To what extent has Yves Saint Laurent’s changed his advertising style from 1967 to the ad campaign of 2017 which sexually objectifies women?
English Language and Literature
Language and Mass Communication
Word Count: 3,955
Table of Contents
Introduction………………………………………………………………………………………3
Main Body Paragraphs…………………………………………………………………………..4
The Feminist Movement alongside the Introduction of Yves Saint Laurent……………..4
Yves Saint Laurent’s 1967’ advertisement………………………………………………5
Yves Saint Laurent’s 2017 advertisement………………………………………………9
The Comparison…………………………………………………………………………12
Teenagers’ point of view ……………………………………………………………….16
Conclusion……………………………………………………………………………………….16
Work Cited………………………………………………………………………………………18
Appendix………………………………………………………………………………………..20
Introduction
This essay discusses the comparison of how Yves Saint Laurent’s (YSL) campaign in 1967 altered the stereotypical perception of women and blurred gender lines, whereas YSL’s new campaign in 2017 created controversy amongst women as it demonstrated improper and erotic images of women by denigrating and sexualizing them. YSL felt the necessity to make fashion androgynous and an improvement against an ideology of male superiority. Such meaning, the dominance of men being greater than women regarding intelligence, force, success and all of the things in between, making women seem inferior to men being the reason why, YSL wanted to persuade through his clothing line that men and women are equal. He said, “For a woman, le smoking is an indispensable garment with which she finds herself continually in fashion because it is about style, not fashion.” And his motto was, “Fashion fades but beauty is eternal” (Shardlow, 2011). In 1970, YSL reached around $4 million, (M. Rourke, 2008) which at the time, was immense for a fashion brand. Nowadays, the brand’s turnover is above a billion (A. Fury, 2017).
Nevertheless when the 2017 campaign was released, it changed the customers’ perception of the brand because the intention YSL were giving was derogatory and seemed to contradict the earlier Yves Saint Laurent’s perspective and brand’s aims. Yves Saint Laurent’s previous campaign of 1967 demonstrated women as equal to men whilst the 2017 campaign is riddled with the idea of women as sexual objects and reinforcing a sexist vision because of visual interpretations publicly shared showing off women’s intimity rather than the clothing line.
Clearly, visual language and gender is the focal point of this essay because women and men are depicted through the language which contributes largely to the reinforcement of their narrow stereotypes. Gender is nowadays clearly shaped by the language used, whether it is written language or visual (McConnell-Ginet, pg76). As the second wave of feminism had just been over in 1960, women were determined for their place in society. However, the critical discussion of language representing gender was still ignored being the reason why, analysing visuals from YSL will show the journey of a fashion brand which became androgynous and forward-thinking in its appeal back in the 70’s to becoming vulgar and denigrating in his latest campaign of 2017, all due to language which will then answer the research question, “To what extent has Yves Saint Laurent’s advertising style from 1967 shifted to the ad campaign of 2017 which sexually objectifies women?”
Chapter 1: The Feminist Movement alongside Yves Saint Laurent, the designer
Restrictions on and suppression of women are embedded into the blueprint of history and YSL was not the first to attempt to motivate changes to occur. Even as little as 50 years ago, a woman’s worth was inferior to her male counterpart. They were seen as men’s property having duties at home such as taking care of homes and children. (Adair, The Pennsylvania State University) The French revolution of 1789 saw the beginning of feminism in France as women desired the same goals for France but were not viewed as being meaningful contributors. The March to Versailles, a pro feminist campaign, was an early example of women’s revolt which bore the message with it that women were to be suppressed no more. It is just in 1944, in France, that women were allowed to vote. In 1965, married women could obtain jobs without the permission of their husband and by 1972 women were able to have jobs and salaries which were not equal to their counterparts, yet were progressing to be. Yves Saint Laurent was born in 1936 on August the 1st, in Algeria (J. Druesedow, “Yves Saint Laurent”) and then moved to Paris at age 18, where he attended Art schools and then became one of the most successful designers in Europe, alongside with Dior and Chanel. He then opened his first “Ready to Wear” boutique which was named at the time, Rive Gauche. (J. Druesedow, “Yves Saint Laurent”) which was important as it gave a worldwide influence on his brand. In addition, he has made a dramatic change into the world of fashion as he introduced turtlenecks, suits for women, “The classic day shift dress” and many other of his designs, which not only impacted the world of fashion, but the social norms. Furthermore, “The smoking suit” which was released in 1966 liberated women through a clear message of equality between men and women. All of these creations made a drastic change as it was a step towards equality because he showed that both genders could wear the same clothing and still be masculine or feminine. The feminist movement is clearly significant to such argument as it allowed YSL to expand upon his main objective of equality.
Chapter 2: Yves Saint Laurent’s 1967 Campaign
In 1967, Yves Saint Laurent released a campaign which made a substantial change regarding equality and the world of fashion portraying women as authoritative, sophisticated and elegant, through his new design of haute couture, the “Smoking Suit” which allowed women to establish the truth of who they truly were and not their stereotype. YSL’s logic did not match with others as many thought that fashion is the social construction of gender and is used determine the gender (Seunghee, pg.2). It is in many ways, however women are allowed to wear tuxedos or pants and still be feminine. Yet, at the time, it was the opposite: alluring and desirable females are portrayed fashionably as wearing dresses, skirts or corsets only. However, YSL thought that fashion does not obligate females to wear a specific clothing but a clothing that would describe them as who they truly are. For such reason, YSL adorned women in the same clothes as men, making a clear statement of solidarity with women.
The image on the right is from YSL 1967’s campaign by which, YSL talked for women and said that the tuxedo was the definition of “ If a man can wear this, why can’t I” (E.Shardlow, 2011). The photo shoot made it clear through the body language and facial expressions that women were independent, strong and elegant at the same time of wearing tuxedos. The model on the photo shows the power, the independence and ferocity that women have in them. Furthermore, the photographer, Helmut Newton, photographed the model in such an exemplary way as the model is not holding a cigarette holder, which at the time was rare. Ladies used to smoke with the use of a cigarette holder, while men were smoking without. The reason being, was that it was a symbol of grace and assertiveness (Mulcahy, 2015). Yet, in the picture, she is not holding one, purposefully to proclaim how the use of smoking a cigarette should not be dependent upon gender. The look that she gives shows how she does not care about judgments alongside how proud she is to battle for her own gender. The position of how the model stands demonstrates an understanding to the audience that the way women were seen previously changed; her hands in the pocket, not standing straight, imitating a masculine stance. Purposefully, it is a message to women that they can dress how they like and exude confidence and respectability; their clothing is not specifically needed to be typify the archaic vision of their gender. YSL’s campaign is full of simplicity in monochrome as the color white portrays the light, the goodness, innocence and purity. It has a positive connotation while black symbolizes the power, mystery and strength. Both of these colors have a place together as it strengthens the message of power and purity. The bold, block and simplistic colours accentuate the fact that this change is here to stay.
Initially, women adopting to dress up in this new collection were not accepted in many hotels or restaurants as they were viewed as styleless and inelegant. However, such challenge was then accepted as many women started wearing tuxedos and so opened up mindsets. As a result, YSL, the revolutionary designer made a remarkable evolvement and pronounced change, which impacted all women as they were finally able to have an equal or almost, place in society all due to fashion and the visual language that goes with it. The photography symbolized who the women truly were and it liberated many women in the society. It was the beginning of something colossal. The beginning of fairness and liberation.
Counter Argument
Although the 1967’s advertisement was a great success for the recognition of women, Yves Saint Laurent was not totally accountable for this liberation amongst the female population as it was the post war, thus women’s rights had already improved since. Individuals viewed women with less judgemental eye and there was a developing view less constricted by gender stipulations. Society was developing but was not entirely progressive enough to accept this new fashion evolution. The picture on the right is from the brand Chanel by which Coco Chanel designed in the 20’s pants for women. Unchallenged women could wear pants but were not seen as beautiful nor elegant; it was considered somewhat inappropriate. As a result of Laurent’s intention, to liberate women and it was, to an extent, successful and in line with other modes of freedom that were filtering into women’s lives. On the left, is a woman of the 60’s, before YSL’s tuxedo was released. She was wearing large, high-waisted pants with a shirt and flat shoes. No dress, no jewellery and no heels. Already from
then, we could see a change sweeping into the fashion industry, women being fierce and having a personality. In addition her look of determination gives the reader the sensation that women are imposing, have strong personalities as her head is held high, hands on her hips, and not having her legs crossed leading and reinforcing the fact that they were fighting for whom they truly were.
Although women already wore pants, Laurent’s progressive outlook in fashion made a revolutionary change in the fashion industry, and attained worldwide recognition and success due to his style and message. Because of him, women are nowadays proudly able to wear tuxedos, pants and shirts without the fear of being judge. Many women are totally attracted to the “Smoking Suit” as it is not only an imposing and unique piece, but there is a story behind it and that is why women were attracted to its message of liberation. Yves Saint Laurent: a man who marked the existence of fashion, women and anyone who denigrate women.
Chapter 3: Yves Saint Laurent’s 2017 Campaign
Yves Saint Laurent released a new campaign in March 2017 stirring up a controversy in the world of fashion due to sexually objectifying women, photographed by Duo Inez, a philosophy not present in the 1967’s campaign. It is just a couple of hours after the advertisement was released that the brand received more than 50 complaints (E. Hall, 2017). The reason why it was called sexist, and “incitement to rape” (RT, 2017) was because of how the models were posing. Firstly, the model was wearing black underwear with fishnet tights, having her legs opened directly in front of the camera seductively covering her upper body with a fur coat. The black underwear with fishnet tights flaunts the model’s body but also is an incitement to rape as her intimate parts are shared publicly and is pictured as the focal point of the picture which in this manner, talks more about sex rather than fashion. In addition, the look that the model gives alludes to sexual demands as no expression is shared, her eyes seem to be sharp, centered on the camera as though she requests for sexual intention. Clearly her facial expressions and her posture are inappropriate for a fashion brand that wants to promote their new clothing line as the target market is only able to see the sexual side of the advertisement. The stance of the model is shocking, inappropriate and clearly displayed as a sexual object – not to mention, the fact that she appeared frail and malnourished. Clearly, YSL’s customers did not want to be associated which such a sexist and inappropriate image. Moreover, Stephane Martin, the director of the French advertising watchdog retorted “ They trivialise sexist stereotypes and are in this sense likely to shock the public’s sensibility.” (RT, 2017) Mr. Martin’s quote has reinforced and highlighted even more the issue with what he had said, and managed to make them remove the advertisements on billboards. Raphaelle Remy-Leleu part of the “Dare to be feminist” group also protested against the advertisement by revising the posters to read,”Sexist” and made a claim that, “ It ticks all the sexist boxes. The women are objectified, hyper-sexualised, and put in submissive positions.” (RT, 2017). For these reasons, this advertisement released in march 2017 was banned and YSL were asked to make a new appropriate campaign. Due to visual language, genders and stereotypes are negatively evolving causing the issue of women not being respected, portraying women as seductive and lacking in self-respect highlights how underdeveloped equality can be in the modern era.
Counter Argument
Nevertheless, sexualised advertisements nowadays have less impact towards the society: many styles have become coarse or indecent but accepted which is why Vaccarello risked his new campaign. Advertisements open up to new trends, shocking or not. Nowadays, showing off bodies and the discussion of it is much more opened to talk about and multiple brands expose bodies in their advertisements which is not necessarily considered as being offensive. In the case of YSL, it was. Anthony Vaccarello, a Belgian designer and creative director of YSL just wanted to present his new clothing campaign which eventually turned out to be a controversy in the world of fashion. The new designer’s aim was clearly not to put the model’s life in danger, receiving plenty of criticism regarding how she looked as if she was on the verge of anorexia. There had to be a new trend, a new style in YSL’s new campaign, a style still unique, yet a style which represents modernity. Indeed, he wanted an advertisement which put the woman in a position to be admired, being seductive and alluring, but not objectified. In an interview, he said, “That’s very Saint Laurent: to be feminine and masculine at the same time. You don’t have to choose” (Carl Swanson, 2017). His answer contradicts some of his critics as to how the audience has interpreted it. What he meant was that, the society focusing too much on gender stereotypes and not his actual campaign. Yet, what both the target market is the fact that it concerns not the brand but Yves Saint Laurent, himself and his ideas upon society, thus this advertisement contradicted his belief of equality.
Altogether, YSL’s 2017 advertisement not only sexualised and dehumanised but objectified and accentuated the image of women as sexual entities. A woman posing with her legs spread out to provoke the sexual context of the advertisement, denuded, emphasized in black and white and all the time vaguely reminiscent of the 1967’s style of photography. It portrayed the woman as mainly one thing: a sexual manipulation in advertisements to engage the customer. Customers felt offended and it simply reduced the importance and value of what YSL claims to stand for. Because of this advertisement, the target market clearly sees the importance that visual language has upon the society we live in. Visual language in Saint Laurent’s advertisement represented the wrong perception of individuals being the cause why people are struggling to evolve into a fairer society.
Chapter 4: The Comparison
Yves Saint Laurent sought to redefine gender equality in the world of fashion, but when he passed away, June 1st 2008 (Balmer, 2008), the opposite occurred; sexualised, objectified, criticized women. The vast differences between the two advertisements are apparent so much that could not comprehend that they are from the same brand. The first brand that wanted to make a drastic change, the brand who became known for it, the brand who made themselves one of the top haute-couture brand. Yet now, YSL’s campaign shows a dirtied image of not only the brand itself but the woman as in the fact that women are used and presented as sexual objects. In 1967, models were not on the verge of anorexia, they were not semi naked. Instead, they had a healthy weight, their bodies were pictured appropriately, not positioned with a sexual intention like the 2017’s one. Appropriate as in, wearing clothes covering body parts, pictured as fierceful women standing up for their gender but above all, the message that the model shares which in the 1967’s advertisement is: We are all equal, all strong and all humans. On the 1967’s advertisement, the woman is standing, wearing large pants, not showing off her shape with her hand in her pocket. Distinctly, the first image does not follow the traditional stereotypes of women and challenges them through blurring gender lines. That is because the photographer portrayed the woman as the actual representation of whom they truly are, which was never presented in fashion before. Yet, looking at another image from the 2017’s advertisement 2017’s, it shows once again, the derogatory message towards women.
A model on the verge of anorexia positioned inappropriately. Firstly, the model holds on to the chair as if she was tired, forced and somewhat waiting for a man. This was intentionally done to demonstrate the attention and demand of sex. In addition, it may be seen as the position of meat in an abattoir as the woman is positioned as if she was hang, which therefore represents subjugation, reinforcing the sexual image of women and male superiority. Eventually, the audience looking at this advertisement does not acknowledge what the campaign is about, but can only visualize the sexual representation. Additionally, the background is beige, therefore the model stands out and so the audience sees her first. The woman is wearing a body, exposing her intimate body parts with fishnets tights to make it look somewhat “sexier”. This is purposefully used to show her desire, to show her sexual demand which is clearly derogatory as Yves Saint Laurent would have been against such idea. In addition, in the older advertisement, she is smoking a cigarette without a cigarette holder, the smoke is coming out from her mouth and you can see her mouth tilting a little bit on the left side as if she was smiling as to how she was proud and fierce of doing a photoshoot for the feminist movement. All of which, giving an idea to the viewers that the 2017’s campaign was extremely sexual alongside objectifying women giving a sense that comparing the 1967’s to the 2017’s, there has been a drastic change into the ideology of YSL. Furthermore, the heels, being colorful enlighten the advertisement as well as show the femininity. Yet, it portrays femininity in the worst possible ways. Clearly, the 2017 advertisement does not respond to social norms as it denigrates woman and makes them inferior to men. The 2017’s campaign shows the sensual and sexualised look to draw the attention of the audience, to reinforce the main goal of the advertisement. Even though the model’s face is half – hidden. She clearly gives a sexual address through eye contact, resulting into the idea that not only the model’s posture is outrageous but also the glance she was asked to give to the camera.
All that said, YSL’s style coud have never been as exact and followed as style and attitudes evolve over time, being the reason why Anthony Vaccarello, has brought a new style to the brand. Something considered more modern and seductive with all, looking elegant. The 21st century has made the fashion ideologies switch to a more open minded view. YSL and many other brands have now models who are denuded. Nowadays, wearing clothes which are on the borderline of nudity is not shocking but more represented as the new fashion ideology of being somewhat considered sexy but at the same time elegant. Photographers explore in different ways focusing more on the body than the actual clothes to entertain and engage the clients. Resulting into the idea that, indeed, Yves Saint Laurent has made a controversy in the world of fashion, however, the world has evolved with a view of more freedom as to what people wear alongside fashion brands trying to persuade their clients through the new trends.
However, by comparing both of these campaigns, there has to be a constant knowledge of the fact that the discussion focusses on the designer’s aim and belief towards genders and not the brand itself, meaning that the fact that all these changes happened is not due to the brand but due to the man who is in charge of it. They have the responsibility of their brand image. Furthermore, YSL’s goal of improving the image of women alongside reducing stereotypes and how all of that good sense has been drastically driven to the opposite in only 50 years time, supposedly for the world to evolve into an equal environment, by which nowadays, the fashion industry still struggles.
Teenagers’ point of view regarding YSL’s crisis:
Doing a survey (Appendix A) was an imperative piece of this process as it demonstrated students’ perspectives, which is significant as the society we live in is completely different to what it was 50 years ago. Consequently having interpretations of younger adults is important to finalize the discussion of this crisis. Additionally, the fact that nowadays advertisements are often sexualized, it does not disturb young adults being the reason why investigating upon this specific advertisement was important to evaluate upon. From the answers collected, the majority came to the conclusion that the 2017 advertisement was derogatory and shocking. Additionally, most understood the objective of both pictures and ended up saying that it was an outrageous way to portray women. Due to this survey, it confirmed the opinion of what many thought about YSL’s crisis, thus indicate how inevitably, styles and attitudes change over time, yet ought not to be criticizing genders.
The Conclusion:
In conclusion, Yves Saint Laurent has changed its advertising style from 1967, in search for the movement of feminism and the woman’s power to the 2017’s advertisement campaign which sexually objectified women, dirtied the image of not only the brand itself, but as well as women. Ultimately, Yves Saint Laurent’s aim back in 1967 has had such a powerful impact on the feminist movement alongside the perspective of women, portraying them as authoritative, elegant and equal, that it has led to a conclusion that this brand has made a revolutionary movement despite the fact that the image of such brand has deprived because of the 2017 advertisement sexually objectifying women .
Finally, the point of this essay was to analyse the visual language and to then compare how in such a small amount of years, the woman’s image has been driven negatively all due to the visuals that are shared and therefore are the representation of what many consider women to be. Nowadays, fashion takes a big part of our society’s ideologies alongside the respect for mutual genders being an issue, hard to face in search of equal rights.
With regards to the limitation of this extended essay, the fact that only one image from the 1967’s campaign was available, prevented a deeper analysis. Moreover, the survey was answered by only 12 people, therefore indicating that I had to extrapolate data, thus indicating it may not have been as accurate. However if more students contested the survey, different points of view would have been shared, hence would develop a greater argument. Additionally, it was only adressed to teenagers, thus, adults’ reaction to it was not stated. It could have been interesting to know whether or not the 2017’s campaign has made a dent alongside whether people nowadays think fashion denigrates gender.
Works Cited
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Appendix
Appendix A: Survey