BEYOND AGE:

A Multimodal Analysis of Vogue PH’s

Cover Page Featuring Apo Whang Od
A Course Paper

Mindanao State University – General Santos City

College of Social Sciences and Humanities - English Department

A.Y. 2023-2024

In Fulfillment of the Final Requirement in ENG 127

Semiotics and Media

Submitted by:

James Aron M. Mortiz

Submitted to:

Prof. Russtum Pelima, Ph.D

December 2023
Source: Nepomuceno, Artu. “Next of Skin”. Vogue Philippines. April 2023
Abstract

The April 2023 Vogue Philippines cover featuring 106-year-old indigenous tattoo artist
Apo Whang Od garnered significant online attention for its unconventional choice of an
indigenous model that is past her prime for conventional beauty. This paper analyzes the
aforementioned Vogue cover page using Kress and van Leeuwen’s Multimodality as a framework.
All perceivable “modes” are individually analyzed, namely texts, subject, outfit, and background.
The results imply that every mode observable in the cover page contribute to the underlying
meaning of the photograph which are emphasis on cultural representation and several societal
implications, such as challenging ageism, promoting diversity in media representations, and
promoting cultural awareness, specifically for the Kalinga tribe.

Rationale

Vogue is one of the world’s leading fashion magazines which is known for their fashion
trendsetting, high-quality photography, and exclusive access to the fashion world (The Editors of
Encyclopaedia Britannica, 2023). The magazine commonly features women at their age twenties
to thirties, with the goal of showcasing beauty, fashion, culture, and lifestyle. While it is etched to
the mind of Vogue’s readers that early twenties are the target age for women on Vogue’s cover
pages, the magazine occasionally features women who are considered old in age. These
phenomena are often driven by the reason that these older women are actresses or influential
women, worthy to be featured on a young-women-focused fashion magazine.

Although it is not unprecedented for Vogue to feature old women on their cover pages, it
is undoubtedly surprising for the magazine, specifically Vogue Philippines, to feature a 106-year-
old indigenous woman, Apo Whang-Od, on their cover page in April 2023. Astonishingly, Apo
Whang-Od is the oldest woman to be featured in a Vogue cover page to date. It is also the first
time for Vogue to feature a legitimate tribe woman in her tribal attire. Another thing note-worthy,
is that the netizens are greatly pleased with this cover page of Vogue, causing it to go trending and
be given attention even more than the previous cover pages they published featuring extremely
beautiful young women.
 Taking all these facts into consideration, it is justified that this topic is worthy for an
analysis. With the goal of extracting analytic-level meaning/s out of the aforementioned cover page,
this paper will use Kress and Van Leeuwen’s Multimodality as a semiotic framework.

Apo Whang-Od

To further introduce this paper’s subject, Apo Whang-Od is a legendary figure in Filipino
culture, revered and celebrated for her unique artistic skill and dedication to her tradition. She
Belongs to the Butbut people, a subgroup of the Kalinga Ethnic Group. She learned the art of batok
(traditional Kalinga tattooing) at a young age, following a lineage of female tattoo artist in her
family. She mastered the ancient art of batok, using a thorn dipped in charcoal ink to create intricate
designs on the skin. Traditionally, batok tattoos were considered sacred and carried cultural
significance, marking milestones in life and signifying bravery and social status. Apo Whang-Od's
dedication and expertise earned her the title of “mambabatok”, which translates to "tattoo artist"
in the Kalinga language. Her tattoos are highly sought after, attracting visitors from around the
world seeking a piece of her art and cultural heritage.

As the last known mambabatok of her generation, Whang-Od gained international

recognition for her unique skills and cultural preservation efforts. Featured in numerous
documentaries and news articles, raising awareness of the Kalinga batok tradition. She became a
symbol of cultural resilience and the enduring power of tradition and received national honors,
including the Dangal ng Haraya Award for her contribution to Philippine cultural heritage. Whang-
Od's legacy extends beyond her artistic skills. Her dedication to preserving a dying tradition has
inspired younger generations to learn and practice batok, ensuring its continued existence. Her
story serves as a reminder of the importance of cultural identity and the value of preserving
traditional knowledge. Whang-Od continues to be an inspiration and a revered figure, leaving a
lasting impact on Philippine culture and the world.

Considering all these facts, being featured in a Vogue magazine’s cover page is far from
unlikely. Whang-Od’s appearance in a Vogue cover page has delighted many Filipinos, and also
left some people scratching their heads as many people are mistaken with the idea that Vogue
strictly only features young women. specially after seeing her Vogue photograph on social media.
With this event, it is very likely for her art, culture, and advocacies to be given more attention and
spread awareness to the public and it is indeed something to celebrate.

Multimodality

To further elucidate this paper’s framework, Gunther Kress and Theo van Leeuwen's
Multimodality framework provides a comprehensive approach to analyzing meaning-making in
communication that goes beyond just words. It recognizes the significance of multiple modes of
representation, such as images, sounds, layout, and movement, in shaping meaning and
constructing social reality.

To mention some key elements of this framework, first would be “modes”. This describes
the possible modes that make up a “multimodality” phenomenon, namely verbal, visual, audio,
spatial, and the whole, multimodal. All of these modes will me analyzed in this paper if available.

Kress and van Leeuwen also mentioned about “visual grammar” that consists of
composition (framing, salience, perspective”), information value (representation, interaction,
mood), and social relations (gaze, distance, gesture). These are also going to be utilized in the
analysis.

Another element category will be of great use in the analysis will be the “metafuntions”
which consists of Ideational—representing the world, conveying information, Interpersonal—
establishing social relationships, expressing emotions, and Textual—organizing the
communication, creating coherence (Kress, G., & van Leeuwen, T.,2001). This concludes the
elucidation of the relevant points to be used in this analysis.
Analysis

Figure 1: Original Cover Page

1. Texts
a. VOGUE
The positioning of the text and at the same time, the logo of the magazine,
Vogue, is right behind the subject of the photograph, written in Didot font whilst
sized at a gigantic scale, occupying a space from margin to margin. This style of
logo positioning is called “silhouetted masthead” that often means assertion of
salience in a photograph, but only as the second most eye-catching element (Nicole,
2013). The overlapping of the subject, Whang-Od, in front of the Vogue logo
emphasizes the importance of the magazine name while maintaining the spotlight
for the photograph subject, Apo Whang-Od. The Vogue logo plays an important
role in giving context to the photograph, it indicates the photograph’s affiliation
with Vogue. If not for its association with the prestigious Vogue magazine, the
photograph wouldn't have sparked as much discussion online.
b. PHILIPPINES

Just inside of the letter O, the word “Philippines” is inserted, this is to make
sure that readers will not confuse the magazine issue to be an issue from the
 international magazine of Vogue, and also to emphasize that this issue is proudly
an output of the Philippines.

c. APR 2023

Beside the letter V, “APR 2023” is written. Date of issue is always important
to be written in the cover page for any magazine companies, and Vogue is no
exception. The most common reasons are archving purposes, legal publication
purposes, and marketing and advertising purposes. (Vidican, 2023)

d. APO WHANG-OD

In The first line of the group of texts in the bottom, “APO WHANG-OD” is
inscribed. It may seem obvious why the name of the photograph subject is written in
the cover page, but in the lens of multimodality, this text plays a very important role in
the whole of the photograph. For example, one might have only heard about the name
of Apo Whang-Od, and it is his first time seeing the woman’s appearance in this specific
magazine. Unless the name of Apo Whang-od is displayed, the aforementioned reader
will not know that that woman in the photograph is the amazing Apo Whang-Od.

e. NEXT OF SKIN

Next down the name of the subject, “NEXT OF SKIN” is written, and in the
second largest font size in the cover page. The phrase "next of skin" may have
originated from the idea that on top of the skin of Apo Whang-Od, the next layer woulf
be tattooes, as shown in the photograph. However, the phrase is intended to be open to
interpretation and able evoke various emotions in the viewer. It can spark curiosity
about traditional Kalinga culture, contemplate the relationship between art and the body,
or simply appreciate the beauty and strength of Apo Whang-Od herself. The ambiguity
allows the inscription to resonate with a diverse audience and adds to the overall impact
of the cover image. Most magazine cover pages include these catchy phrases, and
Vogue will not permit to be left behind.

f. THE BEAUTY ISSUE

 Downwards next to the phrase “NEXT OF SKIN”, “THE BEAUTY ISSUE” is
inscribed. This can be considered as the subheading of the previous text, and
supplements its ambiguity and aesthetics then would also heightens the emotions
evocable in the viewers. With the observable fact that the model for the magazine is an
indigenous woman of old age, the insertion of the phrase “The Beauty Issue” can be
considered highly effective as it sparks even more interest to the readers and entices
them to read more behind the cover to know what is the issue.

Overall, the layout of the texts follows the conventional layout for magazine covers,
including a silhouetted masthead, publication date, name of the model, and some
catchphrases. Due to this, it becomes obvious to the viewers that the photograph is a
magazine cover and not any other type of photography. Every visible texts also contributes
greatly to the

2. The Subject

With the size occupying most of the space in the center of the cover page, it is
impossible to mistake which element is the subject of the photograph. Apo Whang-Od is
not in just any photograph, she is in a Vogue cover page, and her visible old age is making
a big deal. Considering that Vogue mostly focuses on young women’s beauty, the
appearance of Apo Whang-Od in this cover page is greatly significant and very novel for
the Filipinos. It is also important to emphasize on her visible tattoos, as this is a great proof
and exposure of her profession as a mambabatok and it adds up to the cultural and
indigenous aspect of the whole photograph. On top of her age, the visibility of her tattoos,
traditional accessories, and her tribe-patterned skirt/pants sparks even more interest as it
enriches the cultural aspect of the photograph which is a great concern of multimodality.
These aspects go hand in hand with the aforementioned texts such as “THE NEXT OF
SKIN”, together with the texts, the subject contribute to the meaning making in the poster.

3. The Outfit

Apo Whang-Od wears an indigenous head dress, earrings, multiple strings of bead
necklaces, and pants/skirt, all in the shades of red, orange, and yellow, except for her black
spaghetti strap top which is equally interesting. From the obscure, yet surely indigenous
 head dress and earrings, and the patterned bead necklace, to the red skirt/pants with an
indigenous pattern weaved in it, all that Apo Whang-Od is wearing gives the sense of
Kalinga indigeneity, except for the black western top and her lipstick in an elegant shade.
Countless of models in Vogue’s magazines have worn the same combination of a black
spaghetti strap and the use of lipstick, therefore it is safe to say that this style is a Vogue-
signature, and it delightfully fits the natural physical features of Apo Whang-Od. This
successful combination of modern fashion and Kalinga traditional outfit gives readers a
meaning of inclusivity and acceptance, both from the Kalinga fashion to the modern
fashion, and from the modern fashion to the Kalinga fashion.

4. The Background
Since most high-definition cameras and professional photo editing blurs the background,
it is no wonder that only a gradient of colors is visible in the background. Nonetheless,
meaning can still be extracted out of the colors present. The reason why a gradient of black
and brown is visible in the background is most probably since most walls of indigenous
houses in the Philippines are made out flattened roll of bamboo or sheets of rattan (Ashab,
2023) and when light passes through the gaps, colors of orange peek through, or colors of
brown would be visible when those walls from the interior are exposed to light. Even if the
background is fabricated, since it can also be perceived that the background is a sheet of
brown fabric, the usage of these colors for the background can still evoke the ambiance of
a Philippine indigenous home, which is most probably deliberated by the photographer/s
since it is always best to place a subject in an environment where it naturally belongs and
use that environment as a background. On top of the house interior color resemblance, the
colors used in the background also greatly harmonizes with the colors of the subject,
considering her skin tone and the color palette of her outfit.

Conclusion

The analyzed Vogue cover page can be perceived to be giving great emphasis on cultural
representation. Celebration of traditional art is visibly displayed and emphasized with Apo Whang-
Od’s tattoos represents a living link to a rich cultural heritage. Her presence on the cover highlights
the importance of preserving and celebrating traditional art forms and indigenous knowledge. Apo
Whang-Od’s appearance on Vogue’s cover page also redefines beauty standards as it challenges
conventional definitions of beauty by featuring a woman who doesn’t conform to the typical
youthful and Eurocentric appearance. This challenges the exclusivity of the fashion industry and
promotes a more inclusive vision of beauty. Another thing to note is that the cover page focuses
on cultural identity and the unique traditions of the Kalinga people, specially batok art. Apo
Whang-Od's tattoos are not just decorative but also carry deep cultural meanings and tell stories
about the tribe's history and beliefs. (Mouriquand, 2023).

The cover also holds societal implications. Firstly, it is diversifying representation and
promotes diversity and inclusivity in the media by featuring someone who is not typically
represented in mainstream fashion magazines. This sends a positive message about representation
and encourages the inclusion of diverse voices and perspectives. Second, the cover is also
challenging ageism—the cover celebrates the wisdom and strength that come with age. By
featuring Apo Whang-Od, Vogue Philippines challenges ageism and promotes the recognition of
older individuals' contributions to society. The Vogue cover page also supports Empowerment and
Inspiration: The cover serves as an inspiration to many, especially women and marginalized
communities. Apo Whang-Od's story of resilience, dedication, and artistic talent serves as a
powerful example of female empowerment and the importance of pursuing one's passion. Lasty,
the cover is also promoting cultural awareness—The cover brings attention to the Kalinga people
and their unique traditions. This sparks curiosity and encourages people to learn more about
different cultures and traditions around the world. (Carpio, 2023)

Overall, the modes visible in the Vogue cover page, successfully conform to the expected
goal of delivering cultural presentation and also imply societal changes. If it wasn’t because of the
indigenous elements, namely the headdress, the bead necklaces, the patterned bottom clothing,
most importantly, Apo Whang-Od’s tattoos, The subject would just be a bland old woman that
although surprises people for her age in a Vogue cover page, would still be mediocre for she will
hardly ever carry any causes like Apo Whang-Od’s cultural representations did.
References

Editors of Encyclopaedia Britannica (2023, November 9). Vogue. Encyclopedia Britannica.

https://www.britannica.com/topic/Vogue-American-magazine

Kress, G., & van Leeuwen, T. (2001). Multimodal discourse: The modes and media of
contemporary communication. London Arnold Publishers.
https://www.scirp.org/reference/ReferencesPapers?ReferenceID=538574

Nicole W. (September, 2013). Magazing Cover and Spread. Art & Design.
https://thisismydesignstuff.wordpress.com/2013/09/09/magazine-cover-and-spread/

Vidican, R. (September 2023). The 10-step guide to creating eye-catching magazine covers.
Flipsnack Blog. https://blog.flipsnack.com/how-to-design-professional-magazine-covers/

Carpio, A.(2023). Meet the 106-Year-Old Woman Keeping an Ancient Filipino Tattooing
Tradition Alive. Vogue. https://www.vogue.com/article/apo-whang-od-and-the-indelible-
marks-of-filipino-identity

Mouriquand, D. (2023). A 106-year-old Indigenous Filipino tattoo artist becomes Vogue's oldest
ever cover model. Euronews. https://www.euronews.com/culture/2023/04/10/a-106-year-
old-indigenous-filipino-tattoo-artist-becomes-vogues-oldest-ever-cover-model