In 2007, Dior took a step away from their cliqued romantic, spiritual advertisements and bought a twist of sensuality, exotic and seductiveness to the selves with their ‘Midnight Poison’ fragrance ad. The advert being published in Vogues 2007 issue; the most important issue of the year, informs us of Dior’s high status in the luxury market level and also suggesting a target audience of a Fashion-conscious, lavish female. Immediately we are greeted with a sea of mauves and purples, creating connotations of power, wealth and extravagance, hinting Dior’s luxury brand identity. Such connotations are suggested through the historical background of the colour; through the 1850’s accidental creation of purple, associating the colour with luxuriousness and wealth. This instantly reinforces Dior’s representation as a high end brand in the luxury market level. The language of purple also speaks to us with a mystery, hinting a feel of dark magic and almost rebellion. Not only are the colours used a direct signifier to the name of the perfume ‘Midnight Posion’ but we see this through the visual codes as her facial expression is provocative and inviting, giving the audience a feel of secrecy. Her seductive smokey eyes draw the audience in as if she is playing a game with us; ‘Never trust a woman who wears mauve’ states Garfield, S (2002: 51) In addition, the enduring theme of rebellion is shown in the copy of the ad. While reinforcing the new, contemporary take on Dior’s fragrance, the phrase ‘A new Cinderella is born’ suggesting a split personality to the perfectly coiffed Cinderella we all know; a Cinderella who plays against the rules. The models gaze is rebellious and daring, passionate to the point of danger. We see this through the styling of her make-up in her dark, precarious smoky eyes and lurid purple lips. With her attitude screaming danger it speaks to the darker side of the audience; the one that dares us to take risks for the thrill and break the rules, creating a reference to Madame LaLaurie, who killed the lives of men who were thought to be beneath her.
- GEORGIA SHEEHAN -
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erguson, M (1983: 43) says the invitational expression projects a mood which is suggestive of mischief or mystery; bestowing her as the damsel in distress. This gives a strong historical reference to Lucrezia Borgia, who was casted as a femme fatale with possession of a hollow ring that she used frequently to poison drinks of the men who she lured in. The hybrid of references not only relates to the models body language but also links to the name of the perfume ‘Midnight Poison’, convey the model as Diors very own Lucrezia Borgia/Madame LaLaurie. John Galliano’s vision brings forth a modern Cinderella through the models lavish styling, signifying a look of the era of the early cinema. With her extravagant jewelled necklace, sleek black hair and outlandish corset, Galliano has cleverly referenced the styling of exotic
“Never trust a women who wears mauve” dancer Mata Hari; who bought a carefree provocative style to the stage in her act, which garnered wide acclaim. Although more known for her sensuality and eroticism through her outfits rather than for striking classical beauty, Hari was also a spy which relates to the provocative, yet enigmatic gaze the model gives. Like all luxury fragrance advertisements, Dior portrays strong codes and conventions of a classic female fragrance campaign by using the ‘male gaze’; a theory by Laura Mulvey. The theory creates a strong representation of women being sexually objected through a gaze; meaning male audiences would view the campaign in two ways: voyeuristically and fetishistically.
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We see this through the technical codes of the high camera angle, suggesting the model is inferior to us viewers, giving us the feeling of power or possession over her. Instantly we are almost forced with her provocative bare skinned chest and alluring gaze, causing envy towards the female viewers but an appealing gaze towards the males by objectifying her as a sexual object. As a brand, Dior wanted to bring something new and fresh to the table by innovating a new image for their fragrance. It seems luxury brands have been enamoured with the impulsive qualities of fairy tales since the theme was bought into fashion imagery, and that fascination shows no signs of stopping as made apparent by John Galliano; the art director of the advertisement. With a twisted and almost contemptuous side to the fantasy theme the campaign expanded Dior’s brand awareness from other designers, directors and also customers who were able to release our inner rebellion in a world of ‘adult fantasy’. Overall I feel this advertisement successfully appeals to their female audience who crave to buy into the brand to experience the lavishness of luxury fragrance. Dior uses the perfectly coiffed model to display the ideal image of women, which is stereotypical for the haut couture fashion industry. With her perfect skin and alluring gaze, this flawless image conforms to our image of ideal beauty and embodies femininity in its most creative form. This is contrasted with the run down background of the ruins behind her, consequently making the models beauty stands out creating envy towards the audience. However, an oppositional reading of the advertisement may be seen by the beliefs of feminists, due Dior using an element of sex appeal to promote their fragrance. This became a trend within the haut couture fragrance industry, by using sensuality and seductiveness to endorse the female audience. Such advertisement as ‘Opium’ by Yves Saint Laurent faced similar negative readings and in conclusion was banned from the UK for sexual provocation and female liberation.
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refer ences
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Simon Garfield. (2002) Mauve: How One Man Invented a Color That Changed the World, New York: W. W. Norton & Company Laura Mulvey. (2009) Visual and Other Pleasures (Language, Discourse, Society), 2nd edition, Basingstoke: Palgrave Macmillan Marjorie Ferguson. (1983) Forever Feminine, London: Heinemann Educational Publishers Barbara Connell. (2010) Exploring the media (text, industry, audience), 2nd edition, Leighton Buzzard: Auteur Maria Bellonci. (2002) Lucrezia Borgia (Women In History), London: Orion Publishing Co Pat Shipman. (2007) Femme Fatale: Love, lies and the unknown life of Mata Hari, London: Weidenfeld & Nicolson Victoria Cosner Love. and Lorelei Shannon. (2011) Mad Madame Lalaurie, Stroud: History Press History of ad regulation, 2013. Available from: <http://www.asa.org.uk/~/media/Files/ASA/ Misc/22_11_2013_History%20of%20ad%20regulation_final.ashx> . [19 March 2014]. ILLUSTRATIONS: figure 1 - Mata Hari, Available at: http://en.wikipedia.org/wiki/File:Mata-Hari_1910.jpg figure 2 - Madame LaLaurie, Available at: http://hauntedneworleans.travelnola.com/articles/lalaurie.php figure 3 - Lucrezia Borgia, Availble at: https://fashionbride.wordpress.com/2013/06/25/fashionbride-iconlucrezia-borgia/ figure 4 - Dior Midnight Poison advertisment, Available at: http://www.mimifroufrou.com/ scentedsalamander/2008/01/midnight_poison_by_christian_d_3.html WORD COUNT: 928
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