What is the impact of Feminism as a Commodity in Advertising? ‘Femvertising’ & Commodity Feminism
Alexandra Lane
Leeds Arts University
Graphic Design BA
November 2019
Acknowledgements
Thank you to my supervisor, Orlando Lloyd and module tutor Simon Spawforth-Jones,
for providing guidance and feedback throughout this project. Their expertise was
invaluable in the formulating of the research topic and methodology in particular.
In addition, I would also like to thank my parents for their wise counsel throughout my three years of study. I must also express my gratitude to my partner, for his continued support and encouragement.
In addition, I would also like to thank my parents for their wise counsel throughout my three years of study. I must also express my gratitude to my partner, for his continued support and encouragement.
Image source list
Fig 1: ‘Femvertising’ L’Oréal Because I’m Worth It
(http://www.mynewsdesk.com/dk/l-oreal-danmark/contact_people/42424) Sonja
Christensen, Nov 16, 2011
Fig 2: Dove’s ‘Femvertising’ Campaign for Real Beauty (https://lucilleinthesky.com/2011/05/27/dove-campaign-for-real-beauty) Lucille Robinson
Fig 3: Always ‘Femvertising’ Campaign Like A Girl (https://www.prweek.com/article/1337824/product-brand-development-campaign-year- 2015) PRWeek staff, March 20, 2015
Fig 4: Billie Razors ‘Femvertising’ Project Body Hair Campaign (https://www.refinery29.com/en-gb/2018/06/203234/billie-project-body-hair-razor- campaign) Samantha Sasso, Jun 29, 2018
Fig 5: Sport England ‘Femvertising’ This Girl Can Campaign (https://www.thedrum.com/news/2016/01/12/girl-can-sport-england-s-campaign- influences-28m-women-be-more-active) John McCarthy, Jan 12, 2016
Christensen, Nov 16, 2011
Fig 2: Dove’s ‘Femvertising’ Campaign for Real Beauty (https://lucilleinthesky.com/2011/05/27/dove-campaign-for-real-beauty) Lucille Robinson
Fig 3: Always ‘Femvertising’ Campaign Like A Girl (https://www.prweek.com/article/1337824/product-brand-development-campaign-year- 2015) PRWeek staff, March 20, 2015
Fig 4: Billie Razors ‘Femvertising’ Project Body Hair Campaign (https://www.refinery29.com/en-gb/2018/06/203234/billie-project-body-hair-razor- campaign) Samantha Sasso, Jun 29, 2018
Fig 5: Sport England ‘Femvertising’ This Girl Can Campaign (https://www.thedrum.com/news/2016/01/12/girl-can-sport-england-s-campaign- influences-28m-women-be-more-active) John McCarthy, Jan 12, 2016
I) Introduction
This thesis aims to explore the impact of feminism as a commodity in advertising, and
will look closely into ‘Femvertising’, defined by SheKnows media as ‘advertising that
employs pro-female talent, messages, and imagery to empower women and girls.’
(Skey, 2015), and ‘Commodity feminism’ which is defined by how feminist ideas or
icons are appropriated for commercial purposes, usually in advertising.
Social concerns such as stereotypes throughout history and representations of women with knowledge and perspective of third and fourth wave feminisms are referenced. Other topics discussed include corporate social responsibilities, and analysis of existing ‘femvertising’ campaigns.
Women have been poorly represented throughout advertising history
‘Femvertising’ marks a new era which employs feminist ideologies to contemporary culture. ‘Femvertising’ is present and popular in contemporary culture and aims to resolve issues surrounding harsh stereotypes and how women are portrayed in the media. The impact of feminism being used as a commodity within advertising when the main goal of advertising is to sell is addressed, with research into audience perceptions. ‘Femvertising’ can facilitate the empowerment of women, however, there is some controversy as to its positive and negative impacts.
A mixed methods approach was used for research, methods included:
Social concerns such as stereotypes throughout history and representations of women with knowledge and perspective of third and fourth wave feminisms are referenced. Other topics discussed include corporate social responsibilities, and analysis of existing ‘femvertising’ campaigns.
Women have been poorly represented throughout advertising history
‘Femvertising’ marks a new era which employs feminist ideologies to contemporary culture. ‘Femvertising’ is present and popular in contemporary culture and aims to resolve issues surrounding harsh stereotypes and how women are portrayed in the media. The impact of feminism being used as a commodity within advertising when the main goal of advertising is to sell is addressed, with research into audience perceptions. ‘Femvertising’ can facilitate the empowerment of women, however, there is some controversy as to its positive and negative impacts.
A mixed methods approach was used for research, methods included:
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Literature
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Case studies
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Articles
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Journals
Commodity feminism refers to the way feminist ideas and icons are appropriated
for commercial purposes, emptied of their political significance and offered back
to the public in a commodified form – usually in advertising. The term pays
homage to Marx's notion of “commodity fetishism” and is often framed within
contemporary Marxist and feminist terms. (Gill, 2008)
Between 2006 and 2017 there was relatively little change in how women were
represented in advertising, and in the last nine months progress has still been
slow. However, there’s some hope that brands and advertisers are working to
rectify that. (Richards, 2017)
II) Main Text
Femvertising
Feminist critical discourse was conducted theoretically and visually from a feminist perspective of existing ‘femvertising’ campaigns.
These include:
Feminist critical discourse was conducted theoretically and visually from a feminist perspective of existing ‘femvertising’ campaigns.
These include:
- L’Oréal’s “Because I’m Worth It” (fig 1)
- Dove’s “Campaign for Real Beauty” (fig 2)
- Always’ “Like A Girl” (fig 3)
- Taking into account the differences between third and fourth-wave feminism and post- feminism, it can be argued that ‘Femvertising’ is a direct response or even a direct backlash to the commodity feminism that dominated female-centric advertising from the 1970s-early 2000s. ‘Femvertising’ often fails to accurately represent existing feminisms. For ‘Femvertising’ to be seen as genuine instead of manipulative, a campaign should reflect sustained effort through humanitarian efforts and business partnerships on behalf of the brand to empower women. SheKnows Media defines this new phenomenon as,
-
advertising that employs pro-female talent, messages, and imagery to empower
women and girls,” and it has proven to be effective considering that ‘women
control 70-80% of household purchasing decisions and are prone to connect said
decisions to social issues (Brennan, 2015).
The root cause of social problems are products of popular culture.
Media effects studies support conservative and right-wing ideologies, even if that is not necessarily the conscious intention of people producing them. The studies typically suggest that social problems are not rooted in the organisation of society, and inequalities, but are actually the evil magic products of popular culture. (Gauntlett, 2008)
In 2018 the ‘Femvertising’ Awards were announced by SheKnows Media, these awards honour brands challenging gender norms. By building stereotype-busting, pro-female messages and images into advertisements that target women. The 2018 Awards were launched the same day as ‘Equal Pay Day’, purposely expanding the scope and definition to be inclusive of ads regardless of race, gender, religious beliefs, and sexual orientation.
It all started in 2014 when we coined the term "Femvertising" at Advertising
Week. A year later, the Femvertising Awards was birthed, and since then, more
than 300 brands and agencies of all sizes and across all industries submitted
their work — and more than 30,000 votes have been cast for the best ads.
(Cannon, 2018)
Existing femvertising campaigns
Case studies have been done on existing ‘Femvertising’ campaigns, below are some of the questions that were researched into in order to further understand ‘Femvertising’ and the impact it has on not only the consumers, but also the companies imploring this form of advertising.
Q1: How do campaigns reflect a sustained effort to develop realistic, complex, and empowering representations of women and empowering representations of women and girls in the media?
Q2: How does Femvertising address core third wave ideas such as intersectionality, storytelling and female agency?
Q3: How do Femvertising campaigns reflect a larger effort to empower women and girls outside of the media and communications?
L’Oréal’s ‘Because I’m Worth It’
Existing femvertising campaigns
Case studies have been done on existing ‘Femvertising’ campaigns, below are some of the questions that were researched into in order to further understand ‘Femvertising’ and the impact it has on not only the consumers, but also the companies imploring this form of advertising.
Q1: How do campaigns reflect a sustained effort to develop realistic, complex, and empowering representations of women and empowering representations of women and girls in the media?
Q2: How does Femvertising address core third wave ideas such as intersectionality, storytelling and female agency?
Q3: How do Femvertising campaigns reflect a larger effort to empower women and girls outside of the media and communications?
L’Oréal’s ‘Because I’m Worth It’
L’Oréal’s ‘Because I’m Worth It’ campaign has become an example of what the brand
stands for. The advertisement was engaging because it related to the audience and the
media presented what women thought and empowered women by encouraging self-
confidence, her decisions, and style. See Figure 1.
Over time the statement became so powerful it has become part of our social
fabric and has taken on meaning well outside the stated intention. (Paris, 2019)
Because I’m Worth It concept began in 1973, and today we know that an astonishing 80% of women recognise and respond to this positive phrase and powerful sentiment. And what makes it truly beautiful is that “Because I’m Worth It” is translated into action every day by L’Oréal Paris – in its philanthropy, its products, and its thoughtful celebration of women. (Paris, 2019)
Because I’m Worth It concept began in 1973, and today we know that an astonishing 80% of women recognise and respond to this positive phrase and powerful sentiment. And what makes it truly beautiful is that “Because I’m Worth It” is translated into action every day by L’Oréal Paris – in its philanthropy, its products, and its thoughtful celebration of women. (Paris, 2019)
Dove’s ‘Campaign for Real Beauty’
Dove began carrying out research in 2001 on body positivity and self-esteem among
women. This research led them to creating the
‘Campaign for real beauty’ It’s Real Women
Although the concept of female empowerment wasn’t used by Dove for commercial gain, it had very beneficial commercial results,
The campaign’s aim was to reconstruct beauty standards to be inclusive of all body types, skins colours, height, weight, rolls, wrinkles, and flaws. “This campaign was also considered one of the first to go viral on social media.” (Bahadur, 2019) This campaign has maintained a sustained effort and realistic complex by still releasing relevant ‘Femvertising’ content today. See Figure 2.
Always ‘Like a Girl campaign
The ‘Like a Girl’ campaign in 2014 aired the full 60 seconds for the first time during the 2015 Super Bowl. ‘Always’ as the brand is dedicated to women, this is a good example of a brand targeting the rhetoric that negatively affects girls’ ideas of self-worth during puberty, with the core phrase of this campaign being “Like A Girl.”
This campaign addressed ‘Femvertising’ in a new way, embracing third and fourth wave ideas with the impact of social media and promoting the campaign further via social media, the results of the campaign reflected this.
‘Campaign for real beauty’ It’s Real Women
Although the concept of female empowerment wasn’t used by Dove for commercial gain, it had very beneficial commercial results,
The campaign’s aim was to reconstruct beauty standards to be inclusive of all body types, skins colours, height, weight, rolls, wrinkles, and flaws. “This campaign was also considered one of the first to go viral on social media.” (Bahadur, 2019) This campaign has maintained a sustained effort and realistic complex by still releasing relevant ‘Femvertising’ content today. See Figure 2.
Always ‘Like a Girl campaign
The ‘Like a Girl’ campaign in 2014 aired the full 60 seconds for the first time during the 2015 Super Bowl. ‘Always’ as the brand is dedicated to women, this is a good example of a brand targeting the rhetoric that negatively affects girls’ ideas of self-worth during puberty, with the core phrase of this campaign being “Like A Girl.”
This campaign addressed ‘Femvertising’ in a new way, embracing third and fourth wave ideas with the impact of social media and promoting the campaign further via social media, the results of the campaign reflected this.
women in their underwear, was an early example of hashtag heavy
campaign, devised by Ogilvy &
Mather, shot by leading fashion photographer Rankin and featuring six ordinary
‘Femvertising’, “a precursor to campaigns such as Pantene’s #ShineStrong and
#LikeAGirl from Always. (Craik, 2017)
within a month, sales of Dove’s firming cream had doubled. In the minds of its
customers, Dove had established itself as a purpose-driven brand – with a
purpose more commendable than most. (Craik, 2017)
The idea of the campaign focusing solely on a video, was to maximise views and
reach, enabling the campaign to affect culture by harnessing the power of social
media.” (Burnett, 2015)
We needed to extend the meaning of 'confidence' into emotional territory. Our
exploration led to the discovery that puberty is a time of confidence crisis in girls
and that gender stereotyping through language plays a big role. (Burnett, 2015)
Third-wave feminism is closely linked to pop culture with some ties to capitalism.
Whereas fourth-wave feminism focuses on issues of society and has been
powered a lot by social media, for example, the “MeToo” movement. (Brunell)
“Always Twitter followers tripled in the first three months; Always YouTube Channel subscribers grew 4339% and gained 90m+ views.” This campaign also encouraged its audience to change their perspective of the phrase “like a girl” reflecting an even larger effort to empower women and girls outside of media and communication. See Figure 3.
In a study conducted in December 2014, almost 70% of women and 60% of men claimed that "The video changed my perception of the phrase 'like a girl'.” (Burnett, 2015)
Summary
All of these campaigns are recognised as manifestations of ‘Femvertising’, although the campaigns were successful with profitable results, there is still some criticism around ‘Femvertising’ with some seeing these brand messages as manipulative and demeaning. Most ‘Femvertising’ research focuses on a particular element rather than feminism as a whole. This thesis will continue to explore the representation of women with feminism and its ideals including corporate responsibility to capture Femvertising as a trend inclusive of its ambiguities and ambivalence.
“Always Twitter followers tripled in the first three months; Always YouTube Channel subscribers grew 4339% and gained 90m+ views.” This campaign also encouraged its audience to change their perspective of the phrase “like a girl” reflecting an even larger effort to empower women and girls outside of media and communication. See Figure 3.
In a study conducted in December 2014, almost 70% of women and 60% of men claimed that "The video changed my perception of the phrase 'like a girl'.” (Burnett, 2015)
Summary
All of these campaigns are recognised as manifestations of ‘Femvertising’, although the campaigns were successful with profitable results, there is still some criticism around ‘Femvertising’ with some seeing these brand messages as manipulative and demeaning. Most ‘Femvertising’ research focuses on a particular element rather than feminism as a whole. This thesis will continue to explore the representation of women with feminism and its ideals including corporate responsibility to capture Femvertising as a trend inclusive of its ambiguities and ambivalence.
Commodity Feminism
Commodity feminism refers to how advertisers attempt to incorporate the cultural
power of feminism whilst neutralising or domesticating the force of its social and
political critique. (Gill, 2008)
Commodity feminism is believed to have originated due to the societal adoption of
‘postfeminist’ culture. Post-feminism refers to a young generation of women who take
for granted the victories secured by previous feminist activists who fought for policy
change.
Post-feminists evade the activism and political labels of women who came before
them while expecting to reap the benefits such as equality at home and in the
workplace.” (S.Smith, 1991)
Post-feminism hit a critical mass in the 1980s and 90s, with young women trying to distance themselves from a political movement that had been in terms of a society marked by stereotypes of masculinity, ‘bra-burning’ and women dubbed as ‘man-haters (C.Ervin, 2016).
Post-feminist women believed the struggle for gender equality was over and that women can “have it all” without needing to push for further policy or structural change. (Lazar, 2006)
Post-feminism hit a critical mass in the 1980s and 90s, with young women trying to distance themselves from a political movement that had been in terms of a society marked by stereotypes of masculinity, ‘bra-burning’ and women dubbed as ‘man-haters (C.Ervin, 2016).
Post-feminist women believed the struggle for gender equality was over and that women can “have it all” without needing to push for further policy or structural change. (Lazar, 2006)
The core of post-feminism is understanding not only how far feminism has advanced,
but how far it has yet to go. (B.Helmbrecht, 2007)
Feminist ideas began to influence advertising campaigns into a growing market. By aiming to appeal to women as consumers and not just as a way to attract men. Although Rosalind Gill discusses commodification feminism as it relates to advertising, as a social movement it extends to capitalism, from television to clothing and beauty products, etc.
Feminist ideas began to influence advertising campaigns into a growing market. By aiming to appeal to women as consumers and not just as a way to attract men. Although Rosalind Gill discusses commodification feminism as it relates to advertising, as a social movement it extends to capitalism, from television to clothing and beauty products, etc.
Capitalist societies incorporate threatening subcultures by way of commodification,
selling identity as an incorporation of the mainstream. By making the movement
digestible to the masses, the subculture feminism grows in numbers but becomes less
collectively driven.
Commodity feminism leads to ‘feminist fallacy’: that the mass consumption of
feminist language and an increase in the representation of feminist ideas in pop
culture translates to feminist action in the real world. (McRobbie, 2008)
In relation to popular culture ‘Adorno argues that the culture industry ‘impedes the development of autonomous, independent individuals who judge and decide consciously for themselves’ (1991:92) Critical thinking is closed off by mass produced popular culture.’ (Gauntlett, 2008)
In relation to popular culture ‘Adorno argues that the culture industry ‘impedes the development of autonomous, independent individuals who judge and decide consciously for themselves’ (1991:92) Critical thinking is closed off by mass produced popular culture.’ (Gauntlett, 2008)
The 21st century marked the emergence of working, sexually active, financially
independent women. However, women are still being sold a false construction of beauty
standards and are still led to believe their lives should be oriented around finding love.
The esteem boosting ‘girl power or grrl power’ phrase provides marketers a way
to sell old-fashioned deference and subordination as ‘empowerment’ to even
independent-minded women and girls (Gengler, 2011)
Due to neoliberalism, women succumb to confusing consumption for power and in the
process put the success of capitalism above their own.
Corporate Social Responsibility
“Increasingly, consumers can evaluate a brand’s social impact before making
purchasing decisions, therefore companies are striving to market themselves ethically.”
(Joseph, 2009) “Before the 1950’s it was only customary to participate in philanthropic
giving if the cause-related directly to business practices.” (Cochran, 2007) Corporate
social responsibility (CSR) refers to a business initiative to take responsibility for their
social and environmental impact but go above what is required by government
environmental regulations. Ethical consumerism also can positively affect sales and
profits of a business so corporate social responsibility is being encouraged.
A recent global ranking published by the Ethisphere Institute found that the most ethical companies perform better financially, even in time of economic crisis; making a point that investing in ethical practices has benefits for organizations (Jatinder J. Singh, 2012)
Previously price, convenience, and durability were the main factors in which consumers made their purchasing decisions; however, this research only measured the effect of brand ethics on brand loyalty. Brand loyalty is an indicator of future re-purchase, retention, recommendation and cross-selling opportunity. “Traditionally advertising campaigns were not considered corporate social responsibility.” (Cochran, 2007) Some brands such as Dove and their ‘Campaign for Real Beauty’ have blurred the lines between corporate responsibility and advertising by showcasing a goal such as female empowerment and urging the continuing critique of beauty standards. “Therefore, ‘Femvertising’ becomes a way for brands such as Dove to incorporate social outreach into their selling practices.” (Joseph, 2009) Singh, Iglesias, and Batists-Foguet discovered positive corporate responsibility is a good return on investment. When a product is branded as ethical, the companies’ practices must reflect the same ethical principles or else the company risks consumer-brand trust and loyalty due to conflicting brand characteristics. For ‘Femvertising’ to become effective in attaining brand loyalty, a brand and business investment in the empowerment of girls and women must be reflected in business practices.
A recent global ranking published by the Ethisphere Institute found that the most ethical companies perform better financially, even in time of economic crisis; making a point that investing in ethical practices has benefits for organizations (Jatinder J. Singh, 2012)
Previously price, convenience, and durability were the main factors in which consumers made their purchasing decisions; however, this research only measured the effect of brand ethics on brand loyalty. Brand loyalty is an indicator of future re-purchase, retention, recommendation and cross-selling opportunity. “Traditionally advertising campaigns were not considered corporate social responsibility.” (Cochran, 2007) Some brands such as Dove and their ‘Campaign for Real Beauty’ have blurred the lines between corporate responsibility and advertising by showcasing a goal such as female empowerment and urging the continuing critique of beauty standards. “Therefore, ‘Femvertising’ becomes a way for brands such as Dove to incorporate social outreach into their selling practices.” (Joseph, 2009) Singh, Iglesias, and Batists-Foguet discovered positive corporate responsibility is a good return on investment. When a product is branded as ethical, the companies’ practices must reflect the same ethical principles or else the company risks consumer-brand trust and loyalty due to conflicting brand characteristics. For ‘Femvertising’ to become effective in attaining brand loyalty, a brand and business investment in the empowerment of girls and women must be reflected in business practices.
Case Studies
Billie razors
Billie is an online-based razor company who released a multimedia campaign dedicated to disrupting the narrative of female shaving habits. Communication strategies and digital tactics were used to influence the consumer and celebrate female body hair as opposed to shaming it.
The campaign features a range of women with varying amounts of body hair. The key messages are that, it’s ok for women to have body hair and Billie caters to all-female shaving habits. (Levine, 2019)
Billie educates consumers on the existing price gaps on male-female products enforced by the ‘pink-tax’. Billie also created a campaign hashtag #ProjectBodyHair to create an online gallery making a more inclusive representation of the female body.
Billie has successfully broken-down gender stereotypes and created a brand that is different and stands out in the current market. The brand has engaged with consumers and social media through powerful imagery, messaging and consistent branding. Social media is a platform that has influenced brands to connect with an audience in a personal way. The industry has the opportunity to disrupt brand overhaul and refocus consumers to buy into more than just a product. Cultural influences such as literature and digital media can influence consumer products and behaviours.
Feminists, inspired by Frieden, broke the stranglehold on the women’s popular press of advertisers for household products, who were promoting the feminine mystique; at once, the diet and skin care industries became the new cultural censors of women’s intellectual space, and because of their pressure, the gaunt, youthful model supplanted the happy housewife as the arbiter of successful women-hood.’ (Wolf, 1990)
In the 1990’s advertising agencies defined this ‘Year of the Women’ as a selling point. In the 2000’s gender roles and attitudes were still blurred. It marked the primetime for Gillette’s female razor range titled ‘Venus’ meaning the female goddess of love, sex, beauty, and fertility.
Billie razors
Billie is an online-based razor company who released a multimedia campaign dedicated to disrupting the narrative of female shaving habits. Communication strategies and digital tactics were used to influence the consumer and celebrate female body hair as opposed to shaming it.
The campaign features a range of women with varying amounts of body hair. The key messages are that, it’s ok for women to have body hair and Billie caters to all-female shaving habits. (Levine, 2019)
Billie educates consumers on the existing price gaps on male-female products enforced by the ‘pink-tax’. Billie also created a campaign hashtag #ProjectBodyHair to create an online gallery making a more inclusive representation of the female body.
Billie has successfully broken-down gender stereotypes and created a brand that is different and stands out in the current market. The brand has engaged with consumers and social media through powerful imagery, messaging and consistent branding. Social media is a platform that has influenced brands to connect with an audience in a personal way. The industry has the opportunity to disrupt brand overhaul and refocus consumers to buy into more than just a product. Cultural influences such as literature and digital media can influence consumer products and behaviours.
Feminists, inspired by Frieden, broke the stranglehold on the women’s popular press of advertisers for household products, who were promoting the feminine mystique; at once, the diet and skin care industries became the new cultural censors of women’s intellectual space, and because of their pressure, the gaunt, youthful model supplanted the happy housewife as the arbiter of successful women-hood.’ (Wolf, 1990)
In the 1990’s advertising agencies defined this ‘Year of the Women’ as a selling point. In the 2000’s gender roles and attitudes were still blurred. It marked the primetime for Gillette’s female razor range titled ‘Venus’ meaning the female goddess of love, sex, beauty, and fertility.
‘Women in Western society have become accustomed to shaving at all times of
the year. Women who do not shave feel ashamed to wear shorts or tank tops.
This practice of shaving feels outdated. ‘ (Watkins, 2014)
To summarise, by celebrating female body hair and showing what parts women shave is a
choice up to them, Billie is directly confronting traditional depictions of femininity
to forge a bond with its customers. (Levine, 2019)
Billie’s main aim as a brand is to create a personality that creates a distinguishing identity that helps the brand stand out. Venerable razor brand Gillette has also challenged gender stereotypes.
The efforts of Billie along with other brands such as Dove, and Gillette are in line with industry-wide initiatives to improve marketing. In traditional marketing for female razors, women are always shaving hairless legs. The female-oriented razor brand Billie is tackling the expectations of traditional razor ads, as much as pitching its product. (Levine, 2019)
This campaign is an example of how ‘femvertising’ can be positive, although the end goal is still the same, to sell a product. See Figure 4.
Billie’s main aim as a brand is to create a personality that creates a distinguishing identity that helps the brand stand out. Venerable razor brand Gillette has also challenged gender stereotypes.
The efforts of Billie along with other brands such as Dove, and Gillette are in line with industry-wide initiatives to improve marketing. In traditional marketing for female razors, women are always shaving hairless legs. The female-oriented razor brand Billie is tackling the expectations of traditional razor ads, as much as pitching its product. (Levine, 2019)
This campaign is an example of how ‘femvertising’ can be positive, although the end goal is still the same, to sell a product. See Figure 4.
This Girl Can
Sport England’s ‘This Girl Can’ campaign ‘got 2.8 million women exercising whilst
offering a refreshingly honest portrayal of exercise.’ Further research from other
organisations found a lot of emotional barriers get in the way of women exercising.
These barriers included women being ‘too fat to get fit’, and that they ‘would slow
everyone down’, ‘felt ridiculous in lycra’. Ultimately it adds up to a fear of judgement by
others. Sport England aims to normalise sport and physical activity, making it a social
activity for women and girls, by persuading them to join in regardless of their level of
capability. Defining Sport England’s target audience was a key part of their insight as
well as evaluating the work to ensure it had the desired effect. Qualitative and
quantitative research was used to monitor changes in attitudes.
The film for the campaign was street cast, all the women and girls featured were doing activities ranging from being active in gyms, parks, football fields, and swimming. The result of the campaign was extremely positive with increasing exercise engagement among women.
This campaign gained popular engagement via social media,
This is an honest approach to ‘femvertising’ as it is often argued that some campaigns can be perceived as ‘fake’ advertising simply to sell a product. Such as Veet’s hair precision advertisement shaving already hairless legs. Sport England identified a problem through research which highlighted a persistent gender gap in sports participation. ‘Nearly 2 million more men than women take part in sport regularly.’ (Dale, 2019) Despite trying to tackle the gap in the past by funding into projects that overcame barriers women said they had, such as providing childcare, running women-only sessions, and putting on more sports and activities women want to do.
Sport England knew the campaign had to be bold and they had to experiment with how bold a public sector organisation could be, and how they could get the message across
The film for the campaign was street cast, all the women and girls featured were doing activities ranging from being active in gyms, parks, football fields, and swimming. The result of the campaign was extremely positive with increasing exercise engagement among women.
This campaign gained popular engagement via social media,
This is an honest approach to ‘femvertising’ as it is often argued that some campaigns can be perceived as ‘fake’ advertising simply to sell a product. Such as Veet’s hair precision advertisement shaving already hairless legs. Sport England identified a problem through research which highlighted a persistent gender gap in sports participation. ‘Nearly 2 million more men than women take part in sport regularly.’ (Dale, 2019) Despite trying to tackle the gap in the past by funding into projects that overcame barriers women said they had, such as providing childcare, running women-only sessions, and putting on more sports and activities women want to do.
Sport England knew the campaign had to be bold and they had to experiment with how bold a public sector organisation could be, and how they could get the message across
2.8 million 14-40 year-old women say they have done some or more activity as a
result of our campaign, 1.6 million of these say they have got back into a sport or
tried it for the first time as a direct result of the campaign. (Dale, 2019)
There have been over 660,000 tweets using the #ThisGirlCan hashtag - and it’s
been used by women every single day since we launched above the line in
January 2015. (Dale, 2019)in a way woman would respond to.
The slogan was analysed in focus groups, ‘This Girl Can’ connected with all the groups in the target audience from 14-40-year olds. Therefore, the slogan connected with a broad audience, they said it felt empowering without being intimidating. The slogan needed to enable individual women to adapt their relationship with physical activity. However, the word ‘girl’ was discussed extensively as it can be used to dismiss and patronise women, particularly in sport. Research showed that girl was one word all ages in the target audience could connect with and refer to themselves as.
The slogan was analysed in focus groups, ‘This Girl Can’ connected with all the groups in the target audience from 14-40-year olds. Therefore, the slogan connected with a broad audience, they said it felt empowering without being intimidating. The slogan needed to enable individual women to adapt their relationship with physical activity. However, the word ‘girl’ was discussed extensively as it can be used to dismiss and patronise women, particularly in sport. Research showed that girl was one word all ages in the target audience could connect with and refer to themselves as.
To summarise this case study is a positive example of ‘Femvertising’. Showing that it
can have a ‘real’ and positive impact. Whilst this type of advertising can be viewed as
fake or patronising and being used to exploit women for money, it can have a very
positive impact on the health and daily lives of women.
Analysis & Interpretation
‘Femvertising’ and the Fourth Wave
‘Femvertising’ is increasingly present online and has been a major part of current feminism, often referred to as the fourth wave of feminism. Women all over the world are using social media to shed light on the oppression of women and gender equality. Popular feminism lives not only in advertisements but also in hashtags, blogs, Facebook groups and events, and celebrity social media profiles. Through social media issues are often tackled through trending hashtags for example, women combat sexism using #EverydaySexism, men are urged to get involved in the feminist struggle using #HeForShe.
The online presence of feminism raises questions for the future particularly when different stakeholders are involved. Is it fair to label ‘sharing’ an advertisement as political action? If yes, then what kind of societal change can be expected? Will audiences be influenced by feminist engagement or immunised towards this type of stimulant. Is this marketing trend merely a craze with a short lifespan, or will advertisers continue to progress in their use of these values?
The research revealed it is partly wrong to ‘share’ on advertising through the social network but that younger generations, particularly younger females are far more positive towards it. (Bengtsson&Johansson, 2016: 196)
In line with previous research, this report shows that younger audiences are more positive both towards digital advertising and towards commodification online. The current wave of users on online social media sites, combined with the current post- feminist era, means it is the right time to reflect on how feminists use the online world for the feminist cause.
‘Femvertising’ is a phenomenon, the effects of it could have deserved further exploration and would benefit being further analysed. Those condemning it should take into account the heterogeneity of audiences and respecting the individuality within a political movement.
‘We are in the midst of a violent backlash against feminism that uses images of female beauty as a political weapon against women’s advancement: the beauty myth. It is the modern version of a social reflex that has been in force since the Industrial Revolution.’ (Wolf, 1990)
‘Femvertising’ and the Fourth Wave
‘Femvertising’ is increasingly present online and has been a major part of current feminism, often referred to as the fourth wave of feminism. Women all over the world are using social media to shed light on the oppression of women and gender equality. Popular feminism lives not only in advertisements but also in hashtags, blogs, Facebook groups and events, and celebrity social media profiles. Through social media issues are often tackled through trending hashtags for example, women combat sexism using #EverydaySexism, men are urged to get involved in the feminist struggle using #HeForShe.
The online presence of feminism raises questions for the future particularly when different stakeholders are involved. Is it fair to label ‘sharing’ an advertisement as political action? If yes, then what kind of societal change can be expected? Will audiences be influenced by feminist engagement or immunised towards this type of stimulant. Is this marketing trend merely a craze with a short lifespan, or will advertisers continue to progress in their use of these values?
The research revealed it is partly wrong to ‘share’ on advertising through the social network but that younger generations, particularly younger females are far more positive towards it. (Bengtsson&Johansson, 2016: 196)
In line with previous research, this report shows that younger audiences are more positive both towards digital advertising and towards commodification online. The current wave of users on online social media sites, combined with the current post- feminist era, means it is the right time to reflect on how feminists use the online world for the feminist cause.
‘Femvertising’ is a phenomenon, the effects of it could have deserved further exploration and would benefit being further analysed. Those condemning it should take into account the heterogeneity of audiences and respecting the individuality within a political movement.
‘We are in the midst of a violent backlash against feminism that uses images of female beauty as a political weapon against women’s advancement: the beauty myth. It is the modern version of a social reflex that has been in force since the Industrial Revolution.’ (Wolf, 1990)
The Commodification of Feminism
‘Femvertising’ resembles a considerate effort to bring girls and women into brand-
consumer relationships in a healthy way. By recognition of women as a subject rather
than manipulated or sexualised to reach male audiences. However, this is a perception
but ‘femvertising’ does create a conscious shift as to how women are represented in
mass media.
All of us who professionally use the mass media are the shapers of society. We can vulgarise that society. We can brutalise it. Or we can help lift it onto a higher level.” (Imseng, 2016)
By allowing women to be represented by their personalities instead of being defined by appearance. ‘Femvertising’ represents women as strong and active, which challenges the audience to reconsider beauty standards.
‘The contemporary backlash is so violent because the ideology of beauty is the last one remaining of the old feminine ideologies that still has the power to control those women whom second wave feminism would have otherwise made relatively uncontrollable.’ (Wolf, 1990)
However, in terms of the power of mass media “Theodor Adorno felt that the power of mass media over the population was enormous and very damaging.” (Gauntlett, 2008) On the other hand, “John Fiske argues that it is the audience not the media, which has the most power.” (Gauntlett, 2008)
“Female audiences can react hesitantly to brands overt attempts at female empowerment especially when a brand is explicitly mentioned” (Sternadori, 2016). The basic recognition of advertising amongst most audiences is its purpose to sell something.
‘Femininity’ is code for femaleness plus whatever a society happens to be selling. If ‘femininity’ means female sexuality and its loveliness, women never lost it and do not need to buy it back.’ (Wolf, 1990)
Brand approach
Some brands like Pantene use the tagline ‘shine strong’ to utilise rhetoric based on both appearance and personality. Whereas some brands aim to mask their motives such as Dove and the ‘Real Beauty Sketches’. However, Dove recognise the trope in beauty advertisements, the female audience will either identify with the ego ideal or buy the product as a means of belonging. Dove separates itself as a brand from tradition by
All of us who professionally use the mass media are the shapers of society. We can vulgarise that society. We can brutalise it. Or we can help lift it onto a higher level.” (Imseng, 2016)
By allowing women to be represented by their personalities instead of being defined by appearance. ‘Femvertising’ represents women as strong and active, which challenges the audience to reconsider beauty standards.
‘The contemporary backlash is so violent because the ideology of beauty is the last one remaining of the old feminine ideologies that still has the power to control those women whom second wave feminism would have otherwise made relatively uncontrollable.’ (Wolf, 1990)
However, in terms of the power of mass media “Theodor Adorno felt that the power of mass media over the population was enormous and very damaging.” (Gauntlett, 2008) On the other hand, “John Fiske argues that it is the audience not the media, which has the most power.” (Gauntlett, 2008)
“Female audiences can react hesitantly to brands overt attempts at female empowerment especially when a brand is explicitly mentioned” (Sternadori, 2016). The basic recognition of advertising amongst most audiences is its purpose to sell something.
‘Femininity’ is code for femaleness plus whatever a society happens to be selling. If ‘femininity’ means female sexuality and its loveliness, women never lost it and do not need to buy it back.’ (Wolf, 1990)
Brand approach
Some brands like Pantene use the tagline ‘shine strong’ to utilise rhetoric based on both appearance and personality. Whereas some brands aim to mask their motives such as Dove and the ‘Real Beauty Sketches’. However, Dove recognise the trope in beauty advertisements, the female audience will either identify with the ego ideal or buy the product as a means of belonging. Dove separates itself as a brand from tradition by
focusing on not only understanding but also celebrating ‘real women.’
This falls short when Dove is seen to sell products aiming to solve imperfections such as selling creams to fill wrinkles or firm cellulite.
Always is the most discrete in using empowerment as a marketing tool, they achieve this by focusing their advertisements solely on empowerment rather than mentioning their products. Always aims to showcase what the brand stands for as opposed to the products or selling them, which works in the brand’s favour by sending the audience a positive message. Although all attempts at ‘femvertising’ do constitute an underlying effort to increase brand loyalty. Always’ omission of product mentions makes the brand appear more genuine than other brands including Dove and Pantene.
Corporate social responsibility (CSR) research indicates that consumers are sceptical of a company’s support of social causes unless they can determine that the efforts are legitimate and authentic. (Abitol, 2018)
Although Dove as a brand does work to question beauty standards in the industry, they still fail to recognise their complacency in the system they are critiquing. Their ‘femvertising’ campaigns are positive in a sense but are negatively perpetuating pressure on women to always look and feel confident strong and beautiful. This is not an elimination of society expectations imposed on women instead it’s a shift in content. Now instead of being pressured to look like the women on screen such as tall or thin women may now feel pressured to act confident like the women on the screen. There is more of a focus on behaviour over aesthetics.
Research into audience perceptions on ‘femvertising’ reflects women feel both inspired and patronised by brands using it. (Sternadori, 2016) How well a brand’s humanitarian actions align with its mission, values, and vision is often the factor that sways audiences to view ‘femvertising’ as a positive rather than the alternative, an advertising trend that commodifies fourth-wave feminist movement under the likeness of female empowerment. All brands should be ethical by having moral codes and beliefs and reminiscent of brand personalities. If a brand uses its reach to empower women instead of objectifying them, then it most likely values gender equalities and the issues associated with it such as equal opportunity or education. In order to be perceived as an extension of a brand mission, ‘femvertising’ should be complemented by extensive outreach, ethics, and company culture.
This falls short when Dove is seen to sell products aiming to solve imperfections such as selling creams to fill wrinkles or firm cellulite.
Always is the most discrete in using empowerment as a marketing tool, they achieve this by focusing their advertisements solely on empowerment rather than mentioning their products. Always aims to showcase what the brand stands for as opposed to the products or selling them, which works in the brand’s favour by sending the audience a positive message. Although all attempts at ‘femvertising’ do constitute an underlying effort to increase brand loyalty. Always’ omission of product mentions makes the brand appear more genuine than other brands including Dove and Pantene.
Corporate social responsibility (CSR) research indicates that consumers are sceptical of a company’s support of social causes unless they can determine that the efforts are legitimate and authentic. (Abitol, 2018)
Although Dove as a brand does work to question beauty standards in the industry, they still fail to recognise their complacency in the system they are critiquing. Their ‘femvertising’ campaigns are positive in a sense but are negatively perpetuating pressure on women to always look and feel confident strong and beautiful. This is not an elimination of society expectations imposed on women instead it’s a shift in content. Now instead of being pressured to look like the women on screen such as tall or thin women may now feel pressured to act confident like the women on the screen. There is more of a focus on behaviour over aesthetics.
Research into audience perceptions on ‘femvertising’ reflects women feel both inspired and patronised by brands using it. (Sternadori, 2016) How well a brand’s humanitarian actions align with its mission, values, and vision is often the factor that sways audiences to view ‘femvertising’ as a positive rather than the alternative, an advertising trend that commodifies fourth-wave feminist movement under the likeness of female empowerment. All brands should be ethical by having moral codes and beliefs and reminiscent of brand personalities. If a brand uses its reach to empower women instead of objectifying them, then it most likely values gender equalities and the issues associated with it such as equal opportunity or education. In order to be perceived as an extension of a brand mission, ‘femvertising’ should be complemented by extensive outreach, ethics, and company culture.
Dove and Always have put a conscientious effort to support their femvertising
campaigns with the real world to make a difference in the lives of employees,
consumers, and women around the world. (Bahadur, 2014)
In 2004 when Dove launched their ‘Real Beauty’ campaign they launched initiatives to partner with other organisations such as Girl Scouts and Girls Inc. This brought the dialog of solidarity among women and empowerment of young girls to where it mattered, outside of the television and into homes, schools and workplaces. Similarly, Always’ also partnered with the Olympic committee and United Nations Women to support women in sports, specifically for the 2016 Summer Olympics based in Rio. In addition, they have partnered with TED and on an international scale in educating girls by creating safe and free puberty education programmes this is currently active in 65 countries.
In 2004 when Dove launched their ‘Real Beauty’ campaign they launched initiatives to partner with other organisations such as Girl Scouts and Girls Inc. This brought the dialog of solidarity among women and empowerment of young girls to where it mattered, outside of the television and into homes, schools and workplaces. Similarly, Always’ also partnered with the Olympic committee and United Nations Women to support women in sports, specifically for the 2016 Summer Olympics based in Rio. In addition, they have partnered with TED and on an international scale in educating girls by creating safe and free puberty education programmes this is currently active in 65 countries.
III) Conclusion
Through this essay and practical response knowledge of feminism has been gained, in
particular knowledge on feminist controversy such as ‘femvertising’ backlash, feminisms
exploitation for commercial purposes and ultimately how some brands do use feminism
or feminist ideologies in advertisements to fulfil their main purpose, to sell.
It was learnt that ‘femvertising’ can be found empowering, and that it does help to promote and improve the visibility of feminism but is sometimes not represented in a positive light. ‘Femvertising’ can be fake, degrading and sexist towards women which leads to backlash. Companies brand themselves as ‘feminist’ through catchy slogans and hashtags promoting empowerment and getting women to share campaigns via social media. Brands sell the idea that confidence and self-esteem are what women lack. This ignores analysis of gender inequality in favour of feeling good. Feminist advertising does not reflect core ideology it is only used as an effective marketing tool. Feminism is also not about individual women, instead it’s collective. Advertising can’t speak to collective politics because it targets an individual consumer.
Personal viewpoints and approaches to this subject have changed in response to this thesis and practical approach. ‘Femvertising’ plays no role in the fight for women’s equality if a brand doesn’t live up to feminist ideals. Instead ‘femvertising’ redefines the meaning of feminism in a dangerous way by diminishing it to a tagline and dumbing it down to a hashtag. It is difficult to see how feminist advertising is committed to structural change, since the appeal is to individuals rather than a collective movement. Women don’t need feminist advertising they need business’ to hire more women, implement diverse hiring strategies and have more female leadership roles.
In conjunction with gender stereotypes, the feminist theory of commodity feminism holds important ties to ‘femvertising’. Since the introduction of commodity feminism, advertisers have been attempting to tie the emancipation of women to the sale of corporate goods and services. Commodity feminism is redefining feminism through consumerism and purchase behaviour. Commodity feminism insinuates that in order for a woman to be powerful, a core feminist ideal she must first make a purchase and her worth is controlled by making the correct consumer choices.
It was learnt that ‘femvertising’ can be found empowering, and that it does help to promote and improve the visibility of feminism but is sometimes not represented in a positive light. ‘Femvertising’ can be fake, degrading and sexist towards women which leads to backlash. Companies brand themselves as ‘feminist’ through catchy slogans and hashtags promoting empowerment and getting women to share campaigns via social media. Brands sell the idea that confidence and self-esteem are what women lack. This ignores analysis of gender inequality in favour of feeling good. Feminist advertising does not reflect core ideology it is only used as an effective marketing tool. Feminism is also not about individual women, instead it’s collective. Advertising can’t speak to collective politics because it targets an individual consumer.
Personal viewpoints and approaches to this subject have changed in response to this thesis and practical approach. ‘Femvertising’ plays no role in the fight for women’s equality if a brand doesn’t live up to feminist ideals. Instead ‘femvertising’ redefines the meaning of feminism in a dangerous way by diminishing it to a tagline and dumbing it down to a hashtag. It is difficult to see how feminist advertising is committed to structural change, since the appeal is to individuals rather than a collective movement. Women don’t need feminist advertising they need business’ to hire more women, implement diverse hiring strategies and have more female leadership roles.
In conjunction with gender stereotypes, the feminist theory of commodity feminism holds important ties to ‘femvertising’. Since the introduction of commodity feminism, advertisers have been attempting to tie the emancipation of women to the sale of corporate goods and services. Commodity feminism is redefining feminism through consumerism and purchase behaviour. Commodity feminism insinuates that in order for a woman to be powerful, a core feminist ideal she must first make a purchase and her worth is controlled by making the correct consumer choices.
Goldman et al noted a shift in how advertisers were portraying femininity. Instead of
employing tactics seen in the 1970s, such as women in delicate positioning, gazing off
the camera or in modest clothing. Advertisements instead look to connote
independence, participation in work, self-control, freedom, and sexuality.
Goldman et al determined the “ideal woman” exuded a sense of freedom, and strength but almost always in a way that is attractive and sexually pleasing to men. “This portrayal of independent freedom of choice— a feminist ideal— has been fused with images of sexuality, thus teaching women to see themselves as sexual objects because it accommodates their liberal interests” (C.Crouse, 2002)
In the commodity feminism era women are no longer passive figures of the male gaze. However, woman’s sexuality is almost always portrayed in a way that is meant to be pleasing to men. See Figure 7.
The determining male gaze projects in phantasy onto the female figure, which is styled accordingly. In their traditional exhibitionist role women are simultaneously looked at and displayed, with their appearance coded for strong visual and erotic impact so that they can be said to connote to-be-looked-at-ness. (1975:10) (Gauntlett, 2008)
The rejection of the feminist label but hunger for the benefits of the movement set the stage for advertisers to co-opt feminist ideals and re-package them in a way that could benefit brands and corporations. To summarise Corporations, have a responsibility to the public sector and society to fairly, accurately and authentically represent women in advertising.
The time is right for us as an industry to challenge and change how we portray gender in our advertising. Our industry spends billions of dollars annually shaping perceptions and we have a responsibility to use this power in a positive manner (Sweeney, 2016).
Brands cannot continue to use harsh stereotypes to depict the lives of women who hold the majority of the country’s purchasing power.
Goldman et al determined the “ideal woman” exuded a sense of freedom, and strength but almost always in a way that is attractive and sexually pleasing to men. “This portrayal of independent freedom of choice— a feminist ideal— has been fused with images of sexuality, thus teaching women to see themselves as sexual objects because it accommodates their liberal interests” (C.Crouse, 2002)
In the commodity feminism era women are no longer passive figures of the male gaze. However, woman’s sexuality is almost always portrayed in a way that is meant to be pleasing to men. See Figure 7.
The determining male gaze projects in phantasy onto the female figure, which is styled accordingly. In their traditional exhibitionist role women are simultaneously looked at and displayed, with their appearance coded for strong visual and erotic impact so that they can be said to connote to-be-looked-at-ness. (1975:10) (Gauntlett, 2008)
The rejection of the feminist label but hunger for the benefits of the movement set the stage for advertisers to co-opt feminist ideals and re-package them in a way that could benefit brands and corporations. To summarise Corporations, have a responsibility to the public sector and society to fairly, accurately and authentically represent women in advertising.
The time is right for us as an industry to challenge and change how we portray gender in our advertising. Our industry spends billions of dollars annually shaping perceptions and we have a responsibility to use this power in a positive manner (Sweeney, 2016).
Brands cannot continue to use harsh stereotypes to depict the lives of women who hold the majority of the country’s purchasing power.
‘Femvertising’ is the beginning of a large-scale societal change in the appreciation of
women as consumers, and also as complex and critical members of society. However,
progress still needs to be made, although it’s clear there has been an inevitable cultural
shift. ‘Femvertising’ offers an alternative to damaging female stereotypes and the lack of
female representation in the field of advertising. Although ‘femvertising’ may offer a
solution for brands enabling them to authentically connect with female consumers if they can communicate and support its messaging. In 2019 Gillette have taken on toxic
masculinity in their latest ad.
The video features scenes of bullying, sexual harassment, mansplaining and
other damaging behaviour, with a call to action for men to hold each other
accountable and praising those that already do. The ad rounds off by breathing
new life into their classic slogan ‘the best a man can get’, instead pushing for ‘the
best men can be’. (Sense, 2019)
The practical approach is informed by visualising commodity feminism. By creating a
campaign for a non-feminine or gender-neutral product, Colgate toothpaste. Feminist
techniques applied will reference existing ‘femvertising’ campaigns.
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