Essay plan

"How are women represented in TV/print advertising that promotes beauty/cosmetic products?"

Introduction -
definition of represented.
print and television advertisement. 
State my opinion 

In this essay I will be talking about how females are represented in television and print advertisements that promote beauty/cosmetic products. The reason why I have chosen to have this a my essay topic as I feel strongly about how females are represented as many people look up to models that are represented within the media. The majority of females models within the media have a good body image eg they are skinny etc etc. this makes viewers feel as through that is want a women should look like. Whereas I believe that is not the case, as many of the this that we are show in beauty/cosmetic products advertisements have been edited extremely. Knowing this I will be talking about the Dove real beauty campaign the reason for this being a this is one of the campaign that adverts natural beauty through their television and print advertisement whereas other advertisements that promote beauty/cosmetic products, which contain the images being edited that don't look real as they have been airbrushed etc. 

- Within this first paragraph I will be talking about print advertisements. I will be giving examples of print adverts that I have analysed and then stating how females feel about them. i will be talking about text that I have analysed from the 50s, 60s, 70s and to how print advertisement are now. I will be talking about how the role of females have changed through the years. For example in the 50s they would be seen as housewife and now more a glamorous independent women. I will be talking about how certain this have changed for example the clothing that are worn in the advertisements. In the 50s wo     

- This paragraph I will be  to a whole campaign that I have analysed. 
I will be talk about the dove real beauty campaign. 
I will talk about a the history of the brand and the campaign. 

The Dove Campaign for Real Beauty

·         It was launched in 2004.

·         Includes advertisements, video, workshops, sleepover events and even the publication of a book and the production of a play.

·         The concept of the campaign is to celebrate the natural beauty embodied by all women and inspire them to have the confidence to be comfortable with themselves.

·         Dove's partners include Ogilvy & Mather, Edelman Public Relations, and Harbinger Communications (in Canada).

·         The campaign featured women of different shapes and sizes.

·         The campaign was shot by the British portrait/fashion photographer Rankin

·         Rankin has made a career out of fashion photography and has also produced several books

The reason I will be talking about this is down to the fact that it goes against the normal stereotype advertisement campaigns. The Dove real beauty campaign advertise models with their natural skin, there is no airbrushing and not any heavy editing. 
In result to this I will be talking about how the representation of the models in the dove real beauty campaign and other advertising campaign. And how this has a different affect on females audience watching. However I will also me talking about how the male gender react to the dove real beauty campaign and other campaign that use editing software and airbrushing. 

Dove real beauty Print advertisements example - 

This is a print advertisement front the dove real beauty campaign. This print advertisement  will create a positive affect on target audiences as it shows that the dove campaign are being real with them. 

For example this advertisement is of a beautiful young woman. This image has not been Photoshop meaning that their has been no airbrushing this shows the target audience that its a real life image of the mode, and if they were to see the image of the model and then the model in real life they will be the same. 

This will be an attraction for the females as they know that the real dove campaign is being true with the audience which is an attraction. The audience are able to see the models skin and the imperfection that she has. The smile on her face connotes that she is happy with her skin and that the target audience should see that and be happy with their own skin. 

conclusion -  
 my option and the answers the question how all my secondary research as supported my option 

Historical text

David Gauntlett media gender and identity 

One of the most obvious developments in recent pop culture has been the emergence of the icons and rhetoric of 'girl power', a phrase slapped into mainstream culture by the Spice Girls and subsequently incorporated into the language of government bodies as well as journalists, educationalists, culture critics, and pop fans themselves. Magazines for young women are emphatic in their determination that women must do their own thing, be themselves, and/or be as outrageously sassy and sexy as possible (see chapter nine). Several recent movies have featured self-confident, tough, intelligent female lead characters (chapter four). Female pop stars sing about financial and emotional independence, inner strength, and how they don't need a man; and the popular mantra of self-help books is that women can become just as powerful as these icons, if they cultivate their confidence and self-belief, and draw up a plan of self-development (chapter ten). This set of reasonably coherent messages from a range of sources - their clarity only disturbed by the idea that women can be extremely tough and independent whilst also maintaining perfect make-up and wearing impossible shoes - seems to have had some impact on the identities of young women (as the Britney Spears and Destiny's Child fans quoted in chapter ten would attest), as well as being very successful within pop culture as an image/lifestyle idea.

Popular feminism, women and men

The discourses of 'girl power' are today's most prominent expressions of what Angela McRobbie calls 'popular feminism' - the mainstream interpretation of feminism which is a strong element of modern pop culture even though it might not actually answer to the 'feminist' label. Popular feminism is like a radio-friendly remix of a multi-layered song, with the most exciting bits sampled, and some of the denser stuff left out. As McRobbie notes

To [many] young women official feminism is something that belongs to their mothers' generation. They have to develop their own language for dealing with sexual inequality, and if they do this through a raunchy language of 'shagging, snogging and having a good time', then perhaps the role this plays is not unlike the sexually explicit manifestoes found in the early writing of figures like [feminist pioneers] Germaine Greer and Sheila Rowbotham. The key difference is that this language is now found in the mainstream of commercial culture - not out there in the margins of the 'political underground'. (1999: 126).

Amazon Books

http://www.amazon.co.uk/Sex-Public-Outdoor-Advertising-Policy/dp/1847182747/ref=sr_1_7?ie=UTF8&qid=1384853042&sr=8-7&keywords=women+representation+in+advertising

Feminist awareness and activism, woman continue  to be portrayed in advertising in a limited and sexist manner.  

Sexism concerns distinctions which diminish or demean one sex in comparison with the other... sexual objectification (or rectification) refers to using women (mostly) as decorative or attention-getting objectives, with little or no relevance to the product advertised (Boddewyn, 1991, p26) 

http://www.amazon.co.uk/Women-Media-Asia-Precarious-Self/dp/0230292720/ref=sr_1_8?ie=UTF8&qid=1384853042&sr=8-8&keywords=women+representation+in+advertising
This book is concerned with the changing lives of women; the troubling signs of the female individualization as intersected by everyday media culture.

http://www.amazon.co.uk/Female-Representation-Advertisement-Its-Affect/dp/365631926X/ref=sr_1_1?ie=UTF8&qid=1385044679&sr=8-1&keywords=tv+advertisements+and+the+representation+of+females
Each of us is exposed to so many advertisements every day and it has become the most powerful education tool in society. They sell values, images and concept of success. They tell the general audience . 

http://www.amazon.co.uk/Representations-Female-Images-Womens-Magazines/dp/3639093844/ref=sr_1_fkmr0_1?ie=UTF8&qid=1385047195&sr=8-1-fkmr0&keywords=representational+of+females+body+image+in+the+media
Body dissatisfaction is a common emotion in women, and female body images published in women's magazines serve as the ideal body standards for some women. The purpose of this content analysis was to ascertain how Caucasian undergraduate female coders would rank the female body images presented in women's fashion, health, and fashion and health-related magazines viewed most often by female undergraduate students as listed in Simmons Market Research Bureau (2003). Samples of the photographic images presented in the 12 women's magazines for June 2005 and samples of the archived 1995 and 2000 issues of these 12 magazines were evaluated by the coders. Furthermore, samples of the female photographic images presented in four May and three June 1950 magazines were also ranked by the coders. This content analysis uses a rating scale to rank female body images that are systematically random sampled from women's magazines. The findings indicate body images vary significantly from 1950 to 2005 and 1995 to 2005. Furthermore, at least 90 percent of the sampled images from the 1995, 2000, and 2005 magazine titles were ranked thin.

http://www.amazon.co.uk/gp/product/0761942483/ref=s9_simh_se_p14_d0_i2?pf_rd_m=A3P5ROKL5A1OLE&pf_rd_s=auto-no-results-center-1&pf_rd_r=0JA7CNZCC79R5BQ62ZG7&pf_rd_t=301&pf_rd_p=240112507&pf_rd_i=representational%20of%20females%20airbrushing%20in%20the%20media
In western societies especially, a general performance fro a thin body shape has become established as the norm.  
Many associated a plump physique for women with attractiveness and in some culture obesity has been admired(Ford and Beach 1952; Rudofsky, 1972) 

Google Scholar

http://link.springer.com/article/10.1007/BF00287963#page-1
This article summarizes the content analyses of male and female portrayals in U.S. television commercials that have been published since 1971. The paper also includes the results of a content analysis of television commercials conducted on a 1985 sample. Where possible, the data from the present study are compared to the findings of previous research to illustrate trends over time. The results reveal several differences between the portrayal of men and women, but many of the gaps seem to be narrowing. Men and women now appear equally often as central characters in prime-time commercials. Although a prior study indicated a difference between male and female primary characters' use of arguments, the present data revealed no differences in this regard. A lower percentage of female than of male central characters are depicted as employed, but males are being presented in increasing numbers as spouses and parents, with no other apparent occupation. Women are still more likely than men to be seen in domestic settings, advertising products used in the home. Although the difference seems to have become smaller, women are more likely than men to be shown as users of the products they advertise. The most striking gap persists with regard to narrators. Consistent with other content analyses conducted over the past 15 years, approximately 90% of all narrators are male. The findings are discussed in terms of the potential effect of exposure to stereotyped depictions on viewers' sex role attitudes.

http://link.springer.com/article/10.1007/BF00289804#page-1
Traditionally, television commercials have served to reinforce conventional sex role stereotypes. The purpose of this study is to determine if there have been any changes in the portrayal of sex roles of television commercials in the past ten years. Specifically, this research is, in part, a replication of the O'Donnell and O'Donnell (1978) study and also an extension of their study. Additionally, this study examines what occupation the visible product representatives are placed in, which sex is shown to represent the product, and which sex is shown in more professional roles. Results of this study find that conventional sex role stereotypes persist in television commercials in 1988.

http://link.springer.com/article/10.1007/BF02936350#page-1
The research objective of this paper was to study the specific behaviors mentioned above and determine what gender behavior patterns have been most prevalent in magazine advertisements in 1979 and 1991. In this research, comparisons were made regarding gender displays between the years of 1979 and 1991 with random samples of print advertisements. The basic and essential starting question of this research project is: What messages about women have been given to society through magazine advertisements? This study was intended to be a conceptual replication of Erving Gofian’s study of Gender Advertisements to see how gender images in print advertisements have changed since Goffman’s study. For this research, advertisements were analyzed the gender behavior portrayed, utilizing Goffman’s categories of decoding behavior: relative size, feminine touch, function ranking, ritualization of subordination, and licensed withdrawal. Body display and IndependencelSelf-assertiveness categories were added. Advertisements that featured human subjects were collected from 1979 and 1991 women’s popular magazines. The random sampling procedure resulted in 252 samples in 1979 magazine advertisements and 252 samples in 1991 counterparts. This research showed that few changes have been made in the images of women in magazine advertisements since Goffman’s 1979 study. The findings indicate that the images of women in 1991 advertisements did not significantly change from the images found in 1979 advertisements. However; distribution or dispersion of stereotypical portrayal of women did change. In the categories of licensed withdrawal and body display, the magazine advertisements from 1991 showed more stereotyping of women than those from 1979. Two of Goffman’s categories-Relative Size and Function Ranking-were not prevalent depictions in magazine advertisements.

http://link.springer.com/article/10.1007/s11199-007-9359-1#page-1
This content analysis examined the depiction of women in 1,988 advertisements from 58 popular U.S. magazines. Advertisements were coded with respect to whether women were presented as sex objects and/or as victims using a scheme developed by the researchers. On average across magazines, one of two advertisements that featured women portrayed them as sex objects. Women appeared as victims in just under ten percent of the advertisements. Men’s, women’s fashion, and female adolescent magazines were more likely to portray women as sex objects and as victims than news and business, special interest, or women’s non-fashion magazines. The implications of viewing advertisements depicting women as sex objects and as victims, especially sexualized victims, are discussed.

http://www.jstor.org/discover/10.2307/3150853?uid=2&uid=4&sid=21102944639467

http://www.jstor.org/discover/10.2307/1250940?uid=2&uid=4&sid=21102944639467

http://link.springer.com/article/10.1023/B:SERS.0000049230.86869.4d#page-1

http://link.springer.com/article/10.1007/s11199-005-1190-y#page-1

This article represents an analysis of the sexual images of women in magazine advertisements. I examined advertisements in Black- and White-oriented, men’s and women’s magazines to compare the images of women’s sexuality that are constructed for each specific audience. Over 600 images of women were analyzed based on seven dimensions, including function/role, relative function/authority, physical/body position, relative size/height, character traits, body view, and physical characteristics. The images of women’s sexuality vary depending on the race of the intended audience and the race of the women in the advertisements. Advertisements for White audiences portray women in roles and with characteristics that suggest dependency and submissiveness, whereas advertisements for Black audiences portray women as independent and dominant. I also found that White women are objectified much more than Black women are. 

http://guilfordjournals.com/doi/abs/10.1521/jscp.23.1.104.26989
An increasing number of studies shows that exposure to thin ideal bodies in the media has negative effects on young women's body images, at least in the short-term. However, this research has (a) consistently confounded the effects of thinness and attractiveness, and (b) not investigated the potential use of alternative images in advertising that do not decrease women's body esteem. This study examines the impact of three types of advertisements—featuring thin models, average-size models, or no models—on adult women's body-focused anxiety, and on advertising effectiveness. As expected, exposure to thin models resulted in greater body-focused anxiety among women who internalize the thin ideal than exposure to average-size models or no models. Yet, advertisements were equally effective, regardless of the model's size. This implies that advertisers can successfully use larger, but attractive, models and perhaps avoid increasing body-focused anxiety in a large proportion of women.

http://www.tandfonline.com/doi/abs/10.1080/00913367.1994.10673453#preview

http://www.warc.com/fulltext/ijoa/5225.htm

It has been argued that advertising over the past decade has not presented a realistic view of women and their roles in society. The controversy over the portrayal of women in advertising continues today. Increasingly, women are taking on a broader role in society. For example, with more than half of Canadian women working outside the home it would be ethically sound and make marketing sense to depict women more accurately in advertising. However, as we enter this new decade, there is an important question that needs to be answered. While the debate over whether or not advertisers portray women realistically continues, the key issue is how women feel about the portrayal of females in advertising, regardless of the action or inaction of advertisers to effect change. Do females believe that advertisers depict women in realistic multi-dimensional ways or do they believe they are shown in stereotypical roles of housewives and/or sex objects? While studies show that realistic role portrayals of women strongly influence advertising effectiveness (Leigh et al., 1987), are advertisers in Canada responding? If so, do female consumers perceive the response? This study did not address whether or not advertisers are actually responding to societal change but rather examines the attitudes of female consumers toward the portrayal of women in advertising.

http://her.oxfordjournals.org/content/23/5/791.short
Younger women were more likely to be portrayed with a darker tan and more of their body exposed. Models with more susceptible phenotypes (paler hair and eye colour) were less likely to be depicted with a darker tan. Darker tans and poor sun-protective behaviour were most common among models depicted at beaches/pools. Implicit messages about sun protection in popular Australian women's magazines contradict public health messages concerning skin cancer prevention. This shows that this is what models are in commercials 

http://psp.sagepub.com/content/25/8/1049.short
This study examined whether exposure to TV ads that portray women as sex objects causes increased body dissatisfaction among women and men. Participants were exposed to 15 sexist and 5 nonsexist ads, 20 nonsexist ads, or a no ad control condition. Results revealed that women exposed to sexist ads judged their current body size as larger and revealed a larger discrepancy between their actual and ideal body sizes (preferring a thinner body) than women exposed to the nonsexist or no ad condition. Men exposed to the sexist ads judged their current body size as thinner, revealed a larger discrepancy between their actual and ideal body size (preferring a larger body), and revealed a larger discrepancy between their own ideal body size and their perceptions of others’ male body size preferences (believing that others preferred a larger ideal) than men exposed to the nonsexist or no ad condition. Discussion focuses on the cognitive, attitudinal, and behavioral consequences of exposure to gender stereotypic television advertising.

http://link.springer.com/article/10.1007/s10551-009-0026-z#page-1
An advertiser develops visual associations of signs and symbols to create a product image that motivates consumers. Today is characterized by a solid consumer culture based on visual identity consumption that articulates and interacts with each consumer’s daily actions, words, and visual perceptions. The frequent use of female role portrayals and physical attractiveness in advertising contributes to an increase in society’s awareness of women. Some scholars have developed an ethical discussion out of the phenomenon of female role portrayals not matching the public expectations because the portrayals are too narrowly defined and women are unfavorably depicted. But another group has studied the product-type match-up hypothesis, which emphasizes effectively employing attractive female endorsers that closely match the product type. The shift in female social status in Taiwan contributes to the importation of foreign ideas such as feminine values, rituals, and esthetics. Women in Taiwan have been introduced to a new feminism, a modified perception of appropriate personal appearance and behavior. This current research utilizes content analysis and in-depth interviews to explore contemporary female role portrayals in advertising. In addition, this article examines the relationship between the formation of contemporary physical attractiveness and visual consumption in advertising. The results reveal that most endorsers were celebrities, with fit bodies and pleasant␣expressions, portrayed as product users who offer personal experiences to deliver product knowledge. Conservation classical beauty was the most common depiction, while sexual expression was the least common. Finally, this article recommends that different types of beauty, posture, and appeal should be carefully selected to match domestic and foreign magazines’ readers.

http://books.google.co.uk/books?hl=en&lr=&id=iqqXj0si_AEC&oi=fnd&pg=PA1&dq=connotation+of+women+in+print+advertisement&ots=1qwSszjTEm&sig=isfRjt7bh_zjb5mAmCuh91bdG_E#v=onepage&q=connotation%20of%20women%20in%20print%20advertisement&f=false

http://www.scielo.org.za/scielo.php?pid=S2222-34362012000400003&script=sci_arttext
Sexuality is a widely used appeal in advertising today. The aim of this research was to establish whether or not this form of advertising connects with South African students and whether gender differences existed. A triangulated research design with data collected in focus groups, was used. The findings generally indicated negative attitudes towards sexual appeals in advertising. The main difference in gender responses was that males responded more negatively to adverts that contained male models as opposed to female models, whereas, women responded in similar ways regardless of the gender of the model.

Self Evaluation

WWW - 
What I think has gone well in my critical investigation is the research that I have gathered on the dove campaign and the print and TV adverts that they have created.
 It shows women in a non stereotypical way as it is all natural beauty. 

EBI -
- I need to gather more quotes from media magazines 
- To include theorise in my notes.
- Analyse more media TV commercials and how women are being represented in them.
- Have more in detailed notes and quotes that link with my question really well. 
- To have more a level media quotes. 

Google Advanced

http://www.kon.org/urc/v5/blaha.html

This link is about "the portrayal of women in magazine advertisements across four different women's magazine"

Models Weight/Body Image	InStyle	Glamour	Fitness	Good Housekeeping	Total
Thin	5 (71.43%)	4 (57.14%)	6 (75.0%)	0 (0%)	15 (55.56%)
Average	2 (28.57%)	3 (42.86%)	2 (25.0%)	5 (100%)	12 (44.44%)
Total	7 (100%)	7 (100%)	8 (100%)	5 (100%)	27 (100%)

The weight coding was divided into two different categories of thin and average. A Chi Square Test of Independence was conducted to determine whether the two categories were independent of the magazine type. There was a significant association between depiction of weight of the model and type of magazine.

http://www.warc.com/fulltext/ijoa/5225.htm

FEMALES' ATTITUDES TOWARD THE PORTRAYAL OF WOMEN IN ADVERTISING 

-A CANADIAN STUDY

This shows research from Canadian studies, and how the females are represented within the print advertisements. This will help in the research of how it may be different from how females are represented in British print advertisements. 

http://ir.canterbury.ac.nz/bitstream/10092/1002/1/thesis_fulltext.pdf

The women surveyed believed that average and older women are under-represented in 

advertising. Women tend to recollect advertisements that promote a ‘promise’ or an 

idealised lifestyle set in a sexual context. Recollection is, of course, the aim of 

advertising, so it would appear that the use of sex is here to stay. 

This article shows how females are represented within the media magazines. This important as they are able to then find out how the it will affect different target audiences 

http://www.livescience.com/20773-sexy-advertising-increasing.html

Advertisers use sex because it can be very effective," 

this research  has suggested, however, that sex doesn't sell to female readers, with sensual advertising images leaving women bored and uninterested.)

http://dmitchell2015.edublogs.org/2011/04/20/the-negative-portrayal-of-women-in-the-media-a-persuasive-speech/

The Portrayal of Women in the Media Speech 

This will be useful information that i can talk about down to the fact that media speech during tv advertisements. For example during the text they will have certain line that will be promoting the products that they are trying to promote 

Dove adverts

This is a print advertisement front the dove real beauty campaign. This print advertisement  will create a positive affect on target audiences as it shows that the dove campaign are being real with them. 

For example this advertisement is of a beautiful young woman. This image has not been Photoshop meaning that their has been no airbrushing this shows the target audience that its a real life image of the mode, and if they were to see the image of the model and then the model in real life they will be the same. 

This will be an attraction for the females as they know that the real dove campaign is being true with the audience which is an attraction. The audience are able to see the models skin and the imperfection that she has. The smile on her face connotes that she is happy with her skin and that the target audience should see that and be happy with their own skin. 



http://www.youtube.com/watch?v=XpaOjMXyJGk

Looking at the two portraits of herself, one woman described the one meant to be prettier as looking much younger, which seemed to be true of all of them. The more beautiful facial representations seemed to all be thinner and younger-looking. If that is the crux of beauty, then I guess we’re all pretty screwed by that obnoxiously inexorable bastard called time.

Colourtext’s system yielded deep insights into the contribution made by Twitter to the propagation of Dove’s commercial across the web. When a deep analysis of social conversations is needed, Colourtext has a compelling solution.”

Colourtext has developed a world-leading text mining system that automatically ‘reads’ social media, market research and customer satisfaction messages. It reveals what customers think or feel about brands and how perceptions translate into behaviour.

Colourtext’s technology was able to define audience reaction to Dove Real Beauty Sketches by mapping comment and reaction on Twitter  to reveal key audience themes and how they relate to each other.

Dove Camping - Print & commercial advertising

Dove Brand Analysis

Evolution of the “Dove” Brand

1957 – Launched into the market

1970’s – Popularity increased as a milder soap 

1980’s – Started its global rule out

1990’s – “Litmus test” spots began in 1991- opened up to markets 55 countries by 1994- sold in 80 countries by 1996

1995 – 2001 – Extension of Dove’s rang in products

2002 – Campaign for real beauty

2005 – Self-Esteem campaign

Brand Identity

Features – Moisturising bars

Attributes – Exfoliate, unscented, calm

                   Also in different colours; white, Pink, Light Green.

Benefits – Milder effects on the skin

                Reliable for daily use for the long run

Performance – high levels of satisfaction for users with dry skin.

Brand Personality

Femininity & Mildness

·         The name of the brand, the logo of the brand, even the taglines as well as the product themselves, everything about them is just simple and feminine

Self-accepted and confidence

·         Highlights the commitment to breaking down stereotypes and enabling women to celebrate real inner beauty and beauty at every age.

Dove Logo

“Dove’s” Logo is a perfect representation of

·         Softness

·         Gentleness

·         Sophistication  

On the Dove logo the image or the piece pigeon symbolizes the purity and softness of a dove in its products. In honour and memory of its original use; serve the navy.

Dove’s Tagline

The tagline changed from “one-quarter cleansing cream” to “one-quarter moisturizing cream”

The tagline is also supported by the reinforced advertising campaign which show moisturizing milk being poured into the bar.

Brand connect with intended customer

It’s not soap. It’s a beauty bar. This is one of the USP as it differentiated it from normal soaps. Though its ad campaign, it made its users feel pampered.

Though Dove’s real beauty campaign, it was able to connect with women on an unparalleled scale.

Strengths, Weaknesses, Opportunities, Threats

Strengths

·         Unconventional strategy

·         Effective advertising, Free publicity

·         Continuously evolving the campaign

·         Strong emotional touch

·         Cross-selling possibilities

Weaknesses

·         Contradictory in nature

·         Objectification of women

Opportunities

·         Target male customers

·         Maintain better standard of quality

·         Unified advertising throughout the globe

·         Continuous innovation

Threats

·         Risk of being a brand for “fat girls” or “old ladies”

·         Copy by the competitors

·         Undermining the aspiration of consumers

Dove – Real Beauty

·         The Dove Campaign for Real Beauty is a worldwide marketing campaign.

·         It was launched in 2004.

·         Includes advertisements, video, workshops, sleepover events and even the publication of a book and the production of a play.

·         The concept of the campaign is to celebrate the natural beauty embodied by all women and inspire them to have the confidence to be comfortable with themselves.

·         Dove's partners include Ogilvy & Mather, Edelman Public Relations, and Harbinger Communications (in Canada).

·         The campaign featured women of different shapes and sizes.

·         The campaign was shot by the British portrait/fashion photographer Rankin

·         Rankin has made a career out of fashion photography and has also produced several books

·         Ogilvy's London office chose Rankin because he brings out the character and personality of his subjects and he likes working with non-professional models. Dove wanted to celebrate women by using a photographer who also shoots supermodels, giving them the same star treatment. Rankin shot the follow-up campaign for Dove as well.

BBC Article

Media article

Airbrushed make-up ads banned for 'misleading'

The adverts - for L'Oreal's Lancome and Maybelline brands - cannot be shown in their old format

Cosmetic adverts featuring airbrushed images of actress Julia Roberts and model Christy Turlington have been banned by the advertising watchdog.

Liberal Democrat MP Jo Swinson complained that the L'Oreal adverts were "not representative of the results the products could achieve".

The Advertising Standards Authority agreed that the images were exaggerated and breached its code of conduct.

L'Oreal admitted retouching but denied that the two adverts were misleading.

Eating disorders

Ms Swinson said that while some retouching may be acceptable, the adverts were "particularly bad examples of misleading advertising" and could contribute to body image problems.

"We should have some honesty in advertising and that's exactly what the ASA is there to do. I'm delighted they've upheld these complaints," she said.

Scottish Liberal Democrat MP Jo Swinson: ''We just need to have a bit more honesty in advertising''

"There's a big picture here which is half of young women between 16 and 21 say they would consider cosmetic surgery and we've seen eating disorders more than double in the last 15 years.

"There's a problem out there with body image and confidence. The way excessive retouching has become pervasive in our society is contributing to that problem."

Guy Parker, chief executive of the Advertising Standards Authority, told the BBC that airbrushing was a "question of degree" and that advertisements could only be banned if they were misleading, harmful or offensive.

"If advertisers go too far in using airbrushing and other post-production techniques to alter the appearance of models and it's likely to mislead people, then that's wrong and we'll stop the ads," he said.

 “Start Quote

If advertisers go too far in using airbrushing and other post-production techniques to alter the appearance of models and it's likely to mislead people, then that's wrong and we'll stop the ads”

End Quote Guy Parker Advertising Standards Authority chief executive

The L'Oreal images were banned, said Mr Parker, because the company was unable to show exactly how much retouching had been done to the advert - a requirement for cosmetics adverts.

"Advertisers must be able to provide appropriate material to us to demonstrate what retouching they've done in the event we question them, and they mustn't mislead," said Mr Parker.

"In this event L'Oreal didn't provide us with that evidence so we were left with no choice but to uphold the complaint."

The French cosmetics firm admitted the image of Ms Turlington - promoting an "anti-ageing" foundation - had been altered to "lighten the skin, clean up make-up, reduce dark shadows and shading around the eyes, smooth the lips and darken the eyebrows".

However, it argued it still accurately reflected the results the product could achieve.

The advert featuring Julia Roberts - also for foundation - was down to her "naturally healthy and glowing skin", said the cosmetics firm, who added that the product had taken 10 years to develop.

This advertisement has been band, the reasons being is that the airbrush affect from software Photoshop. As this can come across as misleading to the public, as it doesn’t show a accurate images of the product and how it would look on the skin. Some people argue for the software Photoshop not to be used on cosmetic adverts as it doesn’t show the product in its true form.

It added that consumer tests had been positive, showing it helped make the skin "more radiant and luminous"

This advertisement has been band, the reasons being is that the airbrush affect from software Photoshop. As this can come across as misleading to the public, as it doesn't show a accurate images of the product and how it would look on the skin. Some people argue for the software Photoshop not to be used on cosmetic adverts as it doesn’t show the product in its true form. This advertisement may have an effect on women as they are likely to feel affect as thy will feel the need to use these makeup product in order to achieve the look that the females have within the commercial. This will have a negative effect on them as they won’t be able to achieve this look of having amazing skin as the commercial has been airbrushed to an extend where the product won’t give the look that the commercial is claiming to do.