Figure 1: (Testino, 1995)
Calvin Klein Obsession advertisement: Visual Analysis Overtime, images used within advertising have become far more shocking and alarming. Some even raise cause for concern. This is due to the saturation of images used within the consumer world today. What was once seen as shocking to the viewer quickly became ordinary. Using sex as a basis for advertising is a strategic shock mechanism for attracting consumer attention and stimulating sales. Companies feel they now have to challenge the conventional and make a lasting impression on the customer. They each strive to go above and beyond, pushing standards to the limits in order to generate sales. This is because it regularly provokes groups outside of the initial target market to bring publicity to the brand. An example of this is when ‘Calvin Klein sales reportedly rose considerably even as child protection groups in the USA and elsewhere were campaigning against the use of apparently very young models in arguably sexualized poses in CK ads’ (Hackley, 2005). President Clinton also ‘publicly criticized the campaigns as having the look of sleazy 1970’s teen pornography and just as inevitably the attacks generated more sales’ (96, Heller). Calvin Klein’s Obsession fragrance ad primarily focuses on the significance of the character in the image. It is unusual that the actual product isn’t even featured in the advertisement. This is because ‘The product which initially has no meaning must be given value by a person or object which already has a value to us’ (page 31, Williamson). Fragrance advertisements can give no substantial information about the product as there is no real way of communicating scent. The visuals of the advertisement are then essential in building a language with the consumer. ‘The model and the perfume bottle are not linked by any narrative’ (page 25, Williamson). Therefore the meaning of Kate moss to the world of fashion modelling and the success of her as a brand is how the consumer should associate the fragrance. Kate Moss as a model signifies youth and great potential however the hidden codes behind advertising would suggest other connotations linked to the advert. Corinne Day once told i-D “I love reality, things like bad posture, vacant stares, skinniness…They’re normal to teenagers. Women have forgotten what it’s like to be young” (Cochrane, 2013). This was in rebellion to the stereotypical portrayal of large breasted woman plastered over magazines which showcased all but the average woman. Corinne appreciated Kate’s childlike essence and beauty and spoke out to celebrate it. The styling of the Calvin Klein advertisement however showcased Kate Moss in an emaciated state. This campaign showed the young Kate Moss in a way in which did not celebrate her youthful beauty but instead suggested drug use to embrace the new ‘Heroin Chic’ movement. Kate is naked, skinny and has unfocused glassy eyes which could imply a drug induced anorexic disorder. The ad boasts a controversial combination of the representation both heroin chic and paedophilia. Her protruding bones, pale skin and stringy unkempt hair communicates a weakened and frailty. She looks helpless and disoriented which reinstates the idea of glorifying heroin use. What does the name of the fragrance actually suggest? An obsession with the product? An obsession with drugs? Or an obsession with the viewer? Therefore, we must also consider the target market of this product. Calvin Klein has chosen to portray Kate Moss as a young exposed drug user. This would suggest that the male viewer finds seeing young women in their most helpless state desirable. There is no doubt that women are seen as sexual objects. However when the model used as a sexual entity is underage, it is deemed pornographic. Sexualising young women in advertisements raises a serious issue with pornographic imagery used within the media. Another example of where advertisements have gone beyond the
boundaries of being acceptable is the Marc Jacobs Oh Lola! perfume advert. This starred the 17year-old teenage actress Dakota Fanning posing with an oversize bottle of the scent between her legs. It was pulled after receiving several complaints that the imagery is guilty of sexualising a child (Bergin, 2011). The marketing tool of sexualising women is used widely within advertising today. This concerns the gaze whereby ‘Men look at women and women watch themselves being looked at’’ (Chandler, 2000). A male viewer will look at the woman featured in the advert and judge her as she is gazing upon him for acceptance. However when a child is used within the advertisement, it is seen as pornographic as young women should not be sexually objectified by a male audience. The innocence of Kate’s expression with her physical childlike appearance suggests purity and virginity. However these are both stripped away with her drug induced victim-like manner and exposed flesh. The Calvin Klein obsession fragrance is targeted for men however the advertisement may be directed at either men or women. This is because women are the people who make most of the purchases in our society (Dyer, 1982) and 60 percent of men’s cologne is bought by women (Neilson, 2010). Therefore the ad could also be considered to aim towards a female audience as well. A woman will look upon another woman and judge her with a male gaze. Overall, the Calvin Klein Obsession advertisement was a success in terms of penetrating a shock factor into the industry. Although the brand was generating bad press around the advert, it did not stop; instead it encouraged customers to increase buying with the company. This shows that they had successfully achieved what they intended to do. By causing hype around the fashion imagery they were able to generate brand awareness and in turn generate sales. However I could disagree that this advert was deemed too risky with its underlying topics of heroin use and pornography. These are disturbing topics to base an advert around, especially when dealing with a young model like Kate Moss. Her reputation was not damaged by the advert however over later years she experimented with drugs. Some may say that it began with the glorification of the heroin chic movement at Calvin Klein. But who are we to point the finger. The advert uses no text only imagery therefore we are left to make our own judgements on the hidden connotations we consider that the advert is trying to communicate.
REFERENCING Bergin, O. (2011). Dakota Fanning's Oh, Lola! advert for Marc Jacobs is banned. Available: http://fashion.telegraph.co.uk/article/TMG8876913/Dakota-Fannings-Oh-Lola-advert-for-MarcJacobs-is-banned.html. Last accessed 22nd March 2013. Chandler, D. (2000). Notes on the gaze . Available: http://www.aber.ac.uk/media/Documents/gaze/gaze08.html. Last accessed 22nd March 2013. Cochrane, L. (2013). There’s only kate moss. Available: http://i-donline.com/2013/02/theres-onlykate-moss/. Last accessed 22nd March 2013. Dyer, G (1982). Advertising as communication. London: Methuen & Co. Ltd. 82. Hackley, C (2005). Advertising and Promotion - Communicating Brands. London: SAGE Publications. 184-185. Heller, S (2000). Sex Appeal. New York: Allworth Press. 96, 100-101. Neilson, L. (2010). STUNTS Marc Jacobs' Ad for Bang is Making a Lot of Noise. Available: http://www.nbcnewyork.com/blogs/threadny/THREAD-Marc-Jacobs-Ad-for-Bang-is-Making-SomeNoise-104089199.html. Last accessed 22nd March 2013. Williamson, J (1978). Decoding Advertisements. London: Marion Boyars Publishers Ltd. 25-31.
IMAGES Figure 1: Testino, M (1995), Calvin Klein Obsession [ONLINE]. Available at:http://www.supermodelstars.com/advertisings/calvinklein/images/calvinklein-obsession19950102-katemoss.jpg [Accessed 22 March 13]