穷卑微的。这给那些能够消费得起所推广的服务的人们提供了预见性与可控感。服装、化妆、配饰，既是广告产品的消费刺激点，也是将个体与公众区分开来的方式。

尽管时尚品牌要在同类商品上进行广告竞争，它们却是在推广一套特定的价值观和生活理念的目标上相统一的。因此，将高端时尚产业作为一个整体来分析，个人能够从推广价值产品中定位自己的身份范围。

Taken as a whole, High Fashion Media and advertising describe a spectrum of identity, unified in general types of signifiers—young women, high status, high sexuality—and through the constant repetition and variation of images on these themes serve to create this identity spectrum. This conglomeration of imagery, created by some of the most highly paid artists, designers, models, and photographers, pursues two inter-related ends: to advertise those products on the basis of a manufactured, image-based identity, and to promote these image identities to the general public.

This can be seen clearly in High Fashion, where the products are marketed to a select few because of their cost, but the identity images connected to those products are promoted to a wide audience through magazines and product placement. In this way, High Fashion media provides a service to the consumers of their products by promoting to the public the cultural and socio-economic significance of their clothing: who is stylish, who is not, who is rich and powerful, who is not. This provides predictability and control of the moment of encounter for their “clients” who can afford a service that promotes the appearance of a select few; the product—the clothing, makeup, and accessories—act as both the point of consumption of the advertised identities, and as the point of identification with those identities within the public sphere.

Though High Fashion brands are motivated to compete with each other in advertisement of similar products, they are unified in the goal of promoting the set of values and life-style connected with High Fashion. In this way, analyzing High Fashion advertising as a whole, one can deconstruct an identity spectrum that is being promoted.

W magazine is a print manifestation of this unified promotional effort. Within the boundaries of its pages, there is a consistency to the imagery and products that outlines an alter-reality of beautiful young women, expensive things, and art. The abundant advertising and scarce editorial content flow together. To take, as an example, the September issue of W magazine, 279 of the 544 pages are direct, logoed advertisement; of the remaining pages, more than half are devoted to “spreads”: a series of fashion photographs featuring products from multiple designers, unified by theme, by photographer, or by model (these themes, designe本论文由英语论文网提供整理，提供论文代写，英语论文代写，代写论文，代写英语论文，代写留学生论文，代写英文论文，留学生论文代写相关核心关键词搜索。