““Advertising doesn’t sell things; all advertising does is change the way people think or feel (Jeremy Bullmore).” Evaluate this statement with reference to selected critical theories (past and present).”
It is undisputable- we live in a world consumed by advertising, with constant exposure to products and goods which we are often led to believe are necessities- to inspire, enrich, and even to better ourselves as human beings.
‘Persuasion in Advertising’ (J. O’Shaughnessy & N.J. O’Shaughnessy, 2004, p.1) states:
“Persuasion is becoming more important in advertising. A major reason is that competition is finding it easier to erode any functional or price advantage attached to a product.”
In no product (within advertising) is this theory more evident that in the enormous profit-hungry world of perfume and fragrance, of which I shall analyse throughout this essay using multiple case studies- focusing on how televised promotion uses persuasion and influence to manipulate our psyche when purchasing a particular brand.
The first television commercial I have chosen to study is the quintessential 1980’s styling of ‘L’Air Du Temps’ (1982, from www.youtube.com), by Nina Ricci which boasts itself as “the fragrance as romantic as the dreams a woman dreams”.
The short advertisement shows a serene, elegant woman, surrounded by a flock of (what appear to be) white doves- the symbol of peace and harmony- portraying that this is how the perfume makes you feel- beautiful, sophisticated and, most of all, abundant in the ideals of love and romance.
In ‘The Looking Glass; ‘The Art of Persuasion- SEG 2’, (0:25, www.youtube.co.uk, n.d.) a Dawnnews TV programme reviewing methods of advertising suggest:
“Companies investigate the groups of people that they’re trying to sell to- trying to understand their thoughts, and hopes, and dreams.”
In the ‘L’Air Du Temps’ advertisement- it directly focuses on marketing itself to romantic sentimentalists- women that long for a life of natural serenity and grace, or those whom aspire to this dream.
Although it is obvious in this advertisement that the product is attempting to appeal and attract a certain audience, with this there is a balance of traditional advertising- simply telling you why the brand believe you should own their product, in this instance, dedicating nearly a third of the television advertisement to an image of the perfume bottle, and informing you as to where you can purchase it (Bullocks, L.A, U.S.A).
The 1980’s was one of the key decades in recent social history that emancipated women and their status within society. It was now becoming far more commonplace for a woman to hold the role as the main breadwinner of the household, now having equal pay to men- and a revival in fashion to match, the Bohemian and creative styles as worn in the 1960’s being traded for a far more glamorous and structured silhouette (particularly in the 1980’s), mimicking that of a man’s body shape- with heavily structured padded shoulders to give a sense of empowerment in the workplace. Bigger was better- shoulders, hairdos, and wages. With this freedom came a new level of competition, and demands of glamour- perfume, of course, being a luxury for the glamorous, and, it was around this time that televised perfume adverts began using persuasive technique to attract their audience.
John Berger’s ‘Ways of Seeing’ programme, broadcast in 1972 (‘Ways of Seeing- Advertising ¼ www.youtube.com) reviewed advertising and how glamorisation was a necessity in marketing and sales:
“Glamour is for everybody who believes they can be glamorous, or, perhaps, more accurately, everybody who finds that they cannot afford not to be glamorous.”
“Without social envy, glamour cannot exist.”
And, of course, this is true- advertising is strategic and scientific, as well as creative and stylistic.
Adverts, such as the one above, have full intention to manipulate how you feel- the flow of the music, the elegant style of the model, the purity of the white doves- all to make you subconsciously link the product to something more, something extraordinary- seemingly a promise that you too can experience this too, simply by owning this product:
“The consumer buys not just a product, per se, but a product under a description. How a product comes across in that description determines how it is envisaged and how attractive a buy it is likely to be. Persuasion appeals can provide a new perspective on a brand and create a whole new aura for it.” (‘Persuasion in Advertising, J. O’ Shaughnessy & N.J. O’Shaughnessy, 2004)
In modern day perfume advertisements, this persuasion method has only increased, yet often used far more subliminally, in some cases, playing on emotions to deliver their product, and it’s traits they wish to express. I have looked at two examples, the first, for ‘Miss Dior Cherie’ Dior perfume, which as a product received a great deal of exposure- with photographic images for print-based media shot by fashion photographer Tim Walker, and the televised commercial directed by award-winning film director, Sofia Coppola (‘Miss Dior Cherie’ commercial, 2008, www.youtube.com).
The advert, (along with the soundtrack ‘Moi Je Joue’ by Brigitte Bardot- a song about feisty and playful romance) follows a young woman (model Maryna Linchunk) in a day of Parisian life- filled with carefree fancies, a visit to the florists, patisserie, a bike ride around the city,-concluding on floating away, holding onto balloons, a metaphor of ultimate joy and contentment.
The 1950’s- like style of the advertisements generates thoughts of sophistication and elegance, glamour and femininity- the happiness of the advert is infectious, and is an undoubted example of just how easily advertisements can affect the viewer- only on few occasions the perfume even acting as a prop for the scene...
Undoubtedly, as aforementioned, the advert is charming; as it was, of course, intend to be. Although it is a blissful thought, very few of us would ever be able to experience such euphoric days as these, however, we can be inspired. “The imagery may be public, but the dreams are intimate.” (John Berger, Ways of Seeing- Advertising ¼, 1972)
My final advertisement in my analysis is perhaps one of the most famed fragrance commercials of recent years- notably one of the most expensive adverts ever made, in which actress Nicole Kidman played the leading role, earning US$12 million for the three-minute commercial.
Once again, the director chosen to create the advert was distinguished filmmaker, (an increasingly popular choice in advertising- as each commercial gets more sophisticated and memorable, the challenge to progress mounts) Baz Luhrmann, channelling the style of his 2001 film, ‘Moulin Rouge!’, in which Nicole Kidman played the leading lady once more. (‘Chanel No 5 the Film, www.youtube.com)
The advert follows “The World’s Most Famous Actress”- fleeing from her limousine after suffering a “nervous breakdown”, to experience, if only for a brief time, a world she has never known- with freedom and tranquillity, fuelled by a new romance and the promise of a different way of life.
Entitled ‘Chanel No. 5- The Film’, is by no means an understatement. In perhaps this, one of the most subliminal perfume advertisements of the past decade, the idea of this advertisement infact being a film seems far more realistic, if it weren’t for the occasional product placement in the way of the iconic ‘Chanel’ logo appearing ever-so occasionally over it’s three-minute duration.
It is only at the very last moment that we discover that this piece of artistry, is, in fact, an advertisement for “the world’s most legendary fragrance” (with an estimated sale of one bottle bought every 55 seconds, ‘Kidman reprises Moulin Rouge role for Chanel’, www.theguardian.co.uk, 2004)), fading out to the tagline:
“Her kiss...her smile...her perfume...”
Despite being so extravagant in production and design, the advertising element, on the surface, appears so minimal- it evokes a deeper, emotional reaction on a subconscious level where “subliminal persuasion is about getting people to change their minds, to change their beliefs...” (Subliminal Persuasion: Influence & Marketing secrets they don’t want you to know, D. Lakhani, p.2, 2008)
In conclusion to the theory “Advertising doesn’t sell things; all advertising does is change the way people think or feel” (Jeremy Bullmore), I am inclined, in part, to agree- more and more through the years this is becoming evident- directly attacking our innermost thoughts, feelings, desires, though this is certainly dependant on the viewer- some more inclined to the “indulgence” of emotions than others. “In the grips of an emotion, a person not only feels differently, but tends to think differently. Advertising that resonates emotionally stands more chance of inducing a change in beliefs and values/motives/wants/desires than one based on logic alone.” (Persuasion in Advertising, J. O’ Shaughnessy & N. J O’Shaughnessy, 2004, p.27) However, this cannot be said for all advertisements, some being far more directional in purpose. The ones that use this emotional device, however, appear to be the success stories- of course, no bad thing for the creative advertising agencies.
I will admit to being amazed, or even emotionally affected, on occasions, from the immense power that advertisements can have. Despite the reality that we are bombarded by them every day, we can avoid them, we don’t need to be “brainwashed” into a state of frantic purchase- you just need to pick up the remote.
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