Red Lips Emily Prior-Such, Fashion Communication and Promotion, N0623867
Red Lips The red lip trend is ever present and has taken many different forms. It has survived the test of time from as early as Ancient Egypt, becoming a bold statement across history. It is still just as relevant today, featuring in modern fashion advertising and retail theatre, as well as varied cultural and creative contexts, proving its iconic status.
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Contents Red Lips in Advertising
6-7 Red Lips and Retail Theatre
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Red Lips and the Broader Creative Context
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Red Lips and the Broader Cultural Context
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The Big Idea
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Red Lips in Advertising
FIG 1. No7 You will take these red lips seriously, 12/08/10
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y chosen adverts for analysis are No7’s ‘Ta Dah!’ campaign and Tom Ford’s Private Blend Lip Collection. The key themes between these two adverts couldn’t be further apart; No7’s focuses on age and positive body image while Tom Ford’s is driven by sex and promiscuity. No7’s target consumer is mature women and so the use of an older model is easier for the consumers to identify with, especially as the image states that ‘she’s not airbrushed’ so the red lip look in the advert is realistically achievable. She is wearing a black suit which has connotations of sophistication, particularly as a suit is typically a male item of dress which brings in further connotations of power dressing, strength and independence. These connotations combine, indicating the sign of a working woman who is able to purchase from No7. The grey streaks in the model’s hair along with her red nails and lipstick make a statement against the black suit, showing connotations of being stylish and well-groomed. Red lipstick typically signifies sexiness but combined in the advert with the tagline ‘You will take these red lips seriously’, the overarching sign is reinforcing the connotations of being a strong and independent woman; she is wearing this red lipstick for herself and not for male gaze. These messages are all relevant to No7 because its main aim is to empower the women who wear their products and give them that ‘ta-dah!’ moment where they feel their most beautiful.
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Tom Ford’s target consumer is younger with more disposable income to spend on the luxury price tag. This is initially reinforced with the use of the phrase, ‘private blend’, which has connotations of exclusivity and luxury. The advert features a female and male model in a provocative close-up shot, forcing you into a very personal situation and hiding the identity of the models. This creates the idea that something sordid and private is happening, thus linking back to the ‘private blend’ phrase. The lipstick as a physical product is featured in both adverts but is much more prominent with Tom Ford, held up to the mouth of the female model. This connotes a phallic symbol, creating a controversially sexual image. The colour red itself connotes feelings of lust and sexual arousal and it is clear to see that the girl is wearing the red lipstick for the man, shown by his lip contact with her. Gender guidelines are further reinforced with the stubble of the man connoting a tough, masculine quality to create a clear distinction between the two close-up faces. Meanwhile the girl has glossy lips and nails, a sexy and feminine texture which feeds in further to this gender stereotyping. All elements combine to create a daring image but as a high-end brand, Tom Ford can afford to be controversial with its promotional imagery. Both adverts are linked by a narrative thread of confidence. The Tom Ford advert oozes sexual confidence and although it may not be a positive image like No7, the personalities in the image are clearly comfortable with their sexuality due to the provocative act they are displaying. No7’s advert portrays a body confidence narrative by featuring an older model, sitting proudly and making a powerful statement through bold choice of lipstick and style.
FIG 2. Tom Ford Private Blend Lip Collection, 16/06/10
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Red Lips E
milio Pucci’s 2012 window features a single mannequin dressed in a black evening gown with an oversized pair of red lips and a single eye hanging from the ceiling. The feline eyeliner flick and red lip combine to create connotations of classic beauty and Hollywood glamour, reinforced with the fit and flare evening gown which brings connotations of a sultry, femmefatale character. These messages are relevant to the brand as Emilio Pucci’s designs are known for their, ‘sensual, free-slowing lines that followed the natural curves of the body’. What’s more, the sharp lines of the eyeliner, heels and marble interior create signs of danger, strengthening the seductive siren character. The signified elements in the window are also relevant to the consumer, with the simple Emilio Pucci name across the glass, indicating that it is a luxury brand only affordable for the wealthy. Overall, the narrative displayed is about expressing sexuality and Emilio Pucci’s interpretation of this narrative is sensual and glamorous. Desigual’s 2013 window also expresses sexuality within its narrative but it is more flirty and tonguein-cheek than Pucci’s. One similarity between the two brands is that they aren’t promoting lipstick as a product but both windows have red lips present as a prop. Desigual’s 3D lips are posed in lip-biting positions, creating a provocative image. Combined with the phallic symbol of the banana and the cherries (which have connotations of sex and virginity), the biting lips create connotations of desire or a yearning for sex. On top of this, using the fruit as props literally suggests being fruity or flirty
which is relevant to the brand motto written on the window, ‘sex, fun and love’. In the background of the window is an illustration strip of naked men and women. This is also relevant to the brand as Desigual is known for its, ‘intense prints, innovative graffiti art and asymmetrical designs’ but the nudity (and fruity sexual metaphors) have been made subtle as the target consumers include children as well as adults. Both windows clearly have elements of glamour with Emilio Pucci being more obvious with its signs of classic glamour. Desigual’s single mannequin is wearing a short dress and heels, bringing connotations of femininity but unlike Pucci’s window, the mannequin is wearing the red lipstick along with a peekaboo fringe wig which carries historically glamorous and sexy connotations from the 1940’s. As well as this, both brands have referenced the art world with their 3D lips props; Pucci showcasing a Salvador Dali sofa-esque shape, inspired by the Hollywood star May West while Desigual has taken a pop art approach with the oversized lips and fruit, once again reflecting the glamorous and fun elements the brands uphold respectively. One main difference however is that Emilio Pucci’s window has a simple presentation with negative space whereas Desigual’s is busy and crowded. This indicates that Emilio Pucci is a classic and well established high-end brand and so the visual merchandising is more refined than Desigual, which is of mid-market status and elements of fun run through the brand’s principles.
and Retail Theatre
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FIG 3. Desigual Window, 16/04/12
FIG 4. Emilio Pucci Window, 13/11/12
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A FIG 6. Robert Smith of The Cure, c.1980
gainst a broader creative context, red lips can be seen here within film, music and illustration. The film still of Elizabeth Taylor is from the 1960 movie Butterfield 8 in which she portrays Gloria Wandrous, a high-class prostitute. After waking to find that her lover has left her money, she takes offence and angrily writes ‘no sale’ with her red lipstick on the mirror. Although the image produced embodies female sexuality with the true Hollywood glamour styling, it also displays an alternative creative use for lipstick. Using it as a writing tool produces a bigger statement than a red lip ever could, expressing feelings in an overly feminine way. While in the film context the red lip is seen as a Hollywood icon, in a musical context it makes more of an unexpected impact. Robert Smith from the rock band The Cure was known for his striking image as well as his music. He had a signature Goth style; unruly hair, dark eyes, pale complexion and smudged red lips. Dunja Brill says that, ‘androgyny in Goth subculture style often disguises or even functions to reinforce conventional gender roles’, so it seems that Robert Smith’s adoption of the red lip is more about making a controversial statement. Red lips are a stereotypically female attribute and so to see it worn in such an imperfect and edgy way by a man makes an impact within the music industry, where striking personal image is just as important as the genre of music. Within the creative context of music there is perhaps more artistic freedom so men feel just as free and open to the idea of wearing a red
FIG 5. Elizabeth Taylor in Butterfield 8, 1960
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Red Lips and the Broader Creative Context
FIG 7. Chrissy Lau Illustration, 2015
In an illustration context, the red lip makes more of an artistic statement. Chrissy Lau’s simple line drawing character has a quirky, hipster edge to it with the glasses bringing connotations of being geeky and intelligent. As well as this, the short hair goes against traditional female gender stereotypes and the jumper is not in any way revealing (in complete contrast to the film still of Elizabeth Taylor) making for a nonsexual image. The only colour element that stands out is the red lip, which along with the connotations produced by the glasses creates an intellectual sign: knowledge is power but clever girls can wear makeup too. The obvious over-arching visual code is that all examples are wearing the red lipstick as a form of expression. This leads to discussion about style tribes, dependent on place and time (in iconic film, 1980’s rock genre and the modern geek-chic). Thus the meanings shared are of gender roles and sex, or lack of it. Elizabeth Taylor is the glam sex screen siren, Robert Smith is borrowing from the opposite sex and Chrissy Lau illustrates the other extreme of anti-sex. Aside from the classic approach of the film industry which focuses on glamour, creative modes such as illustration and music are far more individual and appeal to smaller audiences or subcultures, allowing for alternative red lip interpretations to be expressed. A red lip in the creative context is in fact just as much about personal style as it is within a fashion context – it builds character and makes a statement
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Red Lips...
istorically, the red lip has indicated power and leadership or acted as a sign of wealth. Here the red lip can be seen in the context of ancient Egypt, the Elizabethan era of the sixteenth century and the traditional geisha culture of Japan. The Egyptians are perhaps better known for their dramatic eye makeup, but Queens Cleopatra and Nefertiti would also paint their lips red, apparently ‘crushing beetles and ants to get the right shade of scarlet’. As Lisa Eldridge writes, ‘the freedom and rights accorded to women during a given period are very closely linked to the freedom with which they painted their faces’. Egyptian women were wealthy; they could own land and even rule the country so their extravagant red lips made from exotic ingredients represented the freedoms they had within their culture and the acceptance of society during this time. Moving forward to the Elizabethan reign during the 16th century and red lips were also a sign of the rich. Queen Elizabeth I made it law to wear cosmetics, adopting the trend of highly rouged cheeks and lips to give ‘the impression that they were painted.’ It appears that even the seemingly modern beauty standard of striving for absolute perfection has historical origins and was a fundamental value for the Elizabethans, as outlined by their queen. Red brings with it the connotation of youth but Elizabeth’s image was about displaying ‘power and her status as a ruler’ so once again red lips represent leadership and luxury within culture as only the very well off could afford it. The historical red lip of the Japanese Geisha is the only example still in existence today and the cultural context is much unchanged from the Edo era of the 1600’s. As with the previous examples, red lips represent the rank and position of the Geisha, ‘The lower lip is colored in partially and the upper lip left white for maiko in her first year, after which the upper lip is also colored. Newly full-fledged geisha
will color in only the top lip fully’. What’s more, red carries heavy symbolism in Geisha culture as ‘blush on the cheeks and red on the lips are sexual signals mimicking youth, nulliparity and the vigor of health’, an important set of values to maintain as Geishas primarily host and entertain men, a practice still adopted today. Of course, outside of their historical context these cultural values would change. Red lipstick is readily available to all in the modern day and what a red lip signified to these cultures is not now adopted by women in 2016, although the desire to look perfect and imitate those higher in society is still maintained. The creative context of fashion alters these cultural references further. Fashion frequently borrows from history and trends disappear and come back again just as quickly, resulting in more theatrical and exaggerated versions of historical dress and beauty.
FIG 8. Rouge, October 1922
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...and the Broader Cultural Context FIG 9. Nefertiti, 14th century B.C.
FIG 10. Portrait of Queen Elizabeth I, 1540
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The Big Idea
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FIG 12. Victoria’s Secret Store, 2012
onsidering the creative significance of writing on mirrors with red lipstick, I feel that the best alternative direction for this trend is to take it from product to a place. Writing with lipstick on mirrors can be viewed as a romantic gesture, leaving a loving message for a partner or even one of anger, as seen in the 1960 film Butterfield 8 with Elizabeth Taylor in which she ‘scrawls furious messages on mirrors with lipstick’ in response to her lover leaving her in bed . The action of writing on mirrors with red lipstick therefore builds connotations of romance, love, sex and glamour. Due to the bold gestures made with red lipstick on mirrors, I thought it best to incorporate a brand that promotes its products as romantic gestures. Victoria’s Secret primarily sells lingerie, and whether the products are direct gifts from a loved one or worn as a treat, the gesture of gifting is a core value for the brand with its desirable wrapping and packaging adding a personal touch.
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FIG 11. Girl writing on mirror, 04/07/11
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Lingerie is a very personal product, as is the changing room experience in store making it a daunting process for many. Therefore my alternative use of red lipstick would be to update the Victoria’s Secret changing room mirrors so that they incorporate messages of confidence written in lipstick, such as ‘you look beautiful!’ or ‘that fits fabulously!’ Once the customer is happy with the product, the mirror’s digital elements come to life. A solid lipstick shaped stylus enables them to tap on the options available (which are written in red lipstick), choosing ‘love it’ would add the product to a wish list on the Victoria’s Secret app which can then be shared with a loved one via email as a direct hint. Customers will also have the option to write their own lipstick message using the stylus on the mirror, offering a personal touch to accompany the wish list on the app by recreating the romantic creative gesture. This service would be seasonal, taking advantage of the Valentine’s Day gifting ritual whilst making decisions easier for clueless partners. Making the alternative use of red lipstick an experiential aspect will improve the customer’s experience instore, transforming the changing room process from a chore to an enjoyable activity. Service will also be improved for those making the purchase with a click of a button via the app, speeding up the buying process and cutting out the hassle of visiting the store and being overwhelmed with choice. According to a recent InfoTrends report, ‘In-store digital technologies can increase the average purchase amount by 29.5% and in-store traffic by 32.8%, while creating a brand connect’. Therefore, the brand’s success now depends upon new technologies to make itself stand out in a competitive market. The digital sharing aspect will build an exclusive online community between customers using the service and the magic mirrors themselves will encourage hype via Instagram with the ever growing popularity of changing room selfies, bringing more people to the store to sample the limited time only service. By pairing red lipstick in its least literal form with Victoria’s Secret, a successful and beneficial new service for both the brand and consumers can be created. Red lipstick brings with it the connotations of love and passion and this lingerie brand thrives upon people’s sexual desires whilst aiming to provide a memorable gift for a loved one to enjoy.
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FIG 14. Digital mirror, 16/12/14
FIG 13. Unknown, (2014), Victoria’s Secret changing and FIG 15. Lipstick writing on mirror, 2015
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List of Illustrations COVER. Jason Brooks, (2010), Lipstick [ONLINE]. Available at: www.vogue.co.uk [Accessed 23 January 16]. INTRO. Panda Kao Watch, (unknown), Film Noir Poster [ONLINE]. Available at: http://pandakaowatch.tumblr. com/page/37 [Accessed 24 January 16] FIG 1. No7, (2013), You will take these red lips seriously [ONLINE]. Available at: https://www.creativeclub.co.uk/ fs.aspx [Accessed 05 January 16]. FIG 2. Tom Ford, (2010), Tom Ford Private Blend Lip Collection [ONLINE]. Available at: https://www. creativeclub.co.uk/fs.aspx [Accessed 03 January 16]. FIG 3. Unknown, (2012), Desigual Window [ONLINE]. Available at: http://www.retailstorewindows.com [Accessed 06 January 16]. FIG 4. Unknown, (2012), Emilio Pucci Window [ONLINE]. Available at: http://www.windowswear.com [Accessed 06 January 16]. FIG 5. Unknown, (1960), Elizabeth Taylor in Butterfield 8 [ONLINE]. Available at: http://noirwhale.tumblr.com [Accessed 06 January 16]. FIG 6. Unknown, (c.1980), Robert Smith of The Cure [ONLINE]. Available at: http://www.ew.com/ [Accessed 06 January 16]. FIG 7. Chrissy Lau Illustration [ONLINE]. Available at: http://www.illustrationweb.com [Accessed 06 January 16].
PAGE 10: Trend Hunter, (2015), Red Smear [ONLINE]. Available at: http://www.trendhunter.com/slideshow/ avantgarde-makeup [Accessed 26 January 16]. PAGE 11: Vogue, (2015), Red Reflection [ONLINE]. Available at: https://uk.pinterest.com/ pin/342555115387797494/ [Accessed 26 January 16]. PAGE 16: Vogue Russia, (2015), Natasha Poly for Vogue [ONLINE]. Available at: http://visualoptimism.blogspot. co.uk [Accessed 26 January 16 PAGE 17: Hannah Khymych, (2013), Red: Roosmarijn [ONLINE]. Available at: http://visualoptimism.blogspot. com.au/2013/12/red-roosmarijn-by-hannah-khymych-for. html [Accessed 26 January 16].
List of References 1. Emilio Pucci. 2015. About Emilio Pucci. [ONLINE] Available at: http://home.emiliopucci.com/about-emiliopucci. [Accessed 06 January 16]. 2. Wikipedia. 2015. Desigual. [ONLINE] Available at: https://en.wikipedia.org/wiki/Desigual. [Accessed 06 January 16]. 3. ELLE. 2015. The History of Red Lipstick. [ONLINE] Available at: http://www.elle.com/beauty/makeup-skincare/tips/g8050/red-lipstick/?slide=1. [Accessed 20 January 16].
FIG 8. Rouge, October 1922 Eldridge, L, 2015. Face Paint - The Story of Makeup. 1st ed. New York: Abrams Image.
4. Brill, D, 2008. Goth Culture - Gender, Sexuality and Style. 1st ed. Oxford: Berg Publishers
FIG 9. Nefertiti, 14th century B.C. Eldridge, L, 2015. Face Paint - The Story of Makeup. 1st ed. New York: Abrams Image.
5. Eldridge, L, 2015. Face Paint - The Story of Makeup. 1st ed. New York: Abrams Image.
FIG 10. Portrait of Queen Elizabeth I, 1540 Eldridge, L, 2015. Face Paint - The Story of Makeup. 1st ed. New York: Abrams Image.
6. Geisha Wiki. 2015. Geisha. [ONLINE] Available at: http://geishaworld.wikia.com/wiki/Geisha. [Accessed 20 January 16].
FIG 11. Victoria’s Secret Store [ONLINE]. Available at: http://www.vogue.co.uk [Accessed 21 January 16]. FIG 12. Girl writing on mirror [ONLINE]. Available at: http://yae-tokyolife.tumblr.com/post/7250777733 [Accessed 21 January 16].
7. Ankita Rai. 2016. Financial Express. [ONLINE] Available at: http://www.financialexpress.com/article/ industry/companies/traditional-retail-ups-its-digitalquotient/202117/. [Accessed 26 January 16].
WORD COUNT - 2,681
FIG 13. Unknown, (2014), Victoria’s Secret changing room [ONLINE]. Available at: http://retaildesignblog.net/ [Accessed 21 January 16]. FIG 14. Digital mirror, 16/12/14 Unknown, (2014), Digital mirror [ONLINE]. Available at: http://www.springwise.com [Accessed 21 January 16]. FIG 15. Lipstick writing on mirror, 2015 Unknown, (2015), Lipstick writing on mirror [ONLINE]. Available at: http://lovestoriesintimates.com [Accessed 21 January 16].
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