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hanel as a brand exudes sophistication, and this advert for Bleu De Chanel men’s aftershave conforms to this idea. Within this article I will be analysing the advert within GQ’s, February 2014 issue. Focusing on the styling, set, the model, semiotics and target market for this advertisement. The story behind the print and visual campaign for Bleu De Chanel is that men should be unexpected. The campaign tells the narrative of a compelling young actor who rebels against the conformist strictures of a lifestyle imposed upon him by his newfound fame, and that he gives it all up through saying (Chanel, 2010) “I’m not going to be the person I’m expected to be anymore”. (Senatus, 2010) He embodies the new ideal of perfect happiness in this day and age: to become famous yet live like a regular person. A model stands alone towards the far left of the three page spread, looking effortlessly put together dressed head to toe in black, draped in a blue overcoat making the focal point of the figure is his face, due to his features being enhanced from his skin being the lightest colour and reinforcing typical stereotypical views of a masculine figure with his traditional strong jaw-line and bone structure. Set upon the dark streets of what could be New York City through the lights of high-rise buildings that help to set the scene. Classic associations of New York can be installed through assuming that the figure is someone to admire and aspire to be. The image of a sports car blurred in the distance reinforces this idea, as if he has just gotten out of the car, whom then
walks away with a typical swagger as the night’s breeze causes his coat to flow around him. The figure in question is none other than French beauty Gaspard Ulliel, who oozes everything that a modern day gentlemen of Chanel should be about, simple, classic, collected and focused, as evident within the image, he clearly is intending on getting to somewhere. Gaspard himself is the perfect fit for the campaign; assumptions of him can be made through his role within the film (IMDB, 2014) Hannibal Rising (2007), through him playing the sinister yet sincere role of Hannibal Lecter. A celebrity endorsement puts in place Maslow’s Hierarchy of Needs. By seeing Gaspard Ulliel and what he signifies, it appeals to the consumers Self Esteem through being an attractive male model. It also implies that if the consumer buys the product, they will be as dangerous and unconventional as the Gaspard himself, reinventing the way in which the consumer looks at the brand in the process. This changes the typical connotations of Chanel; a typically female orientated brand, and immediately making it much more masculine than if they had just a standard model. The last of the three-page spread is a standalone image of the bottle itself. Emerging from the page as it is glowing from behind, making it so that the black bottle stands out from the black of the page and forcing the image to the foreground of the page. The only other prominent colour on the page is from the title of the bottle, and the word ‘Chanel’ itself in the top right of the page and through the repetition of the brand it almost drills the name into the consumers mind, and that they associate the sophistication of the advert
with the brand. The bottle is also photographed in a way that shows truly how glossy the product is with defining highlights and shadows, proving that this is an item of luxury as well as that black on black on black, will always look chic.
The target market for this perfume is aimed at a young male consumer through connotations such as the minimal use of colour, and how it is a very dark and portrayed as if it is a still from a James bond type of Action film. The fragrance was created to (whatmenshouldsmelllike, 2011) divert away from the typical loyal Chanel clients, who were predominately over thirty, so Bleu De Chanel was introduced to aim at a younger male audience. The use of dark colours also gives somewhat of an allure. Steiner’s theory implies that certain colours can convey an emotion, and that a colour can powerfully influence someone directly. For the consumer this theory could make a product like Bleu De Chanel desirable due to
the fact that dark colours are often associated with power, formality and mystery. When paired with the determined stance of the model it provides a sensual intrigue into the models character. Also how the bottle is a very solid masculine shape
that simply serves its purpose of being a container for a fragrance with a name on the front, straight to the point like its consumer. All these components feed into the hierarchy of needs of the consumer, specifically the self-esteem, in a world where the male consumer strives for masculinity. Comparing Bleu De Chanel to Dior and their men’s fragrance Dior Homme, Chanel hired Martin Scorsese, and his style of advert is almost mimicked by Dior (Dior, 2013) showing the lifestyle of a male figure that has fame and fortune but still wants romance. This shows how men’s fragrances struggle to break the conventional idea of how brands feel the fragrance should be sold and the lifestyle their consumer wants, especially since the Dior Homme campaign was three
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years after Bleu De Chanel. The advert itself is placed within the first two pages of the publication, as well as having a fold, giving it an extra edge. The advertisement is located within Gentlemen Quarterly, and fits perfectly within the brand that the target market is intended for. A well
dressed male who evidently takes care of his appearance through going out of his way to buy a mainstream men’s fashion magazine. Through the campaign being directly at the front of the publication, it shows the importance of Chanel’s brand within the industry as well as their own status that they would purposefully buy the advertising space for the front of the magazine. In conclusion to these points Bleu De Chanel works perfectly for the brand as it endorses everything that a man should stereotypically be, someone that is suave masculine and collected but heightens the fact that fragrance is also there to evoke emotion in others as you wear it, but aims itself at a younger consumer rather than a much more mature male, but in a way that is classically done rather than something of a gimmick. - Thomas Ryan
Reference List: Chanel (2010): “I’m not going to be the person I’m expected to be anymore”: [video] https:// www.youtube.com/watch?v=oG-nnDlnWrA: (Accessed 24th March 2014) “He embodies the new ideal of perfect happiness in this day and age: to become famous yet live like a regular person.” Senatus (2010): [online] :http://senatus.net/article/bleu-de-chanel-martinscorsese/ (Accessed 24th Marc 2014) IMDB.com/ inc. : [online] :http://www.imdb.com/name/nm0880484/: (Accessed 24th March 2014) Whatmenshouldsmelllike September 11th 2013 : [online]: http://whatmenshouldsmelllike. com/2011/09/11/chanel-bleu-de-chanel/: (Accessed 24th march 2014) Christian Dior 2013: [video]: https://www.youtube.com/watch?v=aTbG1hG2AFA (Accessed 25th March 2013) Fig 1: Available at: http://1.bp.blogspot.com/-rXCg1amFo2U/TwSqDx0rewI/AAAAAAAAC9w/ be_EoiuIOWM/s1600/GU_MD3-perfil.jpg (Accessed 27th March 2014) Fig 2: Jean Baptiste Mondino (2010) Bleu De Chanel campaign [online] Available at: http://figuresdestyle.net/2010/08/30/martin-scorsese-filme-gaspard-ulliel-pour-chanel/ (Accessed 27th March 2014) Fig 3: Bleu De Chanel Bottle (2010) [online] http://www.frontrowsuit.com/wp-content/uploads/2010/10/Bleu-de-Chanel-bottle-image1-881x1024.jpg (Accessed 27th March 2014)
Bibliography: Tungate. M (Published 2008) (Chapter (Celebrity Sells pages 119-123). Fashion Brands: Branding style for Armarni to Zara.London: Kogan Pages. Bo Bergstrom (Published 2008) Essentials of Visual Communication, (Messages page 59-70) (Colour 199-201): Laurence King Publishing Ltd. Werle. S (Published 2010) (Pages 20-23 Gabrielle Chanel) 50 fashion Designers you should know: Prestel Publishing.