Opium (2006) Advert Analysis by LauraRobertson321

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LAURA ROBERTSON N0560860 £6.00

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YVES SAINT LAURENT FASHION - NEWS GOSSIP TRENDS - YSL - ADVERTS ANALYSIS LAURA ROBERTSON THEORY MARKETING FIG 1 : YVES SAINT LAURENT BY ANON (UNKNOWN)

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Words LAURA ROBERTSON

YSL, Opium 06

previous advert from 2000 gained huge media attention and was banned due to explicit content, as the model was completely naked (B.Sowray, 2012). However, the 2006 advert still took influence from this, also emphasising the naked body. Covering intimate areas with Japanese Orange Blossom flowers emphasises the traditional aspects of the brand as Opium have included these flowers in

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Figure 2: Opium Advert Maria Carla Boscono by Mert Alas & Marcus Piggott (2006).

Opium is an incredibly addictive drug, containing alkaloids such as morphine and codeine which are extracted from opium poppies (L.Anderson, 2014). But Yves Saint Laurent has taken this sinister substance, using the lethal connotations to their advantage, to create a best-selling scent, Opium(1977); an oriental fragrance combining mandarin orange and spice (Moran.J, 2000). Deconstructing muses and inﬂuences surrounding their 2006 print advert, references to history culture and brand heritage are apparent.

their campaigns since the original 1977 advert. YSL, as the first Parisian fashion house to create a ready-to-wear collection in 1966, has always taken pride in their brand history (BofTeam, 2012). For a self assured and strong brand, who values “ostentatious indecency” (J. Kapferer, 2008), pushing the boundaries is important to highlight the original brand essence, whilst referencing previous campaigns shows respect for their history.

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Figure 3: Yves Saint Laurent Homme by Jeanloup Sieff (1971). Figure 4: Orange Blossoms by Nick V. (2013). Figure 5: Opium Banned Advert by Steven Miesel (2000). Figure 6: Jerry Hall in Opium by Helmut Newton (1977).

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Figure 7: Traditonal Inro Box by Galerie Tiago (2014).

The bottle, designed by Pierre Dinand, was inspired by Inro boxes, worn under Kimonos to carry spices, herbs and opium during 19th century Japan (BBC, 2015). This links directly to concepts behind the perfume, emphasising oriental influences for the scent, advert and packaging. Inro boxes attach with cords holding Ojime beads and are topped with sculpted balls called netsukes. Stylizing these into the bottle design, the netsuke inspired the glass top, with the bottle’s tassel depicting the fastening strings. The model also wears a large bangle, referencing Ojime beads, and holds a crimson rope, symbolising the opium poppy colour and boxes strings. ‘Saint Laurent Paris aim to create and market highly desirable products through innovation and unparalleled quality and design’

(Kering, 2012) therefore by taking historical references and modernising these into stylized fragrances, the brand has succeeded in creating an innovative design from unique

inspirations. Maria Carla Boscono is confidently distinctive in herself, so is the perfect face for Opium, as YSL stands for ‘inviting women to break the rules, create their own truths, over and above convention’ (R.Mellery-Pratt, 2015). Choosing Boscono for this campaign emphasises risky ideologies this perfume carries as she states ‘“I don’t believe in the word erotic. I believe in a type of sensuality”’ (M.Boscono, 2015). Shoulderlength, volumised, blonde hair and bright red lips show similarities to Marilyn Monroe, the 1950’s sex symbol, conveying YSL’s lustful and seductive identity flawlessly (E.Schwarz, 2013). Many aspects from this advert can be referenced to Marilyn’s death; an overdose of Nembutal, emphasising the

Figure 8: Opium Perfume Bottle by QuirkyFinds (2003).

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Figure 9: Marilyn Monroe ‘The Last Sitting’ by Bert Stern (1962).

“INVITING WOMEN TO BREAK THE RULES, CREATING THEIR OWN TRUTHS, OVER AND ABOVE CONVENTION”

Marilyn Monroe drug ideologies behind Opium (BBC, 2012). The 2006 advert shows inspirations from Marilyn’s final shoot, capturing the blonde beauty naked, photographed by Bert Stern for Vogue and published just after her death in 1962 (Memolotion, 2014). These images, ‘The Last Sitting’, came into the public eye just after the YSL brand launched in 1961, therefore could be a huge influence for the brand’s artistic direction whilst

empowering women is also a strong brand value for YSL. This suggests why they used shorter hair in their adverts as it became a symbol of female freedom during World War 2, when women became accepted into the work place. YSL, famous for adapting womenswear, is part of Kering group. Their price more affordable than

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tuxedos for the luxury points are comparable

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brands; around £44 for a 30ml bottle of Opium Eau de Toilette spray (YSL, 2014). This attracts loyal and mass-market consumers who save to buy the fragrance to reach their aspirational needs. Maslow (1943) proposed we have a fivetier needs hierarchy that we try to meet chronologically. In modern society, consumers attempt to meet a variety of these needs simultaneously (H.Posner, 2011). Targeting Opium

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at the high-end of this mass-market level allows many to own a part of the YSL brand, therefore fulfils many of needs proposed by Maslow, raising self esteem and earning a level of status and luxury by peers.. The advert has an illuminated, red, circled backdrop, further linking to oriental themes, as Japan is known as the Land of the Rising Sun; a literal translation of the word ‘Nippon’, the Japanese name for the country. Old civilizations noticed the sun rose first in the east of Japan, and even though we now realise geographically this is not correct, at the time the name gained worldwide acceptance, a tradition referenced by Opium (A.Chakrabarti, 2013). The backdrop also shows similarities to Art Nouveau, popular during late 19th/ early 20th century as a way to abandon historical styles and gain modernism (J.Wolf, 2015). Art often united flowing designs which were curved and used stylized

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“SAINT LAURENT PARIS AIM TO CREATE AND MARKET HIGHLY DESIRABLE PRODUCTS THROUGH INNOVATION AND UNPARALLELED QUALITY AND DESIGN” flowers, inspired by the rococo style, emphasising freedom and linking to ideologies behind the opium drug and the hedonistic muse of the advert (BBC, 2014). As part of the YSL fashion house, recognised for producing visually beautiful clothes, it’s fitting that the campaign is communicated via image. The advert conveys messages of loyalty and confidence, as the brand continues to produce seductive, controversial, nude adverts, despite previous bans; not only generating buzz around the images and creating earned media through mentions/ reviews rather than just initial paid advertisements, but also emphasises that the brand will always stand by its values and beliefs (N.Burcher, 2012). Appearing in print form, the advert needed to be eye-catchingly bold to grab consumer’s attention on magazines and billboards. These were successful places to communicate this advert, as fashion magazines share a similar target audience to YSL.

but are often impersonal. To overcome this, YSL could use adverts with personal selling to create retail/ customer experiences that luxury consumer’s desire. Being provocative and challenging, messages aren’t completely overt, but the YSL fashion-focused target consumer will understand them. Barthes Semiotics Theory (1964), suggests intervening variables determine how much of the true message behind this advert we each understand. The denotation suggests beautiful messages, where purity is expressed through nudity; however connotations contradict this, linking to drugs and creating lethal, forbidden undertones. This advert is successful at communicating a traditional, oriental visual, which females interested in fashion will understand and respect, however fails to connect with other audiences whose perception of the fragrance and it’s essence may be distorted due to contradicting denotations and connotations (D.Chandler, 2014).

The Promotional Mix, a combination of tools which promote brand messages (H.Posner, 2011), suggests adverts are good for building awareness and creating reputations,

Figure 10: Peinture by Alphonse Mucha (1898). WONDERLAND

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APPENDIX LIST OF ILLUSTRATIONS. Figure 1: Yves Saint Laurent by Anon (Unknown). [Photograph]. Available at: main.stylelist.com/2011/05/12/pierre-thorettonyves-saint-laurent-l-amour-fou/. Figure 2: Opium Advert Maria Carla Boscino by Mert Alas & Marcus Piggott (2006). [Photograph]. Available at: www.pinterest.com/pin/406872147558648047/. Figure 3: Yves Saint Laurent Homme by Jeanloup Sieff (1971). [Photograph]. Available at: http://partnouveau.com/?p=1240 Figure 4: Orange Blossoms by Nick V. (2013). [Photograph]. Available at: ﬂoralfridayfoto.blogspot.com Figure 5: Opium Banned Advert by Steven Miesel (2000). [Photograph] Available at: www.fashionising.com/industry/b-banned-perfume-ads-24737.html.

Figure 6: Jerry Hall in Opium by Helmut Newton (1977). [Photograph]. Available at: www.kafkaesqueblog.com

Figure 7: Traditonal Inro Box by Galerie Tiago (2014). [Photograph]. Available at: www.1stdibs.com Figure 8: Opium Perfume Bottle by QuirkyFinds (2003). [Photograph] Available at: www.quirkyﬁnds.com/vintage-fragrances/ vintage-perfume-factice/.

Figure 9: Marilyn Monroe ‘The Last Sitting’ by Bert Stern (1962). [Photograph]. Available at: marilynmonroe.ucoz.com/ photo/bert_stern_last_sitting/2.

Figure 10: Peinture by Alphonse Mucha (1898). [Painting]. Available at: www.galerie-creation.com/alphonse-mucha-lapeinture-l-1652314.htm.

APPENDIX NO. 1 - INSPIRATION MAGAZINE.

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brands/loreal-luxe/yves-saint-laurentbeaute.aspx [Accessed 23/03.2015].

LIST OF REFERENCES. Anderson. L, (2014). Opium: Uses, Addiction, Treatment & Side Effects [Online]. Drugs.com. Available at: http://www.drugs.com/illicit/opium.html [Accessed 20/03/2015].

Moran, J., (2000). Fabulous Fragrances II : A Guide to Prestige Perfumes for Women and Men. 2nd Edition. Crescent House Publications.

Chakrabarti. A., (2013). Land of the Rising Sun [Online]. Tasoh Bioscience LLC. Available at: http://www.tosohtalk. com/2013/04/23/land-of-the-rising-sun/ [Accessed 24/03/2015].

Posner, H., (2011). Marketing Fashion. London: Laurence King Publishing Ltd.

Chandler. D., (2014). Semiotics for Beginners [Online]. Visual-Memory. co.uk. Available at: http://visual-memory. co.uk/daniel/Documents/S4B/sem01.html [Accessed 24/03/2015].

Anon., (2014). Marilyn Monroe’s last sitting for Vogue, 1962 [Online]. Memolition. Available at: http:// memolition.com/2014/01/23/marilynmonroes-last-sitting-for-vogue-1962-35pictures/ [Accessed 21/03/2015].

Griggs. A., (2015). Mariacarla Boscono: Exclusive Interview [Online]. The Fashionography. Available at: http:// thefashionography.com/mariacarlaboscono-interview/ [Accessed 24/03/2015].

BBC., (2015). Japanese Inro, Ojime and Netsuke [Online]. BBC. Available at: http://www.bbc.co.uk/programmes/ articles/4QZ9DM9Dgx4nYS3QF30t3h7/ japanese-inro-ojime-and-netsuke [Accessed 22/03/2015].

Kapferer, J., (2008). The New Strategic Brand Management: Creating and Sustaining Brand Equity Long Term [eBook]. Kogan Page Publishers. Available via: https://books.google.co.uk/ books?id=8PoItiB7bicC&pg=PA196&lpg= PA196&dq=YSL+brand+values&source= bl&ots=exWf0GxJPB&sig=Lz6oZVQ4Y0 RomDTiXhgmeMS-H_8&hl=en&sa=X& ei=2lYRVbGvI6a07ga34IH4Dw&ved=0 CDUQ6AEwAw#v=onepage&q=YSL% 20brand%20values&f=falee [Accessed 24/03/2015].

BBC., (2014). Period Style: Art Nouveau [Online]. BBC. Available at: http://www. bbc.co.uk/homes/design/period_ artnouveau.shtml [Accessed 24/03/2015]. Bof Team., (2012). Making Sense of the YSL Retrobranding [Online]. The Business of Fashion Ltd. Available at: http://www.businessoffashion. com/2012/07/making-sense-of-theysl-retrobranding.html [Accessed 22/03/2015]. Burcher. N., (2012). Paid, Owned, Earned : Maximising Marketing Returns in a Socially Connected World [E-Book]. Great Britain, United States: Kogan Page Limited. Available Via: https://books. google.co.uk/books?id=QQnp-duPmbM C&printsec=frontcover&dq=owned+ear ned+paid+media&hl=en&sa=X&ei=McR lVeGFCpPe7AaA44DgBw&ved=0CCA Q6AEwAA#v=onepage&q=owned%20ear ned%20paid%20media&f=true [Accessed 29/05/2015].

Kering Group., (2012). PPR 2012 Reference Document [Online]. Kering. Available at: http://www.kering.com/sites/ default/ﬁles/ppr_ddr_2012_va_1.pdf [Accessed 22/03/2015].

Schwarz. E., (2013). Marilyn Monroe Star, Sex Symbol, Fashion Icon [Online]. One2One Digital. Available at: http://www. artsandcollections.com/article/marilynmonroe-star-sex-symbol-and-fashion-icon [Accessed 21/03/2015]. Sowray. B, (2012). YSL Opium advert is eight most complained about. Telegraph Media Group Ltd [Online]. Available at: http://fashion.telegraph.co.uk/article/ TMG9299894/YSL-Opium-advert-iseighth-most-complained-about.html [Accessed 24/03/2015]. Wolf. J., (2015). Art Nouveau [Online]. The Art Story Foundation. Available from: http://www.theartstory.org/movement-artnouveau.htm [Accessed 24/03/2015]. YSL Beauty., (2014). Opium Eau de Toilette Perfume Spray [Online]. YSL Beauty UK. Available at: http://www. yslbeauty.co.uk/fragrance/for-her/opium/ opium-eau-de-toilette-spray/512YSL. html?cgid=fragrance-opium&dwvar_ 512YSL_size=3.0%20oz.#start=1&cgid=f ragrance-opium [Accessed 24/03/2015].

Mellery-Pratt. R., (2015). Yves Saint Laurent Beauté [Online]. L’Oréal. Available at: http://www.loreal.com/

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BIBLIOGRAPHY. Books: Burcher. N., (2012). Paid, Owned, Earned : Maximising Marketing Returns in a Socially Connected World [E-Book]. Great Britain, United States: Kogan Page Limited. Available Via: https://books. google.co.uk/books?id=QQnp-duPmbM C&printsec=frontcover&dq=owned+ear ned+paid+media&hl=en&sa=X&ei=McR lVeGFCpPe7AaA44DgBw&ved=0CCA Q6AEwAA#v=onepage&q=owned%20ear ned%20paid%20media&f=true [Accessed 29/05/2015]. Buxbaum, G., (2011). Icons of Fashion: The 20th Century. Munich, London, New York: Prestel Verlag. Kapferer. J., (2008). The New Strategic Brand Management: Creating and Sustaining Brand Equity Long Term [eBook]. Kogan Page Publishers. Available via: https://books.google.co.uk/ books?id=8PoItiB7bicC&pg=PA196&lpg= PA196&dq=YSL+brand+values&source= bl&ots=exWf0GxJPB&sig=Lz6oZVQ4Y0 RomDTiXhgmeMS-H_8&hl=en&sa=X& ei=2lYRVbGvI6a07ga34IH4Dw&ved=0 CDUQ6AEwAw#v=onepage&q=YSL% 20brand%20values&f=falee [Accessed 24/03/2015]. Moran, J., (2000). Fabulous Fragrances II : A Guide to Prestige Perfumes for Women and Men. 2nd Edition. Crescent House Publications. Posner, H., (2011). Marketing Fashion. London: Laurence King Publishing Ltd. Rising Sun [Online]. Articles: Anderson. L., (2014). Opium: Uses, Addiction, Treatment & Side Effects [Online]. Drugs.com. Available at: http://www.drugs.com/illicit/opium.html [Accessed 20/03/2015]. Chandler. D.. (2014). Semiotics for Beginners [Online]. Visual-Memory. co.uk. Available at: http://visual-memory. co.uk/daniel/Documents/S4B/sem01.html [Accessed 24/03/2015]. Kering Group., (2012). PPR 2012 Reference Document [Online]. Kering. Available at: http://www.kering.com/sites/ default/ﬁles/ppr_ddr_2012_va_1.pdf [Accessed 22/03/2015].

Additional Sources: Anon., (2010). 1940’s Fashion: Women’s Hairstyles during the War. Glamourdaze [Online]. Available at: http://glamourdaze. com/2010/04/1940s-fashion-womenshairstyles-during.html [Accessed 22/03/2015]. Anon., (2014). Marilyn Monroe’s last sitting for Vogue, 1962 [Online]. Memolition. Available at: http:// memolition.com/2014/01/23/marilynmonroes-last-sitting-for-vogue-1962-35pictures/ [Accessed 21/03/2015].

Rising Sun [Online]. Tasoh Bioscience LLC. Available at: http://www.tosohtalk. com/2013/04/23/land-of-the-rising-sun/ [Accessed 24/03/2015].

Anon., (Unknown). Pierre Dinand [Online]. Pierre-dinand.com. Available at: http://www.pierre-dinand.com/success. html [Accessed 22/03/2015].

Griggs. A., (2015). Mariacarla Boscono: Exclusive Interview [Online]. The Fashionography. Available at: http:// thefashionography.com/mariacarlaboscono-interview/ [Accessed 24/03/2015].

Anon., (Unknown). World War II: 19391945. Striking Women [Online]. Available at: http://www.striking-women.org/ module/women-and-work/world-war-ii1939-1945 [Accessed 22/03/2015].

Mellery-Pratt. R., (2015). Yves Saint Laurent Beauté [Online]. L’Oréal. Available at: http://www.loreal.com/ brands/loreal-luxe/yves-saint-laurentbeaute.aspx [Accessed 23/03.2015].

Basenotes., (2014). Opium by Yves Saint Laurent (1977) [Online]. Basenotes. Available at: http://www.basenotes.net/ ID10213395.html [Accessed 31/03/2015].

BBC,. (2012). 1962: Marilyn Monroe found dead [Online]. BBC. Available at: http://news.bbc.co.uk/onthisday/ hi/dates/stories/august/5/newsid_ 2657000/2657289.stm [Accessed 21/03/2015]. BBC., (2015). Japanese Inro, Ojime and Netsuke [Online]. BBC. Available at: http://www.bbc.co.uk/programmes/ articles/4QZ9DM9Dgx4nYS3QF30t3h7/ japanese-inro-ojime-and-netsuke [Accessed 22/03/2015]. BBC., (2014). Period Style: Art Nouveau [Online]. BBC. Available at: http://www. bbc.co.uk/homes/design/period_ artnouveau.shtml [Accessed 24/03/2015]. Bof Team., (2012). Making Sense of the YSL Retrobranding [Online]. The Business of Fashion Ltd. Available at: http://www.businessoffashion. com/2012/07/making-sense-of-theysl-retrobranding.html [Accessed 22/03/2015]. Chakrabarti. A., (2013). Land of the

Sowray. B., (2012). YSL Opium advert is eight most complained about. Telegraph Media Group Ltd [Online]. Available at: http://fashion.telegraph.co.uk/article/ TMG9299894/YSL-Opium-advert-iseighth-most-complained-about.html [Accessed 24/03/2015]. Viva for la glamour., (2014). Yves Saint Laurent Opium. Viva for la glamour [Online]. Blogger. Available at: http:// vivaforlaglamour.blogspot.co.uk/2014/10/ yves-saint-laurent-opium.html [Accessed 24/03/2015]. Wolf. J., (2015). Art Nouveau [Online]. The Art Story Foundation. Available from: http://www.theartstory.org/movement-artnouveau.htm [Accessed 24/03/2015]. YSL Beauty., (2014). Opium Eau de Toilette Perfume Spray [Online]. YSL Beauty UK. Available at: http://www. yslbeauty.co.uk/fragrance/for-her/opium/ opium-eau-de-toilette-spray/512YSL. html?cgid=fragrance-opium&dwvar_ 512YSL_size=3.0%20oz.#start=1&cgid=f ragrance-opium [Accessed 24/03/2015].