Miss Dior “Blooming Bouquet”
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arrying with it one of the most iconic reputations and rich history’s, Dior has become a leaders in the fragrance industry. With the innovative 1947 Miss Dior Cherie being launched post war, in hand with Christian Dior’s New Look, together they answered the demands of every woman’s desire for renewal. Dior (1947) himself said “I have created this perfume to dress each woman in the scent of desire, and to see each of my dresses emerging from its bottle”. (Dior, 1947) This 2014 advertisement is Dior’s most recent representation of “The Fresh new essence of Miss Dior”, one that still strives to illustrate the timeless elegance and sophistication of the Original, whilst representing the key values of the brand. The newest campaign by Tim Walker brings with it a sense of realism, with a simple yet effective capture of the brand. Walker’s style is unmistakable and with reputable history with the likes of Vogue his way of “telling a story” with the use photography, makes him what I believe to be a perfect choice for Dior. We see a captivating Natalie Portman positioned sensually on the heart of the brands Dior staircase, stairs in which have no finishing point, giving a sense of
mystery as to where the stairs may lead. We feel a sense of intimacy with her ruffled hair and dress covering her body opposed to her wearing it. It gives the impression something sexual has happened or is about to happen. A bottle of Miss Dior is held to her breast one that has same bow as the 1947 advertisements holding connotations that it is a gift and something special is inside to be given. By keeping this historical feature the brand remains in touch with Dior’s heritage, something in which it is passionate about upholding. The positioning of the bottle to the breast gives a sense of sexuality showing either that the character has a relationship with the scent or that she is holding timeless luxury herself. Adding to this allure is the powerful glance in the models eyes, it is as if she is looking into the eye of a lover and with a smokey eye make up effect, in contrast to the natural colours it gives a sense of danger and mystery One historical reference that could be associated with the advertisement is the work of French artist Edgar Degas. Degas (Edgardegas.org 2002-2014) is described as one of the founders of Impressionism. Impressionist style consisted of painting the realities of the world around them, however Degas never undertook
the “Dazzling flecks of colour” adopted by many. Influenced heavily by the Ballet, he captured the depiction of movement with a master quality (Figure.1) In many ways this is reflected in this advertisement, from the ballerina style of Raf Simons floral, embellished dress to the minimal, natural colour palette, yet still managing to capture the beauty and poise of the model. The colours used within the advertisement is typical of House of Dior, (Figure.2) with a palette of soft pinks and nudes from the garment to the location of the shoot, all tying in with the Parisian elegance and feminine allure of the brand. Influenced heavily by Rudolf Steiner’s theory of how specific colours can convey a feeling: Kandinsky stated, “Colour is a way of exerting direct influences on the soul” (omni.bus. ed.ac.uk). The colours used within Dior’s advertisement, initially conveys a sense of innocence, purity and elegance. On the other hand the flesh colours could be linked with human skin, adding to the intimacy within advert. In terms of the consumer when applying this theory the colours may make the product more desirable due to the typical connotations associated with the colours.
The placement of Miss Dior is within the first 5 pages of Grazia magazine, a few pages away from competitors such as Dolce and
A topic in which could be discussed is the “Pretty” aspect of the advertisement. Often when joining aspects such as dainty glass bottles, with couture embellished dresses and natural palettes, adverts it can become saccharine. However I find it hard to dislike the advert. It is the layer of intimacy and feminine allure, in which I find saves it from the typical Cinderella story. From the ruffled hair to the flash of skin I believe it gives the new Miss Dior a refined sense of sexual liberation. In conclusion it seems Dior has taken into considered a newer audience one where women are empowered, Miss Dior is no longer a girl who flirts and flounces, she is a women. I think this advert works well for the brand keeping in touch with the heritage and recognizing a change in the Dior female consumer. Written by Molly McGarry
Blooming Bouquet
Miss Dior is no longer a girl who flirts and flounces, she is a woman. Figure 1.
Gabanna. What I feel differentiates Miss Dior Blooming Bouquet from the likes of Dolce and Gabanna Dolce is the effortless beauty, there is a sense of realism. There are not any extravagant features of flower gardens and picture perfect models, just elegance. The name “Miss Dior” itself makes the perfume seem more personal, relating back to where the brand began, in the hands of the visionary Christian Dior. The target audience of Miss Dior is one that fits well with the Grazia audience, this being a female mid 20’s – 40’s with an appreciation for high quality and style.
Figure.2
Like any advertisement the positioning and art direction of Miss Dior’s Blooming Bouquet is crucial to ensuring maximum impact on the consumer. In this specific advert we see a typical layout where the product takes a central place whilst the model frames the image. This technique of advertising is explored in Judith Williamsons Decoding of Adverting (1978). She refers to a Referent System whereby the consumer is invited to make a connection between the signified of Natalie Portman (elegance and sophistication) and the signified of the Miss Dior perfume. This is a transfer of meaning from one system of signification with what the consumer is familiar with, to that of the product in which they are unfamiliar (Williamson 1978, p 25-26). I think it is also important that Dior has used a strong female figure within its campaign. In 2011 after Anti-Semitic remarks made by John Galliano, Portman refused to wear Dior until he was dismissed. The celebrity endorsement also applies to Maslow’s Hierarchy of Needs. By seeing Natalie Portman, who was voted one of the Top Ten actresses and what she signifies, the advertisement begins to appeal to the consumers Self Esteem. It implies that if the consumer buys the product they will be as strong, sensual and delicate as the celebrity herself as well as buying into the experience of the brand.
References. Christian Dior (1947). ” I have created this perfume to dress each woman in the scent of desire, and to see each of my dresses emerging from its bottle” (Online) Avaiable at : http://www.dior.com/beauty/en_gb/th/miss_dior.html#section/accueil ( Accessed 22nd March 2014) EgdarDegas.org ( 2002-2014). Biography. (Online) Available at: http://www.edgar-degas.org ( Accessed: 23rd March, 2014) Williamson, J (1978) Decoding advertisement ideology and meaning in advertising (Open Forum). London: Marion Boyar. Tim Walker Photography (no date) Biography Available at: http://timwalkerphotography.com/biography.php (Accessed:25th March,2014) http://www.dior.com/beauty/en_gb/fragrance-and-beauty/fragrance/womens-fragrance/miss-dior/pr-missdiorfplY0326210-blooming-bouquet.html (Accessed 22nd March 2014) Bibliography : Online http://www.fashiongonerogue.com/natalie-portman-enchants-miss-dior-blooming-bouquet-perfume-shots/ (Accessed:21st March 2014 ) http://www.fragrantica.com/news/Miss-Dior-Decoding-a-Bottle-of-Love-4704.html (Accessed 21st March 2014) http://omni.bus.ed.ac.uk/opsman/quality/SEM_black_run_8.htm (Accessed 20st March 2014) Books Bergstrom, B (2008, P.60,61). Essentials of visual communications. London: Laurence King
English, B( 2013 p.3) A cultural history of fashion in the 20th and 21st centuries. 2 edn. London: Bloomsbury Publishing. Lea – Greenwood, G 2013) Fashion Marketing Communications. W.Sussex : John Wiley & Son. Posner. H (2011 p 14,116-117) Marketing Fashion. London: Laurence King Tungate. M (2008, p.119-123). Fashion Brands: Branding style for Armarni to Zara.London: Kogan Pages. Watson.L (1999 p.126-127) Vogue twentieth century fashion. London: Carlton Books Williamson, J (1978) Decoding advertisement ideology and meaning in advertising (Open Forum). London: Marion Boyar. Images : Page 1 Tim walker. Natalie Portman. Available at : http://www.pinterest.com Figure 1: Degas L’Etoile 1834. Available at : http://www.pinterest.com Figure 2: Variety of Dior adverts 1980- to date Available at : http://www.pinterest.com