CHANEL
reated in 1978, yet whole, hosts quite a simple only released to eager image. An attractive female, Chanel fans in 2001, in nude suede looking down No. 5’s sexy, playful, younger the camera holding a pink, Chanel Coco Mademoiselle sister arrives. Boasting a perfume bottle. What this number of glossy magazine adverts and short films to rival then connotes, is quite Bond, Coco Mademoiselle is different. The mise-en-scene thrust into the limelight, all of the colour palette - nudes, nude pinks and sultry eyes. pinks and pastels - connotes The campaign under analysis innocence. Authors of ‘Colour’ is taken from Vogue October (1999) - Paul Zelanski and 2013 and features actress Keira Mary Fisher - state ‘Light Knightly who was confirmed value red-pinks may be used to be the face of the fragrance to express affection and in 2007. sweetness.’ Although this could represent the Beginning with the the denotations, the advert as a
C
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reference to the 1965, leather clad Bond girl, Fiona Volpe, who rode a motorcycle and was the epitome of sexy biker chic. Exuding both beauty and edge. Looking at the positioning of the model and said product, the use of Laura Mulvey’s Male Gaze theory is apparent. The way in which Keira looks seductively, out to the audience and holds the perfume bottle to her lips could connote the product is so delicious it’s almost be edible, or, on a seedier note, be mimicking a sexual act. Both, already,
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scent of the product, it contrasts to the models styling. Dewy skin, smokey eye make-up and suede biker suit - again, connotes an edgier, more youthful product. These links we make relate to Barthes ‘The semantic code (SEM.) points to any element in a text that suggests a particular, often additional meaning by way of connotation.’ (2002) For example, in this text we could assume that the character is quite scandalous by the connotations of dark eye makeup and motorcycle jackets. This could be a
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through the mise-en-scene of the advert - the sexual pose, the motorcycle jacket and young angular model. Looking at the adverts for the previously mentioned film, I notice that the actress sports the same hair cut and angular features of Keira Knightly. This only strengthens the idea that Chanel are trying to recreate Coco on this advertisement. By using the French word for miss, ‘Mademoiselle,’ we are again led to assume that the product, on the surface, is directed towards a younger audience.
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give the perfume a cheekier edge. This attracts both a male and female audience, as they feel through owning that product they, too, would be that irresistible. Through using the lexis ‘Mademoiselle’ and ‘Coco’ the name behind the Chanel brand - one could assume they are representing Coco’s personal characteristics without influence of the Chanel brand. Referencing the film ‘Coco before Chanel’ we learn that, as a person, Coco was brave, almost rebellious, known for her lovers and outlandish antics. I feel this is portrayed
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also. Vogue readers host a median age of 37.5 years, (as of 2014) and would therefor affirm this message. Looking at popular culture now and how Chanel as a brand are evolving, I notice a little more playful-ness emerging. The Fall 14-15 show took place in a ‘Supermarket,’ boasting products from Chanel spaghetti to Chanel trolleys. Could this be an attempt to re-capture Coco’s personality and zest? A celebration of womenswear for any age.
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However, given that Coco was never married and therefore always a “Mademoiselle,’ could this connote that Chanel are attempting to give off a message that woman can act as they please at any age? ‘Her work tells us (and she herself confirms it) that there is an eternal beauty of woman.’ Jean Leymarie (Chanel 1987) This quote would confirm this idea and link with, not only their brand DNA of classic, timeless style, but the choice of Vogue as a platform
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The mise-en-scene of the image as a whole, I feel, embodies the characteristics of the fragrance. A backdrop of florals juxtaposed to moody, dim lighting, connotes both the femininity and sensual scandalous-ness of the perfume and, in fact, Coco Chanel herself. Floral scents, of course, represented by the slightly smudged flowers and enticing spicy notes take embodiment in the low-lit ambience. Using an A-list celebrity endorsement, the product should show a blatant credibility. However,
by using Keira Knightly specifically, the brand is able to connote much more. Knightly’s beauty, for example, is almost unconventional. The angular, perhaps androgynous face, shapes a rebellious quality, whilst the elements of elegance, epitomise the classic Chanel brand. Looking back into history, postwar, woman needed a more practical wardrobe, to which Chanel blossomed, ‘establishing the new feminine type of “la garcon” - a youthful and slender androgynous figure with short hair.’ (Chanel 1987)
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An almost perfect description of Knightly. The resemblance in Keira of Coco herself, again, connotes that this scent is more personal to the designer, allowing her to express her true characteristics through a product. This is then backed up further through the recent confirmation of Kristen Stewart for future Chanel campaigns (2013). A girl at the epicentre of public romantic scandals, much like those of Gabrielle Coco herself.
I feel the advert and brand have managed to capture the essence of Gabrielle Coco Chanel herself. Through the connotations hidden throughout the advertisement we are able to take as little or as much of her personality away with us. Taking consideration of their current audience I feel the brand is, slowly but surely, evolving from the ‘tweed and pearls’ stereotype that can often be associated with Chanel. By Julia Harvey Word Count 943 N0521364
REFERENCES - Ella Alexander. (2013). Kristen Stewart for Chanel Confirmed. Available: http://www.vogue. co.uk/news/2013/12/11/kristenstewart-for-chanel-campaignface. Last accessed 27th March 2014. - Conde Nast. (as of 2014). VOGUE, Media Kit, Audience. Available: http://www. condenast.com/brands/vogue/ media-kit/print. Last accessed 27th March 2014. - Jean Leymarie (1987). CHANEL. New York: Rizzoli International Publications, Inc. p218. - ‘Her work tells us (and she herself confirms it) that there is an ‘eternal’ beauty of woman.’ Jean Leymarie (1987). CHANEL. New York: Rizzoli International Publications, Inc. p97. -’“la garçon” - a youthful and slender androgynous figure
with short hair.’ - Paul Zelanski & Mary Pat Fisher (1999). Colour. 3rd ed. London: Herbert Press. p38. ‘While light values red-pinks may be used to express affection and sweetness.’ - Felluga, Dino. (2002). Modules on Barthes: On the Five Codes. Available: http:// www.cla.purdue.edu/english/ theory/narratology/modules/ barthescodes.html. Last accessed 27th March 2014. ‘The semantic code (SEM.) points to any element in a text that suggests a particular, often additional meaning by way of connotation.’ fig.1 - www.igames2.fanpop. com/images/fionavolpe fig.2 - www.igames1.fanpop. com/cocobeforechanel fig.3 - http///chanel-news. chanel.com/en/home.html.jpg
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