Fragrance Analysis Essay

ANALYSE / FRAGRANCE / CONCEPT / NARRATIVE / DIRECTION / VOICE / BRAND / LANGUAGE

PRADA CANDY L’EAU independent film lovers, hold onto your courtesan au chocolat’s. wes anderson and roman coppola have teamed up again to create another distinctive visual masterpiece.

FIG. 1 PRADA CANDY L’EAU

PRADA CANDY/02

“ Primarily associated with the decorative arts, it symbolised elegance, wealth and luxury, opulent ornamentation and modernity PRADA teams up with indie film makers Wes Anderson and Roman Coppola for a short film to stimulate fragrance revellers. Léa Seydoux styled as a retro bombshell beauty, takes centre stage to star as Candy in both moving picture and as the face of the campaign [Niven, 2013]. Using classic French Cinema melodies, fashions and themes PRADA Candy creates a stimulating experience drawing upon Wes Anderson’s signature styling.

Exploring the brands aesthetics, the conceptual development and overall execution it is easy to see why PRADA Candy is a cut above the rest.

”

[Orminston, 2014, pp. 64-65]

PRADA is known for its luxury goods and avant-garde approach [Koda, Bolton and Thurman, 2012, pp.

28-31]; a global power house of extravagance and practicality. The luxurious themes stream fluidly within to the PRADA Candy fragrance, echoing the brands tone of voice within to the product.

The bottle design for instance takes influence from the flamboyant excessive style of the 1920’s. The bottle embodies Art Deco archetypes. Using familiar colours and shapes, the bottle reflects luxury. Colours such as gold, black, fuchsia and a whiskey coloured liquid, bring recollections of opulence of the post-war Golden Age. The boxing as well encases the fragrance in more art deco inspired design. Adorned with a simplistic styled illustration reminiscent of the 1920’s illustrations by John Held Jr, the fragrances packaging reflects the luxury you expect to find inside the bottle.

FIG. 2 PRADA CANDY L’EAU

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“a sign is made up of a signifier (an object) and a signified (its meaning)”

typical Wes Anderson styling. Throughout many of Anderson’s films, a noted style attribute is the use of symmetry within scenes. Here we can see Candy placed within the middle of the scene below the chandelier. Everything spanning outwards from this point follows a natural symmetry. From this we can see how Anderson brings forth his directional attributes within to the advert.

Identifying the relationship between what is shown and what this communicates to the viewer creates a relationship between brand and consumer.

Honing in on the leading lady Léa Seydoux’s character Candy; she emanates a classic Parisian charm.

Representing beauties gone before her, Seydoux’s looks draw upon a 60’s essence. From her hair to her clothes, the styling captures French beauty of the time.

[NOBLE, BESTLEY, LUPTON, 2012, PP. 92-93]

The advert maintains set design featuring reoccurring elements of the 1920’s. Between the art deco packaging and set, the vintage vibes echo throughout both the still image as well as the short film created.

The back drop of the apartment features ornate wall panelling using a marbled effect, a large chandelier and baroque arm chairs; signifiers for instant luxury.

The furniture is also matched with 60’s features. The big bulky stereo in the background, a comet chair for instance all reflect 1960’s furniture but do not play on obvious retro gimmicks. The mix of 60’s furniture with antique pieces could signify the extravagance and wealth of the owner of the apartment. Perhaps a metaphor that indicates at the market PRADA caters for. The play on symmetry with the furniture screams

Again, characteristically of Wes Anderson’s directional style, every aspect of Seydoux is controlled and presented to mention periods of the 60’s and 70’s.

Boycotting the obvious and cliché, the “Swinging 60’s” is passed by in favour of controlled artistic choices.

Capturing the Parisian understated style allows the prominence of the aesthetics used to truly shine within both Seydoux, the set and the syle choices. Using a muted pale colour palette throughout, prevents the gaudy retro vibes often associated with the time, allowing Seydoux to appear as a cool collected beauty.

FROM LEFT TO RIGHT | FIG. 3 PRADA CANDY L’EAU | FIG. 4 LÉA SEYDOUX

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“

fashion in the 1960s saw more change and diversity than in previous decades, and featured many styles influenced by the working classes, music, independent cinema and social movements.

Seydoux’s hair references several beauties before her time. With a blunt above eyebrow fringe; a take on the classic Bettie Page chop, blended with the voluminous tousles of Brigitte Bardot and Jane Fonda.

The 60’s also produced a new type of woman. The androgynous ideal “blurred previously set markers identifying the sexes” [Buxbauhm, 2005]. Twiggy embodied the ideal of long legs, sultry eyes and flattened chest which is very much a part of fashion culture today.

”

[H&MUA Blog, 2012]

Candy’s hair and appeal embodies these icons, reviving the past within to the present.

Hair styles in the 60’s promoted the idea of diversity and the celebration of iconic figures of movies and music [H&MUA Blog, 2012]. PRADA Candy themselves diversify against competitors by the celebration of these icons. Using strong links to bygone eras and directly referencing times before distinctly cuts them away from the sleek, hyper-sexualised and often nude takes on fragrance advertisements which heavily dominate our magazines and television screens.

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FROM TOP LEFT | FIG 5 BRIGITTE BARDOT | FIG 6 TWIGGY | FIG 7 BARBARELLA | FIG 8 BETTIE PAGE

“hot and understanding. cool girls never get angry; they only smile in a chagrined, loving manner and let their men do whatever they want.”

[FLYNN, 2012, P.210]

A woman who perfectly embodies a cool persona, mystery and beauty is Catherine Deneuven her role as Séverine Serizy/Belle de Jour. Séverine is beautiful and she knows it. Men fall at her feet. In comparison with Séverine, Candy embodies many similar attributes.

The dream girl. The girl who has two men chase after her. In three separate scenes Candy is seen stuffing her face full of food but she is still seen as desirable.

Andersons Candy personifies the Cool Girl. She is everything the two men want her to be and more. A girl that could never actually exist, much like Séverine.

The messaged conveyed via the advertisement promotes a picture of indulgence. Candy will have two cakes and eat them both. From the interior styling of grandeur, Candy’s consumption of food and taking

on two lovers this is a tale of excess and romance.

PRADA teamed with Anderson and Coppola to indulge viewer’s fantasies.

A brand that have also played with the language of indulgence, romance and retro takes include CHANEL No5. Both recent advertisements for CHANEL No5 and Coco Mademoiselle feature nostalgic settings and romance but neither truly reflect a past era the way PRADA has done.

The directional style executes an instant remembrance of the 60’s and the eccentric nature intrigues and captures the film and fragrance lovers alike. From the bottle and packaging design right down to the film, PRADA has created a truly luxurious treat.

FROM LEFT TO RIGHT | FIG 9 CATHERINE DENEUVEN | FIG 10 PRADA CANDY

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Illustrations Fig 1. Khondiji D, [2013], PRADA Candy L’eau [ONLINE]. Available at: http:// pursuitist.com/wes-anderson-androman-coppolas-prada-candy-leaufilm/ [Accessed on 20 Mar. 15] Fig 2. PRADA [2013] PRADA Candy Packaging [ONLINE]. Available at: http://thebeautygypsy.com/sweetsurprise-catching-a-whiff-of-pradacandy/ [Accessed on 20 Mar. 15] Fig 3. PRADA [2013] PRADA Candy L’eau Birthday Scene. From: PRADA Candy L’eau. Directed by: Anderson W, Coppola R. [FILM STILL] [Accessed on 20 Mar. 15] Fig. 4. Meisel S [2014] Léa Seydoux – Behind the scenes [ONLINE]. Available at: http://seydouxdaily.tumblr.com/ post/83117022990/lea-seydouxbehind-the-scenes-of-prada-candy [Accessed on 20 Mar. 15] Fig 5..Unknown [Circa 1960’s] Brigitte Bardot [ONLINE] Available at: http:// i1102.photobucket.com/albums/g452/ shewasabird/Brigitte%20Bardot%20 Hair/Brigitte-Bardot.jpg [Accessed on 20 Mar. 15] Fig 6.. Unknown [Circa 1960’s] Twiggy [ONLINE] Available at: http://okfashionblog.blogspot. co.uk/2014/03/1960s-fashion.html [Accessed on 20 Mar. 15] Fig 7. Vadim R [1968] Barbarella [ONLINE] Available at: http:// scifiscience.co.uk/movies/barbarellapic2.html [Accessed on 20 Mar. 15] Fig 8. Unknown [Circa 1950] Bettie Page [ONLINE] Available at: http://michaelfaudet.tumblr. com/post/51914481173/betty-page [Accessed on 20 Mar. 15]

References

Bibliography

Buxbaum, G. [2005] Icons of Fashion: The 20th Century. 2nd edition.

Germany: Prestel Publishing

Berger, J. [2008] Modern Classics Ways of Seeing. United Kingdom: Penguin Books Ltd

Flynn, G. [2012] Gone Girl. New York: Crown Publishing Group

Buñuel, L. [1967] Belle de jour.

Available at: http://www.imdb.com/ title/tt0061395/ [Accessed: 19 March 2015]

Group Profile [no date] PRADA Group.

Available at: http://www.pradagroup. com/en/group/group-profile [Accessed: 18 March 2015] Koda, H., Bolton, A. and Thurman, J. [2012] Schiaparelli and Prada: Impossible Conversations. United States: Yale University Press Noble, I., Russell Bestley ; foreward by Ellen Lupton. [2012] Visual Research [Second Edition]: An Introduction to Research Methodologies in Graphic Design. Switzerland: AVA Publishing SA Ormiston, R. [2014] 50 Art Movements You Should Know: From Impressionism to Performance Art. Germany: Prestel Steele, V. [1998] Paris fashion: a cultural history. United Kingdom: Berg Publishers Hair and Make-Up Artist Blog. [2012] ‘Women’s 1960s Hairstyles: An Overview - Hair and Makeup Artist Handbook’. Hair and Makeup Artist Handbook. Available At: Http://HairAnd-Makeup-Artist.Com/Womens1960s-Hairstyles/ [Accessed: 19 March 2015]

Fig 9. Séverine Still [1967] From: Belle De Jour. Directed by: Luis Buñuel [FILM STILL] [Accessed on 20 Mar. 15] Fig 10. PRADA [2013] PRADA Candy L’eau Cinema Scene. From: PRADA Candy L’eau. Directed by: Anderson W, Coppola R. [FILM STILL] [Accessed on 20 Mar. 15]

Word Count 1084

John Held, Jr. Biography [no date].

Available at: http://www.bpib.com/ illustrat/johnheld.html [Accessed: 18 March 2015] Niven, L. [2013] ‘Prada Candy L’Eau Film Revealed’. Vogue UK. Available at: http://www.vogue.co.uk/ beauty/2013/03/27/prada-candyl-eau-film-wes-anderson-romancoppola [Accessed: 17 March 2015] PRADA [2013] PRADA CANDY L’EAU, YouTube. YouTube. Available at: https://www.youtube.com/ watch?v=OnsXlxYiH6c [Accessed: 20 March 2015] ‘Throwback Thursday: 1920s Illustrations of John Held, Jr.’ [2009].

Words and Eggs. Available at: https://wordsandeggs.wordpress. com/2009/09/16/throwback-thursday1920s-illustrations-of-john-held-jr/ [Accessed: 18 March 2015]