Miller 1 Jennifer Miller Professor Bolton ENG 101 February 12, 2014 Viktor & Rolf: Flowerbomb vs.

Photobomb? How many can admit that advertisements have strong influence on them to purchase a product? Many people would like to think that theyre exempt from the influence of advertising. In Killing Us Softly 4 (a documentary looking into subconscious messages delivered by ads) Jean Kilbourne discusses this effect of the advertisement industry; focusing mainly on its influence of women in our society. A Viktor & Rolf advertisement for their premiere perfume, Flowerbomb, supports multiple points Kilbourne makes. Photographed in front of a blank backdrop stands an extremely thin, extremely nude, Caucasian female. The photograph is taken from the right profile of the woman with a branded ribbon entangled around her, covering only her nipples. A cleverly placed perfume bottle is held in her upturned, left hand, which is extended to parallel her nose. The models face is completely covered by a sheer piece of pink material that extends upward to fill the top of the page. There are no catchy slogans or sex-laced innuendo, only the word FLOWERBOMB at the top of the page and, The first perfume by Viktor & Rolf, printed at the bottom. This ad supports Kilbournes claim that media, often times, portray women as objects; that ads are borderline pornographic material; and that the beauty of a woman is based on her eye color, race, and age.

Miller 2 The first example of how this advertisement validates Kilbournes claim that ads are pornographic is the display of a nude model, front and center. The first thing consumers notice is the exposed woman on the page, not the product. Kilbourne notes that we are a society obsessed with breasts. Its a very calculated, and deliberate move by the designers to display their brand across the most noticeable aspect of this ad: her breasts. Another facet that alludes to pornography is the look of seduction on the models face. To achieve this look, the model is glancing over her shoulder with bedroom eyes and her lips are slightly pouted. This expression is not one of every woman wearing this perfume, yet it is made to sell the idea of how this perfume makes the consumer feel: sexy. One may conclude that this look alone does not emanate porn, however coupled with the indecent exposure the consumer exhibits the same blush. Thus, Viktor & Rolfs advertisement helps solidify Kilbournes point that ads have become increasingly pornographic. Another affirmation of Kilbournes analysis demonstrated in this ad is the claim she makes that women are viewed as objects. This is portrayed in the Viktor & Rolf ad by the abstract attempt to make the model appear as a flower. This obtuse attempt at art dehumanizes this woman by taking the focus off of her as a person and in turn, focuses on her exposed body as an object. The term photobomb has become synonymous with someone, or something, making an unexpected appearance in a photograph. By turning this woman into an object, it brings into question whether or not the product is actually a photobomb to a deeper subliminal message being delivered to the female population. A sheer material that is used to form the head of the flower also covers the models face. This

Miller 3 dehumanizes the woman by inadvertently silencing her, objectifying her body, and inferring that what she has to say or offer doesnt matter in comparison to her body. Kilbourne distinguishes that dehumanizing a person ultimately leads to violence; this has been observed in instances of racism, terrorism and homophobia. The presence of violence towards women is inevitable by dehumanizing them in advertisements. To summarize, this advertisement is yet another example of Kilbournes claim that women are viewed as objects in the media. Lastly, this ad supports Kilbournes claim that advertisements suggest beauty is only to be had by the young, thin, and fair skinned. As mentioned before, the model in the flowerbomb ad is completely nude and photographed from the profile. The consumer gets a clear view of how thin the model is due to these methodical vantage points. The curve of her back is accentuated by the hunched forward posture, giving more pronounced attention to her slender frame. This display prompts women in our society to compare themselves to the modeling industrys ideal body type. Women then begin to scrutinize and hate their body image because the comparison is to that of an unattainable figure. Kilbourne mentions that most models are genetically disposed to having such tiny frames. When women measure their body image to perfect figures displayed in media (most of which are enhanced), they are comparing nature to cosmetic augmentation. Its just not a fair fight. Photoshop is another asset the models displayed in magazines have on their side. This fair-skinned model has not one blemish, scar, or freckle on any surface of her exposed skin. Indeed, this small, yet huge detail sends females searching through countless drug stores for every firming, toning, and skin

Miller 4 perfecting cream they can find; in turn, promoting the product that is on the next page, advertised in the same demeaning fashion. Kilbourne makes reference to this as a toxic cultural environment for women, one in which this Viktor & Rolf ad promotes momentously. In other words, women are subconsciously made to believe that they are not beautiful if they deviate from this image. With multiple points made by Kilbourne being depicted in a single ad, it is clear that the advertisement industry is obstructing a healthy view of ones self worth. This pornographic, objectifying, and deprecating ad from Viktor & Rolf packs a punch to todays female psyche. When viewing any advertisement, take notice; the product may just be a photobomb in a greater picture delivering a subconscious message.

Miller 5 Works Cited Killing Us Softly 4. Dir. Sut Jhally. Perf. Jean Kilbourne. Media Education Foundation, 2010. Film Viktor & Rolf. Advertisement. In Style (December 2012): 73. Print.