Analysis and examination of H&M’s Autumn/winter 2016 Collection campaign video
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Keira Barnard 200936460 Imogen Cox 200931117 Gabrielle Riley 201029018 Georgina Palmer 201000156 Kalifa Okezie 201017716
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Introduction - PAGE 1 What does the advert actually show? Consider in this in respect to the various figures featured in the advert, the way in which they are portrayed and the spaces/situations in which they feature. - PAGES 2-3 FIG 2
What is the broader meaning of the advert? PAGES 4-5 What is the contemporary canon of beauty and how does the advert relates to this?PAGES 6-7 Does the advert propose a more inclusive and realistic version of what it means to be beautiful? - PAGES 8-9 Is the advert fully inclusive or are certain issues/bodies been excluded? If so, what do you think was the reason? - PAGES 10-11 Conclusion - PAGE 12 References - PAGES 13-14 Bibliography - PAGE 15 Image references - PAGE 16
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Today’s fashion industry has been criticised for not only lacking in diversity but also for projecting an unrealistic ideal of beauty which is unhealthy and lacking in diversity. (Franklin cited in Gush, 2015). The fashion industry has created an image of femininity and beauty which has disseminated throughout society but is not a true representation of modern society and does not display society’s diversity. There is a need for these unrealistic ideals to change and establish a more inclusive notion of beauty which is both attainable and a true representation of society today; additionally, fashion media does not recognise the evolved view of femininity that exists within society. (Laughlin and Maiki 2014).
FIG 3 In recent years, the industry has attempted to promote inclusion and diversity with media campaigns; arguably, H&M’s 2016 ‘She’s a Lady’ campaign is regarded as one of the most progressive and enlightened fashion campaigns representing modern women in today’s society. The discourse of this essay sets out to analyse the degree to which H&M has been successful in promoting diversity, redefining beauty and reworking the outdated notions of being a lady.
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WHAT DOES THE ADVERT ACTUALLY SHOW?
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The H&M advert has introduced a variety of women to their new campaign. The advert shows many different types of females with varying shapes, sizes, skin and hair colour. H&M brings together and celebrates an ‘eclectic group of women that includes model and actress Hari Nef, boxer Fatima Pinto, writer and model Paloma Elsesser, business mogul Pum Lefebure, and record-breaking model Lauren Hutton, who at 72 has 28 Vogue covers under her belt’ (Akinlana, 2016). This shows that H&M were trying to project more diverse image within their new range which has been received as both empowering and inclusive within an industry that promotes a perfected and exclusive image of beauty.
The advert shows women doing things in real-life circumstances which could be perceived as ‘unladylike’; for example, in one of the opening frames there is a woman who uses a fork to get food out of her teeth at a restaurant. The significance of this scene demonstrates how women today can still be regarded as beautiful despite not acting in a stereotypical ‘ladylike’ manner. H&M have incorporated this scene within a normal setting to demonstrate that it can, and should be regarded as socially acceptable.
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The advert ‘shows women doing a variety of things that would traditionally be classified as “unladylike” such as sitting with their legs spread apart, running business meetings, and sporting armpit hair’ (Akinlana, 2016). Analysing the song lyrics alongside the advert scenes, “She’s the kind I like to flaunt and take to dinner…but she always knows her place,” H&M subvert this by showing women behaving badly in restaurants, singing karaoke, and leading boardrooms’ (Larbi, 2016). During one of the scenes we witness Pum Lefebere leading a boardroom meeting amongst a workplace full of males; it is apparent that H&M utilizes this environment to overturn traditional views of being ladylike, demonstrating that today, modern women can work hard and shatter the glass ceiling whilst being ladylike in their own way.
Moreover, another scene reveals Arvida Bryström’s underarm hair whilst she’s eating fries in her room and undoing her trousers; it is clear H&M are subverting the social expectation on women to be presentable and ‘ladylike’ all the time; behind closed doors they should also be able to express themselves, act as they want and remain beautiful. Finally, the campaign also includes scenes with transgender model Hari Nef, who is positioned outside in an urban surrounding, H&M is empowering the LGBT community to be confident and express themselves to the outside world; reinforcing the notion that society should be all-embracing of its diversity. H&M uses these day-to-day situations to portray an image of fashion which is attainable for all ‘it’s just nice to see a group of women wearing clothes in a natural and relatable way – and as an expression of their personality or identity’ (Gilliland, 2016); presenting clothes how they would actually be worn. H&M uses these day-to-day situations to portray an image of fashion which is attainable for all. The natural scenes reflect the inclusive vision of beauty the campaign is projecting. All of society can relate to these locations and therefore the advert’s image; beauty is no longer stylised and perfected but rather it is tangible.
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However, despite H&M’s overt attempts for inclusivity, in many ways there is a lack of ‘normal’ women. This is because the advert presents women who are all typically beautiful, affirmed by being famous or models, thus H&M is still portraying an unattainable image of beauty, and one which is not reflective of society today.
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At its heart, H&M is redefining the meaning of being ‘ladylike’, a term which the company believe is both outdated and not reflective of women in modern society. The campaign is a reaction against the one-dimensional and monolithic image of ladylike (Mahdawi, 2016) which has been established throughout history, suggesting that the term has more layers than once defined. H&M’s campaign intends to reconceive these prehistoric concepts and advocate that ‘being a woman, a girl or a lady is associated with many expected and unexpected attributes, actions and qualities’ (Lynette cited in WYSK, 2014). H&M introduces a new vocabulary to define being a lady as ‘bad-ass, independent, free willed, entertaining, opinionated and off beat’ (Inside H&M, 2016), and features women embracing their individuality and self-autonomy throughout the advert. H&M unites an eclectic mix of strong, independent women, who shatter the antiquated opinions of being a lady. H&M includes women of different ethnicities, ages, body sizes and sexualities in order to promote an inclusive and self-definitive concept of being a woman today.
H&M is promoting expression, inclusivity and diversity asserted by a spokesperson for the company who said the campaign ‘celebrates diversity as well as inspirational women from various backgrounds, encouraging women around the world to embrace their personal style and take pride in who they truly are and what they stand for’ (Inside H&M, 2016). H&M transcends empowerment confinements by celebrating plus size models, transgender women, body hair and ethnic diversity (NUSU, 2016), the campaign is inclusively empowering.
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WHAT IS THE BROADER MEANING OF THE ADVERT ?
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Additionally, H&M intends to promote a more realistic and reflective FIG image 6 of beauty in a society which is becoming more image-centric and manipulated by the perfected image perpetuated by the fashion industry. Progressively, H&M places fashion in its every day context, relating to today’s society (Monllos, 2016); the campaign advocates a tangible image of beauty and utilizes fashion as a statement of personal identity and self-expression (Gilliland, 2016). H&M ironically reworks Tom Jones’ archetypally misogynist song ‘She’s a Lady’ in order to scrutinize its chauvinist discourse and re-establish women’s social standing, power and capabilities. The campaign reclaimed the word lady and shifted its parameters to be all encompassing and define a woman as more than a possession or asset, as suggested in the song’s lyrics. H&M wants you to celebrate ‘being a lady’ on your own terms, and its significance on a personal level, ‘the new rule is: there are no rules’ (Fusaro, 2016).
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WHAT IS THE CONTEMPORARY CANON OF BEAUTY AND HOW HOW THE ADVERT REALTE TO THIS?
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The H&M advert provides a contemporary vision of women who are both beautiful and feminine whilst not acting archetypally ‘ladylike’, in the antiquated sense of the term. The campaign breaks away from traditional conventions of what is deemed to be the traditional canon of beauty; encompassing controversial issues and topics, introducing them as not only socially acceptable but also attributes of the modern canon of beauty (Westlake, 2016). H&M is not redefining the modern canon of beauty; but is attempting to diversify and widen the canon projected by the media. Leon Festinger’s 1954 social comparison theory suggests people define their identity through comparing themselves with others; significantly today, the media has created unattainable ideals. The fashion industry has created a belief system centred around an appearance ideal of white, thin and sometimes even unhealthy looking models (Franklin cited in Gush, 2015); society therefore are more self-critical and regard themselves as less beautiful.
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Naomi Campbell, the first black model to be featured on the cover of Vogue, commented on fashion industry’s racism and ignorant bias towards models of ethnic minorities. Caryn Franklin supports Campbell’s comments, arguing that the fashion industry is more racist now than during the 1980s; she asserts that the fashion industry is controlled by white middle aged men who have created their own narrow ideal of beauty which is unchallenged – ‘it’s ‘‘The look’’ and the whole fashion world absorbs it’ (Franklin, 2013). H&M’s campaign recognises the fashion industry’s idealised perception of beauty is not representational of societies diversity, therefore it rejects the airbrushed ideal which is relentlessly disseminated by the fashion industry.
Arguably, the fashion industry is failing women by designing clothing with only one body type in mind; ‘this is a design failure not a customer issue...the key is the harmonious balance of silhouette, proportion and fit, regardless of size or shape. Designs need to be reconceived, not just sized up; it’s a matter of adjusting proportions’ (Gunn, 2016). Gunn has urged for more inclusive and diverse measures to be taken within the industry to solve this problem; given that the average dress size of female’s in the UK being a 14 it is apparent that H&M are adapting their brand to better fit societies contemporary demographic and the evolved notion of beauty; which is celebrated in all forms throughout the campaign. Current models are shockingly thin (Gunn, 2016) it is clear, although they are beautiful in their own right, this is not an attainable ideal nor is it representative of the diverse nature of our modern society (Gush, 2015); H&M subverts this pontificated beauty ideal by presenting beauty in all shapes, sizes, ages and races. H&M is encouraging people to acknowledge beauty beyond the superficiality of aesthetic;
the campaign recognizes universal, evolved notions of beauty as ‘natural and self-confidence at 55%, far ahead of body shapes, hair or eyes’ (Womenolgy, 2013). This is reflected in the scenes where the plus size model, Paloma Elesser is embracing her figure and Neelam Gill is seen dancing by herself in a pub; self-assurance is the updated notion of beauty that H&M is portraying.
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Having said this, the advert has received backlash following their removal of plus size clothing lines from its shop floors despite celebrating this in its campaign; namely featuring plus size model Paloma Elesser principally throughout the campaign. Additionally, although H&M is attempting to portray beauty beyond aesthetics by celebrating intrinsic beauty and inner confidence, subliminally the campaign is still imposing the importance of superficial beauty. We see a woman judging herself in the mirror; thus, undermining the message that the campaign is proposing as she is still image concerned. Arguably, H&M’s vacuous attempt to broaden ideals of beauty has been reduced a publicity stunt for their campaign. (Edwards, 2016), showing that the company remains exclusive and discriminatory towards today’s shifting beauty parameters.
DOES THE ADVERT PROPOSE A MORE INCLUSIVE AND REALISTIC VERSION OF WHAT IT MEANS TO BE BEAUTIFUL? H&M are redefining femininity (Inside H&M, 2016) to promote a more inclusive and realistic version of what it means to be beautiful. Their advert juxtaposes stereotypes of what it means to be beautiful in the fashion industry as society are beginning to fight back against the unrealistic images projected in fashion advertising because they are unrepresentative of majority of females in society. H&M are reflecting diversity by including women in their campaigns that are not the typical models featured in fashion adverts; using a variety ethnically diverse, plus size, and sportswomen, businesswomen, transgender and lesbian women relating to society and its broad spectrum of beauty. From this perspective, the advert does propose a more realistic and an inclusive version of what it means to be beautiful; suggesting that you don’t need to look like a supermodel to be to define yourself as beautiful, all shapes and sizes are in their own way.
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H&M has achieved a relatable image in their campaign, manifested in that many women took to social media to celebrate the advert’s message: “the H&M #ladylike campaign is an absolute game changer, so much love” (Akinlana, 2016). The campaign had a huge positive impact on women by proposing a more inclusive and realistic version of what it means to be beautiful by using an unconventional range of models portraying diversity as beautiful, therefore being more relatable and memorable as an empowering campaign.
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However, the campaign also attempted to propose a more inclusive and realistic version of what it means to be beautiful, but was to ‘redefine the meaning of being ladylike’ (Wilkes, 2016). As well as using a diverse range of models, they are taking part in a range of ‘unladylike’ actions from picking their teeth at the table to being a boss at work to ironically undermine ‘she’s a lady’ playing over the advert, again emphasising that women don’t need to act like a subordinate female, having a fourth wave feminist approach to the advert, portraying that you can still be beautiful and ladylike whilst being powerful, individual and independent. Therefore, this created the impression that being ladylike is a gender expectation placed on women today in society, which does not need to be followed because being ladylike is not a defining aspect of being beautiful.
Having said this, H&M have used models and athletes in their advert who are already regarded by the public as beautiful and retain typically attributes therefore contradicting their aim to broaden ideals when still, the majority of society are not reflected in the campaign. Additionally, although H&M appear to be projecting a progressive and enlightened image of beauty, arguably they are just copying current, popular trends. For example, the campaign did not pioneer the celebration of underarm hair, this display of inclusivity is appropriating the social media trend which has been validated by celebrities, including Miley Cyrus. FIG 13
Whilst the advert features a range of body shapes, ages, ethnicities, sexualities and challenges gender stereotypes, the fact remains that the advert is not fully inclusive. The advert fails to mention or concern the issue of disability; perhaps the most taboo area of discrimination in society today; thus showing that H&M are experimenting progressive advertising whilst not revolutionizing the market. If H&M had tackled this issue and represented those with disabilities in their advert they may have been less criticised. Moreover, all the women in this campaign are ‘beautiful’; they are not an accurate representation of society, not every woman has a perfectly symmetrical FIG 14 face and a makeup artist at the ready, not every woman is tall and has proportional curves – regardless of weight and size. Furthermore, ethnicity and race are an issue in the advert; though yes they have a woman of colour in the advert, picking her teeth at the table, she is fairer skinned and has lightened hair; this is suggestive of the ideas of white-washing in society, that lighter skin is accepted as more beautiful.
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IS THE ADVERT FULLY INCLUSIVE? OR HAVE CERTAIN ISSUES/ BODY TYPES BEEN EXCLUDED? IF SO WHY?
H&M avoids the subject of ethnicity by simply not making it an issue. Controversially, their campaign the previous year featured a woman in a hijab however, there was no reference to any women with religious connotations in the advert; arguably H&M had been praised for featuring religious connotations and thought it wasn’t necessary to include these religious distinctions again, showing that they do not promote diversity consistently and transparently. Which leads onto the point of why H&M even created this campaign? Was it genuinely to inspire young women to be themselves and encourage diversity, or purely just to catch onto the ‘trend’ of feminism. ‘Today’s millennial female doesn’t relate to images of skinny white women eating yoghurt while simultaneously doing yoga and the laundry’ (Mahdawi, 2016), the main aim of the advert is to show ‘that H&M stands for something great’ (Clarke, 2016) on a superficial level.
However, the “ground-breaking” campaign showed Ashley Graham in the collection that could be purchased in both straight and plus sizes, although the fine print of the campaign poster revealed that plus size will be sold exclusively online therefore plus size consumers are still not included as H&M’s store stock. Additionally, as mentioned, all H&M’s stores in New York took plus sized garments off shop floors. One of H&M’s spokespeople claimed this was due to the fact they ‘don’t have room for it’ (Clarke, 2016), this shows how H&M’s use of these women is purely an advertising tool, they represent these women in their campaign but cannot cater for them.
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In conclusion, H&M has attempted to project a more inclusive image of beauty, which, to an extent has been successful, namely in encouraging a female-centric dialogue (Clarke, 2016) and communications amongst women; the campaign resonates with an innate message of empowerment. Having said this, it is difficult to accept that H&M has updated its company let alone the industry’s fatigued ideals. As a brand, H&M has not supported its own message of inclusivity and diversity, by removing plus size stock, also actioning multiple cases of discrimination and sexual exploitation towards its employees (Clarke, 2016). Arguably, if H&M wanted to make sustainable changes to the industry it would have to begin by diversifying the company as a whole; committing to equality in both the developed and developing world (Clarke, 2016). Therefore, at its core, this campaign is a marketing ploy capitalising on the message of female empowerment and promoting its image as such in order to increase its sales.
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R E F E R E N C E S I. Akinlana, S. 2016. We can’t stop watching H&M’s beautiful new fall ad. Fader. [Online]. [Accessed 16 March 2017]. Available from: http:// www.thefader.com/2016/09/22/hm-fall-ad-hari-nef-fatima-pinto II. Clarke, G. (2016). Don’t fall for the new H&M campaign. Global Hobo. [Online]. [Accessed 15 March 2017]. Available from: http://globalhobo.com.au/2016/09/29/dont-fall-for-the-new-hm-campaign/ III. Edwards, J. 2016. Why H&M Is Removing Plus Size Clothing From Some Of Its Stores. Cosmopolitan. [Online]. [Accessed 14 March 2017]. Available from: http://www.cosmopolitan.com/uk/fashion/style/news/ a46047/hm-removing-plus-size-clothing-new-york-stores/ IV. Franklin, C. 2013. Naomi Campbell Is Right That Fashion Industry Is More Racist Now Than 1980S. The Mirror. [Online]. [Accessed 14 March 2017]. Available from: http://www.mirror.co.uk/3am/celebrity-news/carynfranklin-naomi-campbell-right-2281542 V. Fusaro, K. 2016. It’s About Time You Started Acting Like a Lady. Glamour. [Online]. ¬[Accessed 13 March 2017]. Available from: http:// www.glamour.com/gallery/hm-act-like-a-lady-campaign-new-definitionof-ladylike?mbid=social_twitter_fashion VI. Gilliland, N. 2016. Why women are talking about H&M’s latest ad campaign. Econsultancy. [Online]. [Accessed 13 March 2017]. Available from: https://econsultancy.com/blog/68351-why-women-are-talkingabout-h-m-s-latest-ad-campaign/ VII. Gunn, T. 2016. Tim Gunn: Designers Refuse To Make Clothes To Fit American Women. It’s A Disgrace. The Washington Post. [Online] [Accessed 14 March 2017]. Available from: https://www.washingtonpost. com/posteverything/wp/2016/09/08/tim-gunn-designers-refuse-to-makeclothes-to-fit-american-women-its-a-disgrace/?utm_term=.959bc4e9c12a VIII. Gush, C. 2015. imagining a radical fashion future with diversity pioneer Caryn Franklin. i-D. [Online]. [Accessed 13 March 2017]. Available from: https://i-d.vice.com/en_gb/article/imagining-a-radical-fashion-future-with-diversity-pioneer-caryn-franklin IX. Inside H&M. 2016. What It Means To Be #Ladylike. H&M. [Online]. [Accessed 13 March 2017]. Available from: http://www2.hm.com/ en_cn/life/culture/inside-h-m/what-it-means-to-be--ladylike.html X. Larbi, M. 2016. H&M’s stunning new ad challenges what you think a lady should be like. Metro. [Online]. [Accessed 21 February 2017]. Available from: http://metro.co.uk/2016/09/16/hms-stunning-new-ad-challengeswhat-you-think-a-lady-should-be-like-6131314/#ixzz4XLvLj84p
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XI. Laughlin, S. and Maiki, J. 2014. Caryn Franklin: How to make diversity profitable. LS:N Global. [Online]. [Accessed 13 March 2017]. Available from: https://www.lsnglobal.com/opinion/article/16299/caryn-franklin-how-to-make-diversity-profitable XII. Mahdawi, A. 2016. H&M’s diverse advert mirrors the real world. Shame the ad industry doesn’t. The Guardian. [Online]. [Accessed 13 March 2017]. Available from: https://www.theguardian.com/commentisfree/2016/sep/28/hm-advert-diversity-ad-women XIII. Monllos, K. 2016. H&M’s Stunning New Ad Subverts What You Think a Lady Should Look or Act Like. Adweek. [Online]. [Accessed 13 March 2017]. Available from: http://www.adweek.com/creativity/ hms-stunning-new-ad-subverts-what-you-think-lady-should-look-oract-173487/ XIV. NUSU. 2016. ‘Yeah, yeah, yeah, she’s a lady’. The Courier. [Online]. [Accessed 13 March 2017]. Available from: http://thecourieronline.co.uk/2016/10/24/yeah-yeah-yeah-shes-a-lady/ XV. Walloga, A. 2016. H&M quietly pulled plus sizes from all of its NYC stores for an infuriating reason. Revelist. [Online]. [Accessed 16 March 2017]. Available from: http://www.revelist.com/style-news/hmquietly-pulled-plus-sizes/4811 XVI. Westlake, S. 2016. H&M’s New Campaign Is Hair, Curves, And Everything It Means To Be A ‘Lady’ In 2016. The Tab UK. [Online]. [Accessed 14 March 2017] Available from: http://thetab.com/ uk/2016/09/19/hms-new-campaign-hair-curves-everything-means-lady-2016-20126 XVII. Wilkes, D. 2016. Does H&M’s new advert really sum up what it means to be a lady?. The Daily Mail. [Online]. [Accessed 11 March 2017]. Available from: http://www.dailymail.co.uk/femail/article-3808800/Does-H-M-s-new-advert-really-sum-means-lady.html XVIII. Womenology. 2013. What does being beautiful mean today? [Online]/ [Accessed 16 March 2017]. Available from: http://www.womenology.com/sectors/what-does-being-beautiful-mean-today/ XIX. WYSK. 2014. This Is What Ladylike Looks Like. Women You Should Know. [Online]. [Accessed 13 March 2017]. Available from: http://www.womenyoushouldknow.net/ladylike-looks-like/
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I Dionne, E. 2016. H&M is shutting down the ‘be a lady’ mantra with a new (and totally feminist) ad. Revelist. [Online]. [Accessed 16 March 2017]. Available from: http://www.revelist.com/feminism/hm-autumn-feminist-ad/4850 II. Dray, K. 2016. Watch: H&M’s feminist advert is totally badass. [Online]. [Accessed 13 March 2017]. Available from: http://www.stylist.co.uk/fashion/h-and-m-feminist-video-fashion-sexist-badass-h&m-lionbabe-body-hair-image-lady-like
III. Friedman, A. 2013. Hey “Ladies”: The unlikely revival of a fusty old label. New Republic. [Online]. [Accessed 13 March 2017]. Available from: https://newrepublic.com/article/112188/how-word-lady-hasevolved IV. Glamour. 2016. Act Like a Lady: Part 1, Brought to You By H&M. [Online]. [Accessed 13 March 2017. Available from: https://www.youtube.com/watch?v=xvGwmq7Op_w V. Glamour. 2016. Act Like a Lady: Part 2, Brought to You By H&M. [Online]. [Accessed 13 March 2017. Available from: https://www.youtube.com/watch?v=Ke4CgTvapbE VI. Glamour. 2016. Act Like a Lady: Part 3, Brought to You By H&M. [Online]. [Accessed 13 March 2017. Available from: https://www.youtube.com/watch?v=49ZS7jg2eRc VII. Hardy, A. 2016. This star-studded fashion campaign is the most inspiring thing you’ll see all day. Teen Vogue. [Online]. [Accessed 27 Feb. 2017]. Available from: http://www.teenvogue.com/story/lion-babe-hmad-interview-jillian-hervey VIII. Haynes, S. 2016. This H&M commercial celebrates femininity in all its forms. Motto. [Online] [Accessed 27 Feb. 2017]. Available from: http://motto.time.com/4502950/hm-advert-autumn-collection/ IX. Ilyashov, A. 2016. This fashion ad completely Rethinks what A “lady” acts (& looks) like. Refinery29. [Online] [Accessed 27 February 2017]. Available from: http://www.refinery29.uk/2016/09/123768/hm-fall2016-commercial-shes-a-lady X. Jones, L. 2016. H&M’s diverse feminist ad campaign is apparently controversial. Oyster. [Online]. [Accessed 27 February 2017]. Available from: http://www.oystermag.com/hms-diverse-feminist-ad-campaign-is-apparently-controversial XI. Logan, E. 2016. You Have to Watch H&M’s Stunning, Relatable, Subtly Feminist New Ad. Glamour. [Online] [Accessed 8 March 2017]. Available from: http://www.glamour.com/story/h-and-m-shes-a-lady-fall2016-campaign XII. Peacock, L. 2013. How would you define femininity?. The Telegraph. [Online]. [Accessed 13 March 2017]. Available from: http://www.telegraph.co.uk/women/womens-life/10190331/How-would-you-define-femininity.html XIII. Record Reporter. 2016. Why feminists love H&M’s new Ladylike campaign featuring badass women. Daily Record. [Online]. [Accessed 13 March 2017]. Available from: http://www.dailyrecord.co.uk/lifestyle/ fashion-beauty/feminists-love-hms-new-ladylike-8917991 XIV. Rodulfo, K. 2016. Watch H&M’s most inclusive campaign yet. Elle. [Online]. [Accessed 27 February 2017]. Available from: http://www.elle.com/fashion/news/a39110/exclusive-watch-hm-fall-2016-campaignvideo/ XV. Ward, M. 2016. New H&M ad challenges what it means to be a ‘lady’. The Sydney Morning Herald. [Online]. [Accessed 13 March 2017]. Available from: http://www.smh.com.au/lifestyle/fashion/new-hm-adchallenges-what-it-means-to-be-a-lady-20160928-grq1sy.html XVI. Weiner, Z. 2016. Twitter Reacts To H&M’S ‘Ladylike’ Autumn 2016 Campaign Ad & Prove It’s A Huge Hit With Shoppers. Bustle. [Online] [Accessed 8 March 2017]. Available from: https://www.bustle.com/articles/186135-twitter-reacts-to-hms-ladylike-autumn-2016-campaign-ad-prove-its-a-huge-hit-with
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FIG 1: H&M’s diverse feminist ad campaign is apparently controversial | fashion magazine | news. Fashion. Beauty. Music. [online] Available at: http://www.oystermag.com/hms-diverse-feminist-ad-campaign-is-apparently-controversial [Accessed 21 Feb. 2017]. FIG 2: Screenshot from campaign: YouTube. (2017). H&M New Autumn Collection. [online] Available at: https://www.youtube.com/ watch?v=8-RY6fWVrQ0 [Accessed 23 Mar. 2017]. FIG 3: Our powerpoint slide; created using screemshots from the campaign. FIG 4:Screenshot from campaign: YouTube. (2017). H&M New Autumn Collection. [online] Available at: https://www.youtube.com/ watch?v=8-RY6fWVrQ0 [Accessed 23 Mar. 2017]. FIG 5:Screenshot from campaign: YouTube. (2017). H&M New Autumn Collection. [online] Available at: https://www.youtube.com/ watch?v=8-RY6fWVrQ0 [Accessed 23 Mar. 2017]. FIG 6: Fernandez, S. (2017). HM New Autumn 2016 Campaign - Latest Fall/Winter Collection. [online] InStyleLook. Available at: http://www. instylelook.com/fashion-photography/hm-new-autumn-2016-campaign/ [Accessed 23 Mar. 2017] FIG 7:Screenshot from campaign: YouTube. (2017). H&M New Autumn Collection. [online] Available at: https://www.youtube.com/ watch?v=8-RY6fWVrQ0 [Accessed 23 Mar. 2017]. FIG 8: Screenshot from campaign: YouTube. (2017). H&M New Autumn Collection. [online] Available at: https://www.youtube.com/ watch?v=8-RY6fWVrQ0 [Accessed 23 Mar. 2017]. FIG 9: Screenshot from campaign: YouTube. (2017). H&M New Autumn Collection. [online] Available at: https://www.youtube.com/ watch?v=8-RY6fWVrQ0 [Accessed 23 Mar. 2017]. FIG 10:Screenshot from campaign: YouTube. (2017). H&M New Autumn Collection. [online] Available at: https://www.youtube.com/ watch?v=8-RY6fWVrQ0 [Accessed 23 Mar. 2017]. FIG 11:Screenshot from campaign: YouTube. (2017). H&M New Autumn Collection. [online] Available at: https://www.youtube.com/ watch?v=8-RY6fWVrQ0 [Accessed 23 Mar. 2017]. FIG 12:Screenshot from campaign: YouTube. (2017). H&M New Autumn Collection. [online] Available at: https://www.youtube.com/ watch?v=8-RY6fWVrQ0 [Accessed 23 Mar. 2017]. FIG 13: Available at: (Fernandez, 2017) Your Bibliography: Fernandez, S. (2017). HM New Autumn 2016 Campaign - Latest Fall/Winter Collection. [online] InStyleLook. Available at: http://www.instylelook. com/fashion-photography/hm-new-autumn-2016-campaign/ [Accessed 23 Mar. 2017] [Accessed 23 Mar. 2017]. FIG 14: Campaign - Latest Fall/Winter Collection. [online] InStyleLook. Available at: http://www.instylelook.com/fashion-photography/hm-new-autumn-2016-campaign/ [Accessed 23 Mar. 2017]