Feminism's Co-option in Advertising: Navigating its Intersection with Consumerism in Contemporary Western Visual Culture

by Olivia Feather-Moore

Since the 1960s, art history discourse has examined the portrayal of women and the female body. Artists such as Martha Rosler, Barbara Kruger, Cindy Sherman, Hank Willis Thomas, and Dara Birnbaum employ diverse mediums and techniques to recontextualize messages in advertising, prompting viewers to question capitalist influences on our perceptions of women, rooted in constructed myths.  

Martha Rosler, Cargo Cult, from the series Body Beautiful, or Beauty Knows No Pain, c. 1966–72. Photomontage. Artwork © Martha Rosler. Image courtesy of the artist and Mitchell-Innes & Nash, New York. 

During the surge of feminism in this era, spanning arts, economics, politics, and society, capitalist consumer culture encountered a challenge. How could consumer culture persist in a society becoming more conscious of the exploitation inherent in capitalist products? The solution emerged through the commodification of feminism itself. Terms associated with the feminist movement such as ‘empower’ originally linked to actions like boycotting makeup, were swiftly co-opted into advertisements for makeup. Consequently, women became both perpetrators and victims of their own oppression, falsely convinced of their theoretical participation in feminism. This has had catastrophic consequences for feminism, making it increasingly difficult to critique consumer culture. 

Charlotte Tilbury, Beautiful Skin Radiant Concealer campaign, 2022

In an advertisement for Charlotte Tilbury's BEAUTIFUL SKIN RADIANT CONCEALER, the typical beauty marketing narrative unfolds with before-and-after images of a mature woman. The wording of this campaign implies that both images represent equal beauty. However, the image defies such a notion, conforming to beauty standards for women, achieved through the transformative nature of makeup. The pre-makeup portrayal suggests dullness, fatigue, and reduced fullness, contrasting with the revitalized post-application look. In accordance with John Berger's perspectives, the images of the advertisement suggests that by conveying a sense of inadequacy in the consumer's current life, it implies a potential enhancement in their quality of life.

The product's effectiveness hinges on transforming the consumer, yet the advert's agenda implies no need for such transformation, erasing any incentive to buy the product. However, the consumers' dismissal of the feminist agenda, underscores the persuasive power of visual representation as the driving force behind consumer motivation. This intricate relationship between product language and visual narrative exposes the profound intertwining of capitalism with imagery and its rejection of legitimate feminist principles.

BethCourtesy of Estrid, 2023

In a recent feature by the Little Black Book, ESTRID, the Razor company, received acclaim for its inclusive campaign, which boldly challenges prevailing beauty norms. The promotional visuals of the product feature a diverse range of body types, ethnicities, and individuals with different abilities, highlighting the inclusion of body hair such as moustaches, dark leg hair, and armpit hair. The image inherently represents an overarching feminist agenda, encouraging individuals to express themselves authentically through their chosen presentation of body hair. 

However, beneath the veneer of its diverse, inclusive and vegan ethos, the brand's underlying narrative remains rooted in the capitalist framework. The celebration of body hair by a company that sells a hair removal product may seem counterintuitive, but has proven to be one of the most effective marketing strategies in recent times. The phenomenon known as "femvertising" strategically manipulates consumers into believing that by purchasing their product, they are aligning with feminist ideals and ethical considerations, whilst allowing consumers to comfortably maintain conventional beauty standards. The irony lies in the reality that their purchase supports a company that has profited from perpetuating societal norms of hair removal, contributing to the historical oppression and shaming associated with natural body hair. 

No7 Ready to Speak Up campaign, 2016

In Minna Salami's cautionary column, Feminism and Social Criticism, she advises readers not to be swayed by what she calls "emotional marketing." Salami scrutinizes No7's campaign titled "Ready to Speak Up," featuring renowned author and feminist advocate Chimamanda Ngozi Adichie which revolves around confidence and independence. Salami highlights “if self-esteem were really of importance to No7, then it would have been more relevant to ask how a woman feels when “not” wearing makeup. Alas, such a question would not sell No7 product”.  

The notion that makeup empowers women to speak up is controversial and perplexing. The paradox of tools historically associated with women's oppression are portrayed as advocates against such oppression.

Prada Paradoxe Campaign, 2022

In line with semiotic theory, McCracken's concept of 'meaning transfer' posits that the "symbolic meanings associated with the celebrity endorser move from the celebrity to the product or brand." Emma Watson, notably recognized as a feminist icon since her portrayal of Hermione Granger in the Harry Potter franchise, assumed the role of UN Women Goodwill Ambassador. In 2014, she inaugurated the HeForShe campaign, urging men to ally with gender equality, emphasizing feminism's broader societal relevance beyond being solely a women's issue. 

In 2022, she featured in a Prada Paradoxe advertisement. While the product itself capitalizes on the premise of fulfilling desires and posits that without it, the consumer is lacking, the accompanying image of Watson suggests that with this product, the consumer becomes independent, fearless, and powerful. 

While Watson's conventional beauty is a result of genetics and not subject to personal critique, it's important to recognize her complacency in a brand that capitalises not only on her beauty, but also on her 'feminist' status. Evidently, the latter serves more as a selling point than a genuine effort to promote a legitimate message in line with feminist principles.

Barbra Kruger, Never Perfect Enough, 2020

The undeniable influence of capitalism on consumers warrants a closer examination of its profound entrenchment in visual representations. Despite the illusion of the growing strength of anti-capitalist movements, including feminism, the underlying imagery of advertisement remains inherently capitalist, compelling consumers to make purchases.

Unlike late twentieth-century artists who addressed the objectification of women predominantly through sexualized imagery in the buying and selling of goods, twenty-first-century artists are faced with an even greater challenge. They must answer, how, to critique a system that, in the eyes of the modern consumer, appear to have resolved such issues. 

Bibliography:

Jun, Mina, Jeongsoo Han, Zhimin Zhou, and Andreas B. Eisingerich. “When Is Celebrity Endorsement Effective? Exploring the Role of Celebrity Endorsers in Enhancing Key Brand Associations.” Journal of Business Research 164, no. 164 (September 2023): 113951. https://doi.org/10.1016/j.jbusres.2023.113951.

Salami, Minna. “Don’t Be Fooled by Emotional Marketing. Using a Feminist Icon Does Not Make No7 Feminist. | Feminism and Social Criticism by Minna Salami.” MsAfropolitan, October 26, 2016. https://msafropolitan.com/2016/10/dont-be-fooled-by-emotional-marketing-no7.html.