UP CLOSE AND PERSONAL
Advertising Analysis/ Grace Irons/ Fashion Communication and Promotion/ N0587937
AN ARTICLE ON
BY GRACE IRONS
...accused of sexually exploiting actress Dakota Fanning. “pale pubescent girls, with matted eyelashes could be stared at in perfect impurity." (Nabokov. 1953) designer who thrives off attention. Marc Jacobs has made his success through breaking boundaries while still managing to create a sugary flurry of innocence. Some boundaries are there for a reason, they are not to be crossed and cannot be covered by sweetness. In this case, many have been left with a toothache. If it weren’t for the controversy and dismay caused by Vladimir Nabokov when he published Lolita in 1955, would Marc Jacobs have been criticised for his 2011 fragrance advert? So much that it was banned in the UK for its sexual connotations. Marc Jacobs was accused of sexually exploiting actress Dakota Fanning, who was at the time aged 17 years old (Whitelock, 2013). “In 2006 the then 12-year-old actress controversially posed for the brand wearing child-size versions of the designer’s Spring 2007 collection.” again with Juürgen Teller behind the lens (McIntyre. 2011). This alongside a long breadcrumb trail of underlying meanings, connotations and additional stories throughout the media created a surge of negative press. Bottle design is the main focus when developing a fragrance for today’s market. Marc Jacobs revolutionised bottle design when releasing Daisy; a kitsch bottle top, exploding with 3D flowers that every girl wanted. The Lola range reflected this, with an over sized flower overpowering the delicate slender vase shaped bottle.
A hugely successful differentiation in the market which when first released provided Marc Jacobs perfumes with a unique selling point (Posner, H. 2013). This when placed in-between the legs of innocent Dakota Fanning has immediate sexual connotations (Bergstrom, B. 2008). The bottle shape suggests sexual imagery; a phallic shaped object has been used as supposed to the rounder shorter bottle. Through shocking the general public Marc Jacobs obtained the attention he’d initially strived for. With a target consumer aged 18-35 in the UK the connotations would be clearly understood and recognised. Furthermore the floral lid does slightly detract the attention away from such thoughts. Hence reminds the consumer of the brands essence; daring yet whimsical. “I think glamour and sex sells just about everything” (Marc Jacobs) As a brand Marc Jacobs likes to push boundaries to evoke a response. Hence having an effect on consumer behaviour (Lea-Greenwood. G, 2013) A marketing and promotional tool that the brand plays to their strength; positive or not, any press is good press. “Colour has immediate visual impact on our senses” (Wolf. 1988). The advert utilises associations created by the colour pink; feminine and romantic, affectionate and intimate, thoughtful and caring. It tones down the physical passion of red replacing it with a gentle loving energy. The scoop, prop, dress and even the wash of the image sways towards a warm rose glow. An association with the sweet innocence of a child then
the brand (Hameide. 2011). Relating directly to the claims of Marc Jacobs so called muse Angel Barta. Through her blog Angel Barta has displayed evidence of her relationship with Jacobs and demonstrates the correlation between her style and Jacobs later collections. This plays closely to the obsessive relationship between Humbert and Lolita. Although only an accusation, the link is evident and casts huge criticism on the brand and thus choice of advert.
juxtaposed against the empowerment of love and lust. Psychologically this has huge implications on the consumer relating the brand with such associations. Open body language powered by inviting eyes that resemble those of Debbie Harry; a sexual figure when a playboy bunny, pale skinned and bright blonde hair. A very similar look to how Dakota is styled in the advert. The subtle eye shadow and glossy lips all reflect the style Debbie Harry supported when a teen. She later went on to form Blondie; part of the punk movement, a rebellious sex injected era. Dakota, who is playing ‘Lola’, portrays a character that is more than what the eye can see. Beneath the pink scalloped hemline is a rebellious sex symbol. This creates an immediate relationship to the consumer by portraying the Marc Jacobs sweet but spicy persona through a ‘secret’ visual code and iconic figure. The choice of dress, a pink polkadot shift with slightly puffed sleeves is tenaciously adolescent. Juxtaposing hugely against the length of dress that has been created by the position the model is sitting in: a very similar dynamic to that in the 2007 campaign. All sexual connotations are ever so slight, yet when pulled together create an offensive image. The scalloped ‘petal’ edges of the dress reflect the floral design of the lid on the bottle. A cohesive message although not overtly obvious. Coincidently an association with the female sex organ; another suggestive message that the male has power over the female. Historically the image pays homage to the immoral story of Lolita (Nabokov. 1953). The boundary that Jacobs crossed to purposefully create press and scandal. Bad news travels fast; word of mouth uncontrollably helped spread how the brand was interpreted (Wheeler and Katz. 2011). Nabokov was massively criticized for his perverted nature and story subject, the advert evoking memories that relate to the subject (Wolf. 1988). Subsequently this has been reflected onto Marc Jacobs. Why the brand would want
BANG! a men’s fragrance released the year before OH LOLA! was daring and seductive. Casting Marc himself as the model, with only a bottle covering his gentiles, it is heavily implied that the ‘BANG!’ the brand refers to is a climax of sexual euphoria. This caused a stir in the media and public relations were hooked on releasing articles on the subject. An idea that is derived from sex, connecting the male audience with a personal subject which all encounter. This was creatively executed through the model, bottle design and positioning, which applies also to the OH LOLA! fragrance. Small yet subtle changes from styling to backdrop allowed Marc Jacobs to project this idea and creative concept into the female fragrance market. “A signifier to which the reader of the sign, may respond emotionally to the cultural experience of the sign.” (Crow. 2003).
to be related with such spectacle is unknown. The story of Lolita is directly referred to throughout the advertisement; typeface also plays a part in this. Almost orgasmic; the exclamation point, uppercase font and vocal expression of the name ‘OH LOLA!’ would be difficult not to relate to such subject. “Anchorage is used to aid the reader to interpret the signifiers they are presented with.” (Crowe. 2003). Again playing a huge role in the story Lolita. The idea that Dakota Fanning is being exploited as expressed in the press is evidently apparent. To which Jacobs has openly discussed through the media “I knew she could be this contemporary Lolita, seductive yet sweet." (Aboutaleb. 2011). Thus evidence that Jacobs has purposefully used such cultural reference, to portray the brand essence through a recalcitrant approach. Successfully in keeping with a personality, which has strong relevance to
The advert is not clearly sexualizing Dakota Fanning unless you know Marc’s intentions and inspiration. Compared to past campaigns that display direct sexual references such as Tom Ford’s 2007 perfume advert shot by no other than Terry Richardson, the advert is tame. However through understanding the story of Lolita it has became more apparent that Dakota as a minor is being sexualized. Moreover this entirely encapsulated Marc’s daring approach to fashion and design, showcasing the brand through courageous secret signs.
Illustrations Figure 1. Jannson, M. [Fashion Editorial] http://www.interviewmagazine.com/ culture/quoted-marc-jacobs-getsasked-out. (Accessed on 21.03.15) Figure 2. Teller, J. (2011). [Advertisement] http://www. calistaleahliew.com/2011/11/too-racyoh-lola.html. (Accessed on 25.02.15) Figure 3. (2011) [Behind the scenes] http://www.fanpop.com/clubs/dakotafanning/images/24610271/title/ohlola-behind-scenes-photo (Accessed on 27.02.15) Figure 4. Warhol, A. (1980) [Art] https://www.pinterest.com/ pin/105342078758817038/. (Accessed on 27.02.15) Figure 5. Teller, J. (2007) [Advertisement] http://www.stylist.co.uk/fashion/marcjacobs-ad-campaigns. (Accessed on 25.02.15) Figure 6. Teller, J. (2010) [Advertisement] http://www.vogue. com/10898413/olivier-rousteingposes-nude/ (Accessed on 25.02.15) Figure 7. http://getoffmyinternets. net/angel-barta-still-claims-shesbeing-soul-tortured-by-marc-jacobs/ (Accessed on 27.02.15)
Posner, H. (2011) Marketing Fashion: Portfolio Series. United Kingdom: Laurence King Publishing. Wheeler, A. and Katz, J. (2010) Brand Atlas: Branding Intelligence Made Visible. United Kingdom: John Wiley & Sons Ltd. Wolf, Henry. (1998) Visual Thinking. New York: American Showcase
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References Bergstrom, B. (2009) Essentials of Visual Communication. United Kingdom: Laurence King Publishing. (pg 70) Crow, D. (2003) Visible Signs: An Introduction to Semiotics. Switzerland: AVA Publishing SA. Hameide, K. K. (2011) Fashion Branding Unraveled. United Kingdom: Fairchild Books. Lea-Greenwood, G. (2009) Fashion Marketing Communications. United Kingdom: Blackwell Publishing Inc. (pg163)
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