Visual Essay

Sex Appeal Rebecca Green (N0739091)

SEX Word Count: 2,533

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How has sex appeal impacted fashion marketing?

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1871 It has been claimed that, ‘Sex Sells’, for many years. The use of sex appeal in advertisements is said to ‘increase the advertising effectiveness.’ (Sawang, 2010). It is a concept that was first introduced through tobacco brands; the most memorable example being the 1871 Pearl Tobacco Ad, featuring a naked female at the forefront of the tobacco packaging.

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Over one hundred years later in the 1970’s, came ‘the era of; sexual liberation, pornography going mainstream and conventions being challenged’ (Seven Photographs that Changed Fashion, 2009). Helmut Newton, in 1975, produced an iconic photo named, ‘Rue Abriot’ for Vogue. Newton famously created many shots like this one of, ‘women in highly charged sexual scenarios’ (Seven Photographs that Changed Fashion, 2009). This particular photo is said to have captured the mood of the new sexual ambiguity movement, and also suggests that, ‘fashion pictures could be more than just a beautiful snapshot.’ (Seven Photographs that Changed Fashion, 2009).

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There are three main types of sex appeal that are used in fashion marketing; being nudity, pornography and the use of physically attractive models. Each of these different factors has influenced fashion marketing prominently.

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Nudity ‘The amount and style of clothing worn by models’ (Reichert and Lambiase, 2012)

Nudity is one of the primary forms of sex that is used in advertising. Brands have considered, ‘the amount and style of clothing worn by models’ (Reichert and Lambiase, 2012) in order to create a sexually appealing advertisement, that will make their brand appear to be more desirable.

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Calvin Klein notoriously use nudity within their marketing, and have done since the 90’s. Their famous 1992 campaign featuring Mark Wahlberg and Kate Moss, depicts their bodies, with them both wearing just Calvin Klein underwear in some cases.

This campaign in particular, shows both of their naked upper bodies. Calvin Klein used female and male nude bodies in the same campaign because ‘both women and men have been found to react favourably to ads in which a man as well as a woman appear naked’ (Messaris, 2006), thus, making the ad appeal to both genders. Herb Ritts directed the photoshoot and captured both of the models’ eyes looking straight into the camera’s lens creating an intense eye contact between them, and the audience.

Eye contact also contributes to the sex appeal of the campaign, as well as nudity; it builds a relationship between the model and the viewer, making the audience feel involved in the campaign. Associated with nudity is, ‘chiselled chests, short skirts, tight tops, muscular arms, breasts, bikinis, bare midriffs and lingerie’ (Reichert and Lambiase, 2012) and Calvin Klein have successfully included several of these elements in their campaign.

This is because all of these different features appeal to both men and women, instead of singling out one gender and making the other feel uncomfortable by looking at the ad.

Sex appeal has, in this case, impacted Calvin Klein’s marketing strategy by using nudity to sell their jeans that are being promoted in the ad, rather than focusing on the garment and it’s qualities.

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alvin Klein have continued using sex appeal to advertise their products. Here, shot by Mikael Jansson in 2015, Kendall Jenner wears a sultry Calvin Klein underwear set, revealing a large amount of skin. Similar to the 1992 Klein campaign, Jenner makes seductive eye contact, ‘Bedroom Eyes’, (Reichert and Lambiase, 2012).

This intensifies the ambiance, making anyone looking at the campaign feel as though they’re stood in that instant with the model thus, creating a moment of intimacy. The lingerie being worn is specifically black hinting to the sexual connotations that come with erotic black underwear. Black lingerie is said to be ‘very sexy and seductive. Women who prefer this classic color, are voluptuous, but seek sobriety, while returning a femme fatale image.’ (Stay Naturally Healthy, 2016). This exemplifies the impact that sex appeal has had on marketing, even down to the colour palette of the ad. Other brands have also followed in Calvin Klein’s direction, and have chosen to use nudity in their advertising campaigns.

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‘THE EIGHTH MOST COMPLAINED ABOUT ADVERT IN THE LAST 50 YEARS’ (Sowray, 2012)

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Tom Ford for YSL took nudity to the extreme, causing this ad to be the ‘eighth most complained about advert in the last 50 years’ (Sowray, 2012), it features Sophie Dahl completely naked. This ad provoked dispute amongst viewers because the public are not often exposed to an entirely nude body featured in advertisements; ‘Complete nudity is extremely rare in mainstream advertising, nudity is often represented by side and back shots of the model…and in some cases, frontal nudity from the waist up’ (Reichert and Lambiase, 2012).

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NIKE,

a brand that is not often associated with sex appeal, demonstrate conforming to the concept, ‘sex sells’.

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n increasing number of brands are using sex appeal as a marketing strategy ‘in an attempt to break through advertising clutter’ (Urwin, 2014), denoting that more people are being exposed to nudity through different media platforms every day. The use of sex appeal has impacted fashion marketing in a way that suggests nudity is lacking its shock factor, and the ability to attract and withhold consumer attention. Therefore, in order to enhance the memorability of their ads, marketers are obliged to turn to different strategies instead of, and alongside nudity. This can mean adding features like provocative text to their ads, making the campaigns more suggestive and more risquĂŠ, and using sexual embeds.

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Calvin Klein adjusted to the acceptance of nudity with their, ‘MyCalvins’ campaign. They produced a series of provocative ads that caused controversy among the public.

In this particular ad from the campaign, there is a female model, who in this picture looks questionably young, with the camera looking up her dress, and the quote, ‘I flash in mycalvins’ across the picture. The public confronted the picture, criticising the ad ‘for its glorification of “rape culture”, insisting that it normalises sexual harassment’ (Milligan, 2016).

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urthermore, Calvin Klein used food as sexual imagery for female genitalia. This creates a blurred line between the idea of sex and food, as different foods are considered as forms of erotica, provoking the audience to feel hungry for sex and food.

Both of these forms of sex appeal in Calvin Klein’s campaign have provoked discussion and publicity, attracting more attention to the brand than a normalized nudity campaign would, therefore it can be argued that, there is no such thing as bad publicity.

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Pornography ‘The visual representation of living, moving bodies engaged in explicit…sex acts’ (Reichert and Lambiase, 2012).

Sexual behaviour and pornography is another core category of sex appeal that is apparent in marketing and advertising.

This can be defined as “the visual representation of living, moving bodies engaged in explicit…sex acts” (Reichert and Lambiase, 2012). In different cases of sex appeal in advertisement, ‘the degree of explicitness of the encounter can vary from portrayals of voyeurism, to simple displays of affection, to inferred intercourse’ (Reichart and Lambiase, 2012). Marketers will use this strategy of marketing to create a strong brand identity and to enhance the brand image.

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‘Behavioural characteristics of models in sexual ads are similar to those of people enacting flirting behaviour’ (Simpson, Gangestad and Nations, 1996)

Gucci are renowned for their use of pornography in their ad campaigns. When Tom Ford became the creative director for the luxury brand, his provocative work became iconic.

Dating back to their Fall/Winter 1996 campaign, a series of erotic pictures were produced by Mario Testino. This campaign involves models Ludovico Benazzo and Georgina Grenville acting out realistic scenes, where the male and female are in an amorous moment, in which they are both in close and firm contact with each other that is typically relatable for most people.

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ere, the male is holding Grenville’s breast, showing his authority and highlighting the submissiveness of the woman. Her face depicts a solemn mood and a lack of genuine affection, provoking the viewer to think that she is reluctant to participate in such behaviour. The absence of compassion in this ad illustrates the impact that ‘sex sells’, has had on marketing. Gucci have created a more pornographic scene in this campaign, instead of romantic, thus creating a more shocking and memorable advertisement that will stay in the consumers’ minds.

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ornography in advertising excludes showing actual sexual intercourse however, ‘it does include sexually provocative behavioural displays. Models are filmed and photographed in enticing poses and positions- sometimes with other models, sometimes alone’ (Reichert and Lambiase, 2012).

An ad from the Spring/Summer 2003 Gucci campaign, sparked controversy with one of Tom Ford’s most provocative ads for Gucci. This ad displays an explicitly clear depiction of the iconic Gucci insignia, ‘G’ shaved into model, Carmen Kass’ pubic hair.

Kass is seen to be pulling down her own underwear willingly to represent women breaking away from the submissive, feminine persona, illustrating that she is proud of her appearance, and the male model is seen to be admiring her body.

Consequently, this ad ignited discussion, and was deemed as, ‘degrading to women, and as a result, it became prohibited.’ (theFashionSpot, 2014)

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As well as working with Gucci, Ford has his own brand, which followed in the same theme of sexually explicit advertisements. One of his most memorable adverts was from the Tom Ford Fragrance for Men 2007 campaign.

Photographed by Terry Richardson, this ad soon became banned in a series of countries. Featuring a completely naked woman in both pictures, she holds the bottle of fragrance tightly between her breasts, and in the other, placed directly over her genitals, forcing viewers’ attention to be drawn directly to the bottle, willingly or not. The model’s striking red nail-polish and lipstick did not go unnoticed as the connotations of red denote sex, passion, love and is also a colour that is often associated with prostitution. Moreover, the evident absence of the model’s face, and the overly oiled body makes it feel as though Ford has objectified women and represented the model as just a sexualised body. Sex appeal has impacted Ford’s marketing choice by influencing them to use a female body to sell men’s aftershave, this is due to findings that; ‘It is also possible that the type of product advertised determines the effectiveness of an opposite-sex, attractive model. Because the desirability of the model is in terms of romantic and/or sexual connotations, if the product advertised is also naturally associated with such connotations, then an attractive, opposite- sex model may make the consumer more receptive to the message in the advertisement. (Baker & Churchill, 1977)

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Ford then released another steamy campaign for his Neroli Portofino fragrance in 2011.

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Denisa Dvorakova appears in a playful, graphic series of photographs, displaying her in a shower scene with another male model, both of their bodies being entirely exposed and wet. The sex appeal of the ad is enhanced by the wetness, as this is something that is commonly associated with sex and is used in this instance to arouse the viewers.

‘Shock advertising is effective and possibly leads to increased brand awareness and an increase in sales volume’, (Urwin, 2014)

The notion that, ‘sex sells’ has impacted brands like Tom Ford, and encouraged them to take risks with their marketing. The objective of using sexual behaviour in advertisements is to create shock, by violating social norms and disrupting public values. In addition, ‘shock advertising is effective and possibly leads to increased brand awareness and an increase in sales volume’, (Urwin, 2014). However this is only successful if brands don’t go too far and consequently ‘alienate consumers and create disgust towards the brand.’

(Urwin, 2014). It is argued that shock advertising has become too common and is not as controversial as it used to be, therefore in order to generate bigger responses, brands are having to become more unique with their approach to shock advertising strategies like explicit sexual behaviour.

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ord has since released his Autumn Winter 2017 campaign, which continues the pornographic approach to marketing, however managing it in a more suggestive, controversial way.

Shot by Mario Sorrenti, this ad shows the female model wearing a fur coat, PVC knee high boots, sun glasses, and very transparent tights. Ford has chosen all of these staples of clothing as they all contribute to the stereotypical look of a ‘lady of the night’. Furthermore, the model has no clothing on underneath the fur coat creating a sensual and endearing ambiance, and on the contrary, the stance of the model isn’t considered as being ladylike, as her legs are wide open.

This is a much more contemporary style of advertisement in response to the theory that sex sells, as the photo is more about implied pornography rather than the exposure of a naked body.

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n another photograph in the campaign, the female model is seen to have a stiletto heel in her mouth, inferring oral sexual activity. This form of sex appeal is not just subliminal pornography, it is also a ‘sexual embed…objects that are shaped or positioned like genitalia and sexual acts.’ (Reichert and Lambiase, 2012), and here, the stiletto heel represents the male genitalia. This form of sex appeal in advertising creates a more impactful shock in the public and creates a lasting impression of the brand.

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Brands like American Apparel, Calvin Klein, and Eckhaus Latta, have all famously taken the same advertising path as Tom Ford and Gucci. American Apparel and Eckhaus Latta have both shown explicit sex acts in advertisements, which all create the same lasting impression of the brand, as Tom Ford has also done, by being more unique.

The effects that sex appeal and pornography have had on marketing indicate that brands are having to become more innovative, and distinctive with their displays of sexual behaviour, in order to generate shock. This is because the public are becoming over exposed to shocking advertisement which can be claimed is becoming obsolete and ineffective.

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Physical Attractiveness

‘Physical appearance, including facial beauty and complexion, play a central role in sexual interest and desire’ (Reichert and Lambiase, 2012)

Physical attractiveness is a key form of sex appeal that is used in marketing. Although this may be a very mild form of sex appeal, it is one of the most frequent. As Reichert and Lambiase confirm; ‘Physical appearance, including facial beauty and complexion, play a central role in sexual interest and desire’ (Reichert and Lambiase, 2012), this is because consumers are buying into the overall aesthetic of the brand, not just the product that is being advertised. Brands will use models that are physically attractive in order to make their products and garments more desirable.

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Guess is a brand that is recognised for using goodlooking, attractive models for their campaigns.

They have worked with ‘America’s Next Top Model’ in previous years to source fresh, young models in their campaigns to ensure a modern, innovative and original aura.

For their 2012 campaign, Guess used model Sandrah Hellberg, featured in all of their advertisements, including their Accessories campaign. In this photograph Hellberg is propped with one of Guess’s handbags. It is evident that a programme like Photoshop has been used to edit the model’s appearance, using a higher exposure on features like her legs, to make them appear highlighted. This can be perceived to look rather like plastic, alluding to a Barbie doll, something which is considered to have a ‘perfect appearance’. She is wearing short, tight fitting attire to emphasize her attractive figure and her feminine assets, giving her sex appeal.

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For the Guess 2013 F/W Accessories campaign, the same model is used, and it is evident that Guess are displaying her most beautiful assets in order to sell the products. This is because ‘It has been argued that attractive models serve as implicit arguments for the brand:

Good-looking people use the brand, so the brand will make you better looking’ (Reichert and Lambiase, 2012)

and therefore Guess aim for people buy their products so that they too can look like the glamorous model.

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uess also use the model’s eye contact, her attractive face and unique complexion, the clothing she is wearing – being tight fitted and revealing her voluptuous physique, and her big, curly hair, to appeal to their consumers. These features are exposed because from research, ‘respondents...consider the model’s hair, face, complexion, eye contact, dress, physique and behaviour when rating physical attractiveness.’

(Reichert and Lambiase, 2012).

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Other brands like Abercrombie and Fitch and even lifestyle brands such as Coca Cola, have been using this strategy in order to market their products and create a more desirable brand image.

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Physical attractiveness is a form of sex appeal that has no shock factor and doesn’t necessarily stay in consumers’ memories. However, it has impacted fashion marketing, and the way we perceive brands through their choice of model.

Physical attractiveness has now in more recent times been challenged with criticisms regarding diversity and embracing the more achievable, natural body, seeing a depletion in brands using this form of sex appeal within marketing, and turning to use a range of different sized, races and age of models. Furthermore, ‘there is evidence to suggest that Normally Attractive Models may be perceived as more trustworthy than Highly Attractive Models because of consumers’ perceived similarity between themselves and the Normally Attractive Models.’ (Bower and Landreth, 2001). As well, brands using diversity within their marketing are acquiring just as much, if not more attention than those using the sex appeal marketing strategy. This includes using plus size models, different ages, and different races.

‘Diversity of any kind is a good way to attract attention of diverse groups and reach to wider audiences’ (Kolesnikova, 2017).

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As shown by SHOWstudio, the use of diverse models, in this case Winnie Harlow, can be sexually appealing, and brands like Guess should recognise this.

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n conclusion, it is clear that these three types of sex appeal are all used together in order to make a campaign that will shock the public or create a lasting impression.

The impact that sex appeal had on fashion marketing was previously a lot more effective than it is now as the public are becoming increasingly exposed to this technique of advertising. Therefore, brands are having to approach sex appeal in a more innovative and contemporary way, in order to keep it’s, ‘shock factor’. Sex appeal has impacted marketing in a way that companies are now prepared to take more risks with their marketing choices as brands like Tom Ford, Calvin Klein and SHOWstudio are beginning to show.

Furthermore, with audiences becoming a lot more critical, and with social media giving the millennial a generation the platform to easily voice their opinions, brands now need to realise the impact of their marketing displays and consider the pending reaction audiences of different cultures, beliefs and morals might have. Thus, in order to not alienate any consumers and make them feel uncomfortable by their advertisements, marketers need to research innocuous ways to execute an effective sexually appealing ad.

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Image References Cover Photo – Rebecca Green, (2018), Edited I want to be with you in mycalvins, Original Available at: https://www.pinterest.co.uk/pin/524036106622488989/ Fig. 1 - Rebecca Green, (2018), Edited 1, I want to be with you in mycalvins, Original Available at: https://www.pinterest.co.uk/pin/524036106622488989/ Fig. 2 – Pearl Tobacco, (1871), Pearl Tobacco, (ONLINE) Available at: http://photos. legendsofamerica.com/saloonadvertising/h49FB7DBA#h49fb7dba Fig. 3 – Helmut Newton, (1975), Rue Abriot, (ONLINE) Available at: https://thelibertineezine. com/2012/11/10/preview-the-nude-in-vogue-complete-special-edition-veruschka-by-helmutnewton-for-vogue-russia-winter-2012/the-libertine-magazine-the-nude-in-vogue-special-editionhelmut-newton-for-vogue-russia-winter-2012-7/ Fig. 4 - Rebecca Green, (2018), Edited 2, I want to be with you in mycalvins, Original Available at: https://www.pinterest.co.uk/pin/524036106622488989/ Fig. 5 - Rebecca Green, (2018), Edited 3, I want to be with you in mycalvins, Original Available at: https://www.pinterest.co.uk/pin/524036106622488989/ Fig. 6 – Herb Ritts, (1992), Calvin Klein Jeans, (ONLINE), Available at: https://www.vanityfair. com/style/photos/2014/08/sexiest-denim-ads-of-all-time#2 Fig. 7 – Mikael Jansson, (2015), The Original Sexy, (ONLINE), Available at: http://www.instyle. com/news/kendall-jenner-calvin-klein-underwear-campaign Fig. 8 – Steven Meisel, (2000), YSL Opium Fragrance, (ONLINE), Available at: http://www. dazeddigital.com/fashion/gallery/19779/16/controversial-fashion-ads Fig. 9 – NIKE, (2017), Nike x Tisci, (ONLINE), Available at: https://www.harpersbazaar.com/ uk/fashion/fashion-news/news/a39773/bella-hadid-goes-nearly-nude-for-riccardo-tiscis-nikecollaboration/ Fig. 10 – Steven Meisel, (2017), Fruits, (ONLINE), Available at: https://www.wmagazine.com/ gallery/most-provocative-nsfw-fashion-ad-campaigns-of-2017 Fig. 11 – Harley Weir, (2016), I flash in mycalvins, (ONLINE), Available at: https://www.thesun. co.uk/archives/news/1168658/i-flash-in-mycalvins-calvin-klein-blasted-online-over-trashy-andrepulsive-upskirt-instagram-advert/ Fig. 12 – Harley Weir, (2016), I eat in mycalvins, (ONLINE), Available at: http://www.eonline. com/news/763702/kendall-jenner-s-new-calvin-klein-add-is-all-about-vaginas Fig. 13 - Rebecca Green, (2018), Edited 4, I want to be with you in mycalvins, Original Available at: https://www.pinterest.co.uk/pin/524036106622488989/ Fig. 14 – Mario Testino, (1996), Gucci Fall Winter, (ONLINE), Available at: https://en.vogue.fr/ vogue-hommes/fashion/diaporama/the-best-tom-ford-gucci-campaigns/25910#la-campagnegucci-1996-par-mario-testino_image19 Fig. 15 – Mario Testino, (1996), Gucci Fall Winter, (ONLINE), Available at: http://www. thefashionlaw.com/home/tom-ford-rumored-to-be-a-prospective-gucci-replacement Fig. 16 – Mario Testino, (2003), Gucci Spring Summer, (ONLINE), Available at: http://www. thefashionlaw.com/home/tom-ford-rumored-to-be-a-prospective-gucci-replacement Fig. 17 – Terry Richardson, (2007), Tom Ford Fragrance for Men, (ONLINE), Available at: http:// www.dazeddigital.com/fashion/gallery/19779/12/controversial-fashion-ads Fig. 18 – Tom Ford, (2011), Neroli Portofino, (ONLINE), Available at: https://www.pinterest.se/ pin/356136283008698840/?autologin=true

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Image References Ctd..

Fig. 19 - Tom Ford, (2011), Neroli Portofino, (ONLINE), Available at: https://hautetoday. com/2011/04/14/tom-ford-neroli-portofino-beauty-campaign-2011/ Fig. 20 – Mario Sorrenti, (2017), Tom Ford Autumn Winter, (ONLINE), Available at: https://www. tomford.com/TFBRAND_AW17_CAMPAIGN.html?fdid=brand Fig. 21 - Mario Sorrenti, (2017), Tom Ford Autumn Winter, (ONLINE), Available at: https://www. tomford.com/TFBRAND_AW17_CAMPAIGN.html?fdid=brand Fig. 22 – Heji Shin, (2017), Eckhaus Latta Spring Collection, (ONLINE), Available at: https://www. wmagazine.com/gallery/most-provocative-nsfw-fashion-ad-campaigns-of-2017 Fig. 23 – American Apparel (n.d), American Apparel Now Open, (ONLINE), Available at: http:// newsactivist.com/en/articles/gendered-world-views-section-11-winter-2016/american-apparel-ador-porn Fig. 24 - Rebecca Green, (2018), Edited 5, I want to be with you in mycalvins, Original Available at: https://www.pinterest.co.uk/pin/524036106622488989/ Fig. 25 – Claudia & Ralf Pulmanns, (2012), Guess Holiday Campaign, (ONLINE), Available at: http://www.gotceleb.com/sandrah-hellberg-guess-holiday-photoshoot-2013-01-04.html/sandrahhellberg-for-guess-holiday-27 Fig. 26 – Claudia & Ralf Pulmanns, (2013), Guess Fall Winter Accessories Collection, (ONLINE), Available at: https://modelsbyanilblon.wordpress.com/2015/06/20/sandrah-hellberg-photoshoot-for-guess-accessories-fall-2013/ Fig. 27 - Claudia & Ralf Pulmanns, (2013), Guess Fall Winter Accessories Collection, (ONLINE), Available at: https://modelsbyanilblon.wordpress.com/2015/06/20/sandrah-hellberg-photoshoot-for-guess-accessories-fall-2013/ Fig. 28 – Abercrombie & Fitch, (n.d), Abercrombie & Fitch Models, (ONLINE), Available at: https:// inhabitat.com/ecouterre/af-would-rather-trash-its-clothes-than-donate-them-to-the-homeless/ Fig. 29 – Max Abadian, (2016), Ashley Graham for Elle Canada, (ONLINE), Available at: http:// www.ellecanada.com/culture/celebrity/article/exclusive-ashley-graham-talks-sex-confidenceand-effyourbodystandards Fig. 30 – Nick Knight, (2016), Winnie Harlow for Show Studio, Available at: https://edition.cnn. com/style/article/winnie-harlow-interview-model-qa/index.html Fig 31 – Tyrone Lebon, (2016), I want to be with you in mycalvins, (ONLINE) Available at: https:// www.instagram.com/p/BBBRjsTDo1S/

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