The Power of Imagery in Consumer Culture
Keshini Namasivayam
500556528
Ryerson University
FSN 503
Bernie Murray
Wednesday, November 11th, 2015

The Power of Imagery in Consumer Culture The twenty-first century is a time period in which consumer culture is a dominant force in society. Through visual tactics, retail brands are able to persuade individuals to embody the lifestyle culture that their brand represents, which subsequently leads consumers to purchase their products. Through powerful advertisements brands are able to evoke thoughts and emotions into our subconscious, which lead us to conform. The root of consumerism lies in the fact that “our capitalist society is dependent on the overproduction of goods, so increasing desire for goods is a must” (Sturken & Cartwright, 2009, p. 267). Through advertising, brands use tactics that make the individual feel they can connect to the brand. Consequently, the individual then feels a sense of desire for the product. This paper will analyze five concepts that are used by popular brands including product association, commodity fetishism, lifestyle promotion, sex appeal and cultural appropriation.
Product Association
Figure 1. Godiva chocolate advertisement.
Figure 1. Godiva chocolate advertisement.
Often, without our realization, our values and perceptions are being influenced to fit a certain construct. All of a sudden we feel that mere a physical product can define who we are. Brands build a culture in which they associate their products and the ideal consumer for those products. As a result, many people gain part of their identity through their purchases and use of material products- and it all begins with advertising. When we look at this Godiva chocolate advertisement (Figure 1), the focal point is the the beautiful, Caucasian woman draped in exquisite gold clothing. The lighting makes her appear as though she is radiating. Instead of focusing on the product itself, the brand is striving to portray the lifestyle that they associate their product with. From the rich warm colours to the way the model is positioned, the picture evokes the feelings of royalty.
Commodity Fetishism
Figure 2. Louis Vuitton advertisement.
Figure 2. Louis Vuitton advertisement. The concept of “commodity fetishism” ultimately maintains capitalism. This means that the actual physical labour that went into manufacturing the product is disregarded and devalued. It is replaced by either the association or social meaning the product holds. For example, we know the difference between clothing from Forever 21 and Louis Vuitton, is that Forever 21 is a type of “fast” fashion that is easily accessible and intended for the masses. In contrast, Louis Vuitton is not easily accessible, as it is a luxury brand that only people with high income can afford. It is associated with wealth and in turn power, reinforcing classism in society as it separates citizens into those who can and cannot afford. The luxury brands further reinforce the exclusivity and powerfulness of their clothing through their advertising. Depicted in the image above (Figure 2), are a group of wealthy ladies, which we can infer from the setting being a first class train cabin. Society has conceived the idea that these tangible objects have “supernatural powers or exceptional value” because the consumers that are able to purchase them, feel validated (Sturken & Cartwright, 2009, p. 267). The idea is that the Louis Vuitton purse is valuable because it means you have the money to buy it. Further reinforcing the idea of the elite class being superior and that the luxurious lifestyle associated with it is one to aspire to. Both a sense of desire and lust is created as the powerful imagery portrays that possessing their products will help individuals to further adopt this lifestyle
Motivational Lifestyle Brand Association
Figure 3. Nike advertisement.
Figure 3. Nike advertisement. Many brands strive to promote a certain lifestyle that they want associated with their products. Sports brands like Nike do just this. They promote healthy living and the concept of individuals striving to their potential. Nike’s advertisements are very minimalistic in terms of elements- often a plain background with a simple phrase or motivational sentence. In this ad (Figure 3), though simply black and white, the advertisement evokes feelings of pride, strength, accomplishment, happiness and motivation. It is not specifically referencing being a good athlete, but to simply find your individual greatness that is your personal best. Nike is encouraging individuals to lead an all encompassing, healthy lifestyle that strives for greatness in all areas. By portraying this encouragement, they are fostering a sense of support through their brand, which in turn will lead individuals to associate with the brand and subsequently purchase the products. Consumers will now associate achieving greatness with Nike.
Sex Appeal
Figure 4. Tom Ford fragrance advertisement.
Figure 4. Tom Ford fragrance advertisement. Another major appeal that is found within the visual advertising culture, is the concept of sex appeal. Many fashion and automobile brands often use provocative images within their advertisements to quickly gain the attention of viewers. For example, the image seen below is from Tom Ford’s 2007 campaign (Figure 4), when they released their first male fragrance. The reality of this image is that one could not walk past this image without taking a second look. It is pushing the norms of what is accepted in society and creates a strong visual and erotic impact. In a study entitled, Consumer Response to Sexual and Non-Sexual Appeals, sexual appeal is explained as, “a way to grab the attention of the audience; they also seem to engender deeper processing of messages and enhance attitudes and purchase intent when involvement is low” (Putrevu, 2008). It also highlights the concept of the “male gaze”- one in which the women are portrayed from male viewpoint and are sexualized. In Paul Jobling’s article Fashion Advertising, in regards to luxury fashion brands he writes how the brands “deconstruct the meaning of personal identities but also undermine the distinction between the representation and reality of fashion itself” (2005). This further highlights how brands such as Tom Ford, are using images that are neither representative or realistic of the majority of the population. Not all women’s breasts are perfectly shaped or skin perfectly smooth without scars or wrinkles, but the model in the ad possesses both these qualities. This is the intersection of sexism and the male gaze in efforts of promoting consumerism.
Cultural Appropriation Figure 5. Lindsay Lohan Purple Fashion cover. Figure 5. Lindsay Lohan Purple Fashion cover. Another prominent concept that is seen throughout fashion advertising is the inappropriate use of the concept of cultural appropriation. As seen in the image of Lindsay Lohan (Figure 5), depicted as Jesus on the cross. It is a very attention grabbing image, but individuals of the the Catholic religion may find it highly offensive that a celebrity is representing Jesus- especially in a glamourized manner. Angelique Van Niekerk explains, despite us having a “materialistic and visual visual approach to life” maintaining “sensitivity for groups is important” (2008). Despite this inappropriate application of religion, the magazine was successful in drawing viewer’s attention and publicity. Conclusively, the power of imagery within advertising is tremendous. Not only are these visuals able to provoke emotion, they leave lasting impressions that people remember for years to come. They can persuade people to think a certain way and adopt the same values of the company. In an article written by Al Sandine, she makes sense of this by explaining the following about consumers, “freedom means the opportunity to forge a unique identity by consuming their own choice of branded products and services” (2010). Companies use all these tactics, to create a longing for desire, so in the end the consumer is able to feel a deep connection with their product and purchase it as they feel it enhances their identity. This can be done through words, body language and setting. In brand promotion, especially fashion, this is important because it is a concept through which individuals can represent themselves in through the clothing that they chose to wear. It is important that despite the imagery we are submerged in within our society, that we stay true to our personal beliefs and values and are not persuaded by the idealistic values of large brand corporations.

References
Godiva chocolate advertisement. Godiva. (2015). Retrieved from http://www.godiva.com
Jobling, Paul. 2005. Fashion Advertising. In A–Z of Fashion. http://www.bergfashionlibrary.com.ezproxy.lib.ryerson.ca/view/bazf/bazf00213.xml
Lindsay Lohan Purple Fashion Cover. Purple Fashion. Retrieved from http://purple.fr
Louis Vuitton advertisement. Louis Vuitton. (2015). Retrieved from http://www.louisvuitton.com
Nike advertisement. Nike Inc. (2015). http://www.nike.com/us/en_us/
Putrevu, S. (2008). CONSUMER RESPONSES TOWARD SEXUAL AND NONSEXUAL APPEALS: The influence of involvement, need for cognition (NFC), and gender. Journal of Advertising, 37(2), 57-69. Retrieved from http://ezproxy.lib.ryerson.ca/login?url=http://search.proquest.com/docview/236506043? ccountid=13631
Sandine, A. (2010). Cultural impersonations and appropriations: A fashion report. Monthly Review, 62(4), 34-44. Retrieved from http://ezproxy.lib.ryerson.ca/login?url=http://search.proquest.com/docview/749929627? ccountid=13631
Sturken, M., & Cartwright, L. (2009). Practices of Looking: An Introduction to Visual Culture. Oxford: Oxford University Press.
Tom Ford fragrance advertisement. Tom Ford. (2014). http://www.tomford.com
Van Niekerk, A. (2008). A discourse-analytical approach to intertextual advertisements: A model to describe a dominant world-view. Southern African Linguistics and Applied Language Studies, 26(4), 495-512. doi:10.2989/SALALS.2008.26.4.7.679