GQ: Language and Representation
GQ - Language & Representation blog tasks
Language: Media factsheet
The three genres are: General Interest, Special Interest, and Professional. GQ falls under General Interest because it covers a wide range of lifestyle topics including fashion, culture, and entertainment, appealing to a broad male readership.
GQ targets men by focusing on fashion, grooming, and image, while also addressing their intellectual interests and cultural curiosity. It offers content that informs, educates and entertains men interested in contemporary lifestyle trends.
GQ carefully selects its cover stars to reflect its brand identity and appeal to its audience, often choosing celebrities who embody modern masculinity and have cultural significance.
A house style refers to the consistent design, layout, tone, and branding of a magazine. GQ’s house style includes its bold logo placement, stylish and modern photography, minimal yet impactful text design, and a sophisticated tone that reflects its fashionable, upscale identity.
The blue/black colour palette continues masculine traditions, despite the magazine’s ‘new masculinity’ theme.
The obscure placement of the masthead behind Pattinson’s head reflects contemporary magazine design.
The visual styling (facial bruises, intense gaze) suggests an edgier, darker take on masculinity.
Inside pages: Jonathan Bailey feature and fashion shoot
His fashion choices (patterned trousers, soft backgrounds) hint at an evolving, more fluid version of masculinity, supporting Gauntlett’s identity theory.
Background imagery (flowers, neutral tones) softens the traditional representation.
His poses and confident expressions still portray traditional male confidence and dominance.
3) Apply narrative theories to GQ - Todorov's equilibrium, Propp's character types, Barthes' action or enigma codes, Levi-Strauss's binary opposition. How can we use narrative to understand the way the cover and features have been constructed?
Propp: Pattinson is constructed as the ‘villain’ through aggressive facial expressions and bruised appearance.
Todorov: The image shows a disequilibrium in Pattinson’s career narrative, contrasting his earlier ‘heroic’ Twilight roles.
Barthes: The bruises and intense gaze create enigma codes, inviting readers to question the backstory.
Levi-Strauss: Binary oppositions between traditional and new masculinity are evident in GQ’s approach.
We have already covered many relevant theories in our work on Advertising and Marketing (for example, David Gauntlett's writing on Media, Gender and Identity). We now need to apply these theories and ideas to GQ and specifically the CSP pages allocated by AQA.
1) How can Gauntlett's ideas on masculinity, gender and identity be applied to the GQ CSP pages we have analysed?
2) How could van Zoonen's work on feminist and gender theory be applied to GQ? Does the magazine challenge or reinforce these ideas?
Van Zoonen argues media shapes gender roles and reinforces patriarchy. GQ both challenges and reinforces this — while the front cover with Pattinson maintains dominant masculine traits (strength, aggression, sex appeal), other features (such as Bailey’s styling) explore evolving masculinity and challenge rigid gender roles.
3) Does bell hooks's work on 'corrosive masculinity' apply to GQ?
bell hooks’s concept of corrosive masculinity is less applicable to GQ’s recent issues. The magazine is attempting to break away from harmful masculine stereotypes through its ‘new masculinity’ approach, showcasing more fluid, diverse representations of men.
Jonathan Bailey is presented as stylish, powerful and dominant through low camera angles and sophisticated fashion. However, his attire and soft background elements challenge narrow masculine stereotypes, suggesting a more nuanced portrayal of masculinity and sexuality.
Representations: wider reading - GQ and the new masculinity
Read this CNN feature on how GQ is redefining masculinity and answer the following questions:
1) Which GQ issue is discussed at the start of the article and what was notable about it?
The New Masculinity Issue is discussed. Its bold, gender-fluid imagery, psychedelic typeface, and the inclusion of Pharrell Williams (in soft, almost feminine poses) challenged traditional perceptions of GQ as solely a men’s magazine.
Welch saw GQ as a magazine for anyone interested in stylish living, not just for men. He aimed to explore broader ideas of masculinity while keeping pace with cultural and social shifts in gender representation.
To adapt to industry changes, Conde Nast cut costs and expanded digital content, including YouTube channels like GQ Sports. This shift allowed GQ to reach new audiences and stay relevant in the digital media landscape.
The issue included a range of voices — actors, athletes, and artists — discussing their views on masculinity today. This diversity highlighted that there is no single definition of masculinity and opened up broader discussions.
Plank argued that masculinity is socially constructed and taught rather than innate, and that toxic masculinity is a global issue embedded in cultural teachings worldwide.
Welch rejected the idea that GQ was previously harmful, stating it had not promoted toxic masculinity even before his leadership.
Masculinity was defined by strength, independence, courage, confidence, and assertiveness — very rigid and traditional ideals.
As the UK deindustrialised, many manual labour jobs disappeared, replacing industrial masculinity with office-based work and a shifting definition of masculine identity.
Masculinity has evolved into a shared set of traits that both men and women can embody. There’s a move toward dismantling rigid gender expectations and promoting greater gender equality.
These shifts are especially vital in addressing men’s mental health, as suicide remains the leading cause of death for men under 45. Evolving definitions of masculinity may help reduce harmful pressures and stigmas.
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