Beauty and Backlash. Analysis of “sex� in advertising. Ryan Arthur Moss (c) 2011
Backlash “Perfectly flawless,” a single statement to describe woman portrayed on magazine covers, advertisements, billboards, shops and even online. Thus said woman are disillusioned to believe in order to succeed, they must resemble or portray this flawless perfection. These beliefs are not new and have been around for years, and they have been manipulated and used as effective marketing tools to sell product. Critically I will analyse two images and use Faludi’s opinions on beauty for advertising to rationalise my research within this essay. Social commentary exists to consider critically the standard of social well being and to promote individual and collective human values. In the case of consumerism, the advertiser visualises the true message the producer wants the audience to experience. The facts we see depend on where we are placed and the habits of our eyes. (Lippmann, in: Strauss. 2003). Advertising agencies use explicit image/viewer image relationships to sell products. ‘Everyone knows that when the exploiters (by means of the exploited) produce goods, in reality they produce human beings (social relations). Pasolini, Lutheran Letters. New media has given advertisers the platform to produce adverts, that we ideologically embrace and create social norms based on the cultural values that we associate ourselves with to that given product. Pasolini rationalises this in his statement, that we create these social relations that becomes a norm for society in essence creating a new brand of human being. Advertising has essentially created a consumer rampage while in ignorance of capitalism. It is significant to see that when it comes to sex in advertising, it’s no longer the meaning behind the message, but the excess thereof that has society questioning the abuse of advertisers intent to sell product Hughes (1980: 324). They rightfully so, use “sex” as a selling tactic, that today can be seen on any magazine stand, billboard, park bench and essentially anywhere we look. In the DKNY advert, ‘the fragrance for woman for men’ (appendix 1), portrays a couple standing on a taxi roof in the middle of a busy street in New York (New York being the inspiration behind DKNY) The DKNY fragrance is for both men and woman. The fragrance bottles are portrayed on either side of the couple, and in relation to the background look like skyscrapers. In doing this the advertisers use this tactic, of a low angle shot to portray dominance, intimidation, power and can seem imposing. All these feelings are emphasized through the subtle unclear Empire State Building in the
background. This building is known worldwide, and using this emphasizes the brand culture, DKNY. They use this association to create an ideology that New York is DKNY, and should you purchase this product, you are then in with the urban culture that in itself is, is a hip young art culture city that’s bustling with night life. The couple being a man on the left and a woman on the right are shot from a low angle in proportion to the fragrance. They themselves are emphasizing these aspects. They are tall dominant and imposing. They portray a risky no reservations attitude to their behaviour. . The long vertical lines on either side of the couple from the fragrance outlines, emphasizes the couples slender elevated dominance. The couple are engaged in groping and lustful behaviour. This portrays emotions of lust, passion, seduction and love. Advertisers often use these aspects of affection to entice consumers to purchase a product. The man’s face is hidden and buried into the neck of the female, and subconsciously tells the consumer that could be him buried in her neck. Facial expressions cannot be seen on the man, however his affection and embrace into the ideology of the fragrance is seen by him groping the woman’s buttocks. This automatically induces lustful arousal feelings in the male consumer. The bold enduring interaction between them enhances the notion that this fragrance is for them both. The woman models hair blowing slightly in the breeze could portray flow. She is embracing the affection and touch of the man and going with the flow. Her eyes are closed and this is to emphasize her indulgence in the fragrance as well as the man’s touch. The embracing clench of her hand on the man’s neck is used to draw the man into her neck, to get a taste of the fragrance, of the emotions of the lifestyle they have together. She is wearing light silky dress that is not to revealing but does cut off at the upper thighs, to keep the consumer betrothed in the advert. It does accentuate the slenderness of her legs, and the consumer can see by her back legs posture she is leaning into the grasp of the man. Objectively from the way the advertisers use the language and gestures of the couple, one can assume the woman is of an upper class demographic and is independent mature and successful, she has been branded by DKNY.
“We ourselves have been
branded. The human spirit of prideful, contrariness and fierce independence has been oddly tamed,” reiterates Kalle Lasn (Lasn, 2000: xi). She however is being drawn in by the fragrance that is worn by the casual domineering man whom could be seen as an average Joe, and essentially tamed her to the consumer’s ideology. Ultimately advertisers use the arousal seduction imagery to secure product placement in society’s lives and boost capitalism.
Woman today will do anything to achieve the perfect look. As Lasn states, “the most powerful narcotic in the world, is the promise of belonging.” This can be attributed to all aspects of life, yet it influentially emphasizes the way woman want to look. They want to be part of that ‘perfect flawlessness.’ In Faludi’s transcripts, (Faludi 1992: 237) she gives augmentation to the depiction of woman and how they are used as a marketing scheme. Mannequins initially were not created to depict the ‘perfect’ woman; however the initial significance has been underemphasized. Women were not too disconcerted in the 1970’s about their outward facade or how they dressed. When women’s rights were low, the only way to get a job was to follow the mannequin way of thinking (Faludi 1992: 238). Society today regards a mannequin to portray all the essential looks of the ‘perfect’ woman. The airbrushed body, a womanly pose, pouted lips perfect skin and wavy long blonde hair creates an idealised image to the consumer that essentially they are not. In the Guess advertorial, ‘untitled’ (appendix 2) the manifestation of Faludi’s transcripts are greatly accentuated. In relation to the background the model is seated on a dresser table in a room. The framing is close up on the model with little interaction with the background. What stands out is the white, clean pure dresser table and bed linen that does interact with the product: the product being a Guess bag. The Guess bag is over bearing and indulging in the interaction with the model. The product is white with light blue accentuations to it. This product engulfs itself into the models clothing, as she is wearing white hot pants and a white bra halter top. She is wearing high heels that show off the foot. Apart from this the model is virtually naked wearing nothing and revealing her ‘perfectly flawless’ body. The models hair being golden blonde is wavy and slightly messy. It’s highlighted by the background light in the dresser mirror.
It’s intoxicating as portrays a sense of playfulness and excitement that is
accentuated by her holding the brush. She looks as thou she is going to give her hair a once over brush, neatly yet revealing that she is maybe not too worried about her looks. Mouth open wide, face tilted at an angle pupils staring at the consumer from an angle are all subtle inviting techniques the advertisers use to draw the consumer in to this ideology. She looks open, happy, playful and ready to go taking the risk of leaving the apartment in her revealing outfit. The use of the hot pants reveals her long slender legs, both of perfect tanned exposure and no signs of cellulite or varicose veins. They also tuck her stomach away flattening it. Her body posture reveals a care free friendly loving attitude. She feels on top of the world with this product. The model can go out and explore the world with the product flung over her shoulders. The way she is sitting on the edge of the dresser creates
a slight tension, that lets the consumer question, when is she going to go out already? The model herself can be compared to a mannequin, with all the flawless attributes they are manufactured with today. No matter how much cosmetic surgery, gym sessions, liposuction or any means of refining themselves to the flawless perfection they desire, a woman will never be perfect. We have seen a dramatic change in the perception of woman over the last 40 years. Women were meant to be in the kitchen, raising the children and being the house wife and serve without complaint. Today it is according to equal rights that respectfully it is unacceptable for those standards. Woman’s rights are equivalent to men, and the new norm and standards of equality set stringent rules that will prevent the past from repeating itself and from woman being mistreated. With equal rights come greater set standards for woman in the world. They now have to compete against men as well as each other. This then will attribute to woman seeking perfection to out shine their opposition. In doing this they will seek perfection and advertisers will grasp this promise of ‘belonging.’ Manipulate it and once again use it to their advantage to sell a product. Backlash will come in waves and repeat itself in many years to come; it will however not abate the women’s longing for flawless perfection.
Reference Faludi, S. (1992). Backlash: The undercover war against woman. London: Vintage. Lasn. K. (2000). Culture jamming. New York: Harper Publishing. Hughes, R. (1980). Shock of the new. London: British broadcasting commission. Pasolini, P.P. (1983). “Intervention at the radical party congress.� In: Lutheran Letters, trans, Stuart Hood. London: Carcanet. Strauss, L. (2003). Between the eyes. Essays on photography and politics. Singapore: Tien Wah Press. Appendix 1 Glamour(2011) DKNY advert. Page 5 (April 2011) Appendix 2 Glamour(2011) Guess advert. Page 9 (February 2011)