The Evolution of the Ideal Female Body Image

1900 - 2014

Danielle Muntyan
The Evolution of the Ideal Female Body Image
1900 - 2014

In the 1940s, 1 in every 200 women

suffered from Anorexia Nervosa.
Now, In 2014, 1 in 10 women suffer
from some form of eating disorder.
10% of which, suffer from Anorexia
Nervosa.

Foreword
Since the 1900s the way society percieves the ideal body
image is ever changing depening on the newest trends,
fad diets, youthful celebrities and commerical imagery
that international organisations expose us to.
We are exposed to on average, at least 5,000
photoshopped images on a weekly basis. These are said
to be subconsiously or conciously affecting the
perception and recognition of our own bodies and
likewise, of different body shapes. On top of this we now
have to consider, which one is the right one.
It can be said that irregardless of the model, concept
or product being promoted, women have always been
used to some degree as a tool for strategic marketing.
Whether this is morally acceptable is one of the topics
covered in this book, analysing the change of the female
body in commerical imagery over the past century, as
well as focusing on its impact on its target audience.
Women have been heavily slandered or praised for their
bodies throughout history, unable to win whichever way
they decide to look. By setting an ideal, society has
been expected to conform to unrealistic figures, which
has in turn led to a rise in the number of people
suffering with eating disorders. In addition to this point
the as well as the number of woman who are unhappy
with their bodies.

This book investigates, debates and reveals the

reasonings behind this, as well as revealing the ideal
female body images from the past 114 years and how
they came to be.

Fig 1.

1900
Advert: Coca-Cola.
The early 1900s showed Women fighting for their rights,
determined for freedom from household domestication,
echoed through the promise of transformation from
their flawed selves.
In the early 20th Century, Cola-Cola was perceived as a
luxury product, which only the upper class could afford.
This also allowed the product to be sold through
Association and product placement. This particular
Coca-Cola advert embodies mixed social and cultural
messages through using a female to promote the
product in a subdued manner, whereby the advertiser
sells the product through grace, poise, sophistication
and elocution, boasting a true lady-like figure opposed
to sexuality.
The letter being written by the female featured in the
advert is addressed to the home office, also adding
further sense of class to the product being advertised.
In regards to this old fashioned ideology, the attire
worn by the female model is typical of the Victorian era
which overlapped into the early 1900s with heavy
corsetry and elaborate dress, which allowed the body to
be seen as something of power, wealth and class
opposed to simply being an object to sell a product.

Fig 2.

1901
Advert: Summer Sale for Snelgrove & Allen.
Many adverts in the early 20th Century were targeted at
women as the primary audience of the product, whether
this be for them or their better half, mainly due to the
domesticated roles women were tarnished with.
This particular advert is for the start of a Summer Sale at
a local Snelgrove and Allens store, primarily
targeting women as noted on in the body copy used Ladies! Dont Miss this Sale!!. Promoting the new
and fashionable clothing is a well-dressed female
figure, boasting heavy corsetry, a tiny waist, beauty and
ornate accessories. The female figure shown on the
advert, was at the time, the ideal body image.
Through using this female figure as the chosen method
of promotion, this allowed the buyer to aspire to look
like the woman shown through purchasing Snelgrove
and Allens goods.
The philosophy and true nature of advertising shows the
audience what they can become if they use the products
being shown.
This philosophy is echoed directly in this advert, and has
allowed for a foundation for the future development of
this philosophy and ideology also.

Fig 3.

1902
Advert: Justrite Corsets.
The Justrite Corset advert shown to the right,
symbolises an important stage, or even change in the
commercialisation of the ideal female body image. The
product is promoted through a female in a mirror,
echoing the ideal figure of the year.
This advert does two things. Firstly, it promotes the idea
of achieving this body shape through buying into and
wearing the Justrite Corsets, whilst secondly,
subliminally encourages the idea that this is the figure
we should see when we look in the mirror. On the back
of this notion, this advert echoes both the Mirror Stage
and idea of self-reflection in fashion advertising which
would become more prominent overtime.
Jacques Lacan explained the Mirror Stage theory as
an important stage of psychological development in
which a child recognizes himself or herself in the mirror
and becomes conscious of self-hood. From 18 months
he/she begins the process of developing an identity
distinct from others and yet, at the same time,
dependent on the images of others to determine itself.
This theory can be seen applied to women in a wide
range of imagery across the century, whereby images
shape the ideal we aspire to be.

Fig 4.

1903
Advert: Domen Corsets.
The early 20th Century featured many adverts
promoting various styles of Corsets, using females to
promote products to other females.
The Domen Belt Corset advert shown to the right
promotes fashion for those inclined to be corpulent,
which in turn allows those women who are overweight
to achieve a graceful figure, and still be beautiful and
ideal in their own right without following the standard
norms and conventions set by society at the time.
This advert also helps to promote the idea of women
feeling good due to perfect fitting and comfortable
clothing, allowing you to look good and feel good about
yourself. At the same time the figure promoted
encourages women to go against diets and altering
their bodies physically.

Fig 5.

1904
Advert: Sunny Servants Metal Boot Polish.
The advert to the right is for Sunny Servants Metal Boot
Polish, and uses a female figure, of whom is heavily
domesticated as a servant, to target those of a similar
occupation.
A female figure has been used due to males being
superior at the time, working, whilst women ran the
household, or in many cases worked for one of a higher
social class.
By targeting the same audience as featured in the
advert, it engages a sense of empathy with the servant,
promoting how the product will make her life easier its just a little rub, the easy polish.
With women around the world still being seen as of less
value and importance to men, women were often used
in adverts for household, food or even cigarette adverts,
rather than beauty adverts.
Even so, the business at hand is slightly veiled by the
woman featured, allowing the reader to be drawn in and
to read more.

Fig 6.

1905
Advert: Groebel Brewing Co.
Groebel Brewing Co. here advertise Groebel beer,
through the ideaology of class, distinction, hierarchy and
superiority amongst women in the early 20th Century.
As noted, women were often seen in highly typical or
domesticated roles in order to sell a product.
Groebel in this instance, have taken on two roles by two
different females - the servant, serving drinks in loose,
unflattering over clothes, and an upper class woman,
dressed in elegant evening wear.
By choosing these two roles to promote the product, it
shows a distinction between the two classes, and
therefore the dress and the way the body is perceived by
the target audience.
The brand is targeting the upper class woman who has
this elegant attire and social life, whereby they want to
look good and fit in by retaining that image, as well as
saying to those who are of a lower class, that this is what
life could be like, what you could be drinking, wearing
and looking like.

Fig 7.

1906
Advert: Pears Soap.
Opposed to advertising a new ideal figure, Pears Soap
in 1906, looked back in time to the belle of 1789 in
comparison to the beauty of today.
The comparison in the two photographs shows a
minimal change in aesthetic in terms of clothing,
however, also highlights the time difference with a horse
and cart being featured, along with an early 1900s
motor car.
The body copy beneath the images states, beautiful
women, all over the civilized world, for over a hundred
years have found Pears Soap matchless for the
complexion.
The woman are in no way exposed in a sexual manner,
nor put forward any sexual undertones through their
dress, being covered from head to toe.
The beauty highlighted here is the face, opposed to the
body, yet uses this as a tool to promote the upper class
women who would use this product, essentially claiming
those who use this product, could and will look like the
ideal beauty of the present day with the sophistication
and poise of the past.

Fig 8.

1907
Advert: Kelloggs Toasted Corn Flakes.
Kelloggs also introduced female figures into their
advertisements early in the 20th century, beginning with
this advert for Toasted Corn Flakes.
Like most commercial images at the time, women were
somehow shown promoting or using the product at
hand, allowing direct marketing for the target audience.
In this case, the female is captured with the strap line
the sweetheart of corn, allowing the viewer to
understand some connection between the product, and
the desire the female has to be involved with it, seeing
the crop as a friendly figure or a male figure opposed to
a plant.
Rather than promoting a sexual body image, the female
provokes a more domesticated, homely, wife figure
which cherishes this cereal. It also allows the viewer to
feel that they can be happy and blossom into a sweetheart by buying to the product, and into the Kelloggs
brand.

Fig 9.

1908
Advert: Zara.
To the right shows the first ever Zara advert that was
published in a London newspaper.
Zara, the clothing brand, at the time was seen as a store
where looked after ladies would shop and purchase
their evening gowns for social occasions organised by
their husbands.
This stereotypical outlook shaped fashion in the early
1900s.
Women were still quite conservative with their dress,
promoting a more subdued approach with the
illustration of the female figure, hinting that she aims
to be well dressed, yet come across as coy and ladylike
with her etiquette.
The advert is promoting hats, gowns, blouses and
lingerie, all products for a lady of the upper class at
the time, showing their social status, class and wealth
through lavish dress and on-point style.
This point is further backed with the New Bond St
location appealing to those with money, and the
capability of shopping in Central London.

Fig 10.

1909
Advert: Marra Liquor.
The Marra Liquor advert shown to the right, embodies
the typical upper class lifestyle of the early 20th Century.
The female figure is shown lovingly pouring her
husband some liquor, in a domesticated, caring manner.
This advert shows how life could be if you buy into the
brand, and how you could have an idyllic relationship.
The female figure shown however, yet again resembles
that of Victorian times, with heavy corsetry, over the top
detailling and man-made body figures creating by the
framing/boning of the corset itself.
The male in the advert appears to be glaring at the
female pouring his beverage, with an undertone of
protection, superiority and admiration of her beauty.

Fig 11.

1910
Advert: Jonteel Talcon Power and Blusher.
This particular advert, was published as one of the first
beauty adverts of the 20th century, targeting women by
enticing them to try new, exciting products to change
their appearance.
Opposed to featuring the whole body, this advert
emphasises the face as a priority. The manner in which
the model is holding the product up to her face and
smiling in a demure and shy, yet enticing way gives an
echo of you know you want it in order to look like me
in the tone of voice.
Two products being promoted, talcon powder and
blusher, and featured as a prop or in use, again
showing the viewer what they can become, and can look
like if they decide to buy into and use the products. This
marked a period of time where commercial imagery and
adverts began to resonate into the future, changing not
only the views and perceptions of the Jonteel business,
for example, but the way in which new perceptions are
deemed by society and popular culture.
Earnest Elmo Calkins one of the original Mad Men
predicted how subtle, yet seductive influences used by
agencies would affect the future of the industry and the
female body image.

Fig 12.

1911
Advert: A. Claverie Corsets.
The advert shown to the right is promoting the Mona
Lisa corset, by A. Claverie a French fashion designer.
Due to Claverie and the brand being French, the
strap line Mona Lisa relates to the piece of art by Da
Vinci being held in the Louvre, showing a connection to
popular culture, and the sense of being the best, and
being that unspoken beauty of the real world.
Not only does this advert highlight cultural points of
reference, but this advert sells the product by using a
much slimmer female, for the first time. Promoting a
thinner ideal shape was something that had not been
seen before, but was something which would remain
prominent over the upcoming years.
The corsets advertised throughout the past decade
echo the wealth, elegance, poise, class, sophistication,
and social status of the late 19th Century, that allowed
the female to have attire which would give them an
impossibly small and envious waist without changing
their bodies physically.
However, at the start of this decade, the waistline relaxed
slightly allowing for a much more natural physique to be
aspired to by women across the country, and around the
world.

Fig 13.

1912
Advert: Kabo Corset Co.
The Kabo Corset advert shown, advertises the live
model corset for every type of figure that in turn
promotes a more natural bodily shape and emphasises
the point Kabo are trying to push - you dont need to
change your body to look good, by wearing our under
corset you will.
Furthermore the female chosen to promote the garmet
appears to be a domesticated female, most likely a
maid, whos half dressed, and posing in an alluring,
demure and subtly sexy manner.
This was the first time a female had been slightly
sexually exploited through her role as a domesticated
maid, yet overtime would become a form of sexual
fetishism for some.
This was perhaps an early sign that people were
perceiving women as more than domesticated figures.

Fig 14.

1913
Advert: H&W Brassieres.
The advert shown on the right is promoting female
underwear in a subtly sexy manner.
The strap line No gown can look good, so well without
them emphasises the need to own and wear the
product, which is supported by the woman gazing at
herself in the mirror intently, almost adoring herself. The
theory behind the mirror stage is applicable to this
scene, where we are trying to meet expectations of
others, yet be conscious of ourselves as an individual.
Women also have the added pressure of looking food
for their other halves, which is subtly portrayed through
this advert in terms of imagery and body copy.
Sigmund Freud, stated that the mirror itself is a
double, where the person is oneself and the image the
person sees is another self Since this produces a
double image, what is visible may actually be invisible
or altered through our own perceptions suggesting we
see ourselves as two different beings. It is only as we get
older whereby we make solitary decisions.
Overtime, we will adapt to bodily changes and mental
dysfunctions, looking upon them as normal. This allows
a constant battle between ones consciousness and
unconsciousness to both look and feel good.

Fig 15.

1914
Advert: Flemings Farm and Live Stock, Almanac.
1914 marked the start of WWI, where women were
highly domesticated whilst their husbands fought for
their country.
This advert shows an upper class woman with a horse,
almost acting like a companion in replacement for their
other halves.
Horse riding was seen as a wealthy sport, and only the
upper class took part. This was the same for the live
stock sales, and by using an attractive, young female
figure to entice men and women alike to the event.

Fig 16.

1915
Advert: Onyx Silk Hosiery.
This advert was one of the first adverts for black tights
to ever be published. Due to differences between race,
black was cleverly replaced with onyx allowing no
offence to be caused by the viewer.
The advert features a happy, enticing looking young
woman, mimicking the target audience the product is
being aimed at, showing how the product can be worn,
and how you will look.
The fabric, silk is noted, to in some ways warn the
viewer that the product is of value and some expense.
Elaborating on this point, the strap line used is before
you leave for your vacation allowing the middle and
upper classes to buy the product, opposed to the
working class.
This strap line also hints at the fact, women need to
prepare before going on holiday as they would be
shown off by their husbands, or out seeking a suitor,
tempting the women to look their best.

Fig 17.

1916
Advert: Munitions Factory Recruitment.
By 1916, WWI was in full swing, husbands were fighting
in the war, and women were working in factories up and
down the country making the lethal ammunition used.
With this advert shown to the right, women were
being promoted as a working class figure, opposed to
being a domesticated figure in the home, and were seen
to contribute at a viable level in regards to the war.
The strap line these women are doing their bit... learn
to make munitions almost makes those feel bad if they
dont participate or contribute in some way.
Women were slowly being allowed to work more and
more especially in times of need, and by using an image
of a woman rather than a war scene, the advert and its
message are much more engaging to the female
audience being targeted, allowing for empathy and a
sense of understanding.

Fig 18.

1917
Advert: Navy Recruitment.
The advert shown on the right, imitates the noted and
recognisable 1914 Lord Kitchener WW1 recruitment
poster, where by a female figure is shown to the right
dressed in the Navys uniform, as a promotion for further
applications.
The woman depicted is slightly windswept, slim, and
alluring to look at in her militant uniform; something not
seen before now by the world, nor males. This would
have been a major influence and enticing factor in
regards to males joining the Navy.
Women up until this point had been domesticated in
both their personal lives and in commercial imagery,
as well as depicted to be elegant, sophisticated and
shapely, yet were now being used as an overt marketing
tool for a major organisation to recruit for the War.
Using females to dress up in uniform for marketing and
advertising purposes here had only scratched the
surface, and would be a major influence for the
marketing of females and the female body in years to
come.
Adverts at this time were often about solving personal
and/or social problems.

Fig 19.

1918
Advert: Martini & Rossi.
This was not the first advert in which women were used
to sell alcohol.
Martini is known to be a feminine drink, and here is
promoted using an idyllic looking female, holding a
glass of liquor, with body language almost inviting the
audience to drink with her.
The woman appears to have a healthy figure, elegant
poise and classic taste in fashion, whilst wearing more
make-up than previously seen on advertisements. This
alone highlights the change in women taking notice of
their appearance in facial terms opposed to just bodily.

Fig 20.

1919
Advert: Lucky Strike.
Women were first used in the advertising and promotion
of cigarettes in 1919, whereby shortly after there was
public fury in regards to morals and ethical issues.
Seen as a status symbol at the time, as well as a tool
to stay slim by reducing ones appetite, cigarettes were
mainly purchased by those of middle or upper class. This
target market would of felt a desire to stay slim and
conform with the trends and conventions set out by
society, and therefore buy into such notions. The
number of female smokers rose 40% following the first
campaign shown to the right, featuring a female smoker.
Not only does the female used to promote the product,
allegedly smoke, she appears a female of beauty and
slenderness.
To promote this ideology that smoking would keep you
slim, the strap lines used, to keep a slender figure, no
one can deny and reach for a lucky instead of a sweet
further promotes the idea of these being a form of diet
which will in turn allow you to achieve this ideal figure,
or maintain the one you have.

Fig 21.

1920
Advert: Wrigleys Gum.
At first glance this advert appears to target women due
to its stereotypical pink colour palette. However, the advert is actually targeted at men whom are awaiting their
female companion according to the concept
derived. This is enforced by the strap line used, coming
enjoyment casts is shadow before whilst showing a slim
female silhouette with curves in the right places. This
promoted an ideal figure once again.
The 1920s marked both the roaring twenties as well as
a new freedom for women, with The 19th Amendment
to the Constitution being signed in the United States of
America, allowing women to finally vote, which in turn
allowed a new found freedom within advertising and
commercial imagery.
Women were close to becoming equal to men, and this
was used to manipulate the public, especially in regards
to exploiting women overtime to sell materialistic
products.

Fig 22.

Earnest Elmo Calkins, one of the original Mad Men of

advertising, persisted on the idea that puffery is used
in commercial imagery to portray a mundane, everyday
product, as something of beauty and mystery, as shown
with the Wrigleys advert.

1921
Article: Amercias Greatest.
This advert promotes Amercias ideal beauty at this
particular point in time, highlighting her as slim, with
short, cropped, perfectly tousled hair, rosy cheeks and
red lips, with silk lingerie and stockings as the promoted
look.
The look portrayed as the ideal is reminiscent of the
typical Flapper Girl look which would unknowingly
become very popular across the United States especially
with new found freedom for women.

Fig 23.

This article promotes several products through

mini-adverts, showing how one can achieve the look
shown by purchasing and wearing specific products and
brands.

1922
Advert: Hole proof Hosiery.
This advert uses a female figure, again promoting the
early fashions and accessories of American Flapper
girls. The female, noticeably slim and well put together,
is looking down at her stockings which are covered in
holes.
This unusual approach to advertising using emotion
to promote the product, being stockings, allowing the
viewer to understand why they should buy into the
brand, to avoid such unpleasant and inconvenient
problems as a woman, and especially as a Flapper Girl.
The advert uses a literal approach to promoting the
product, opposed to using the body.

Fig 24.

1923
Advert: Vivaudou Bath and Beauty Products.
The advert shown to the right, promotes a series of
beauty and bath products, which are promoted using a
woman adoringly gazing at herself in the mirror, with the
strap line irresistable to further entice the viewer.
Not only are the products irresistable, but so is the
female in the advert gazing upon herself.
Jacques Lacan, states that the theory of the female gaze
is built upon the concept that one can see oneself being
looked at, or looking at oneself, which is evident in this
advert. This is a theory which has been applied to many
advertising and pieces of commercial imagery and art
since Freudian times.
However some theorists have argued against this theory,
seeing the mirror as a tool of commercialisation
opposed to individualization as pressed by Lacan.
Sharlene Hesse-Biber stated in response, The concept
of a mirror gives us an analogy for how society fosters
womens obsession within their weight and body
image.

Fig 25.

1924
Advert: Hoover.
As Hoover became a household name, its advertising
became more persuasive in terms of model.
Still assuming the role of females in the household, this
advert plays on the concept of women still doing the
cleaning. and being domesticated.
Even so, the image portrayed by the female in the
advert, isnt that of servant, or maid, or even of a
housewife, it reflects that of a fashionable, youthful
Flapper girl who takes pride in her dress and
presentation.
This is one of the first published, commercial examples
of sexually-objectifying women to sell consumer
products, irregardless of the audience.

Fig 26.

1925
Advert: Visit Blackpool.
The advert shown to the right is a promotion for
Blackpool, a seaside town in the UK.
Even though the advert claims to be promoting the
seaside town and its tourist attractions, it shows little
other than a female figure, once again being used to
promote something, however this time being a location.
The female that has been chosen to represent the town
of Blackpool, is a slim, athletic figured young adult,
whom is wearing swim wear.
The swim wear worn is conservative yet revealing of the
body shape.
The idea of swim wear and the beach are both
reminiscent of Blackpool and its tourist qualities, and by
advertising this through the use of females would also
encourage and entice males to visit also.
At the same time, this offers the hope that the women
there will look like the women on the advert, and by
visitng the town and taking part in these activities you
could look and feel like that too.

Fig 27.

1926
Advert: The American Venus - Miss America.
Fay Lanphier was crowned Miss America in September
1926 and her body statistics became a standard for the
ideal 1920s female. The figure was reminiscent of
Hollywood at the time slim and athletic.
It was because of this title that Lanphier gained such a
public part in film The American Venus in 1926 also,
further encouraging women to aspire to be just like their
idol.
Not only did this set a very specific standard at an early
stage of the century, it proved that both men and
women bought into the fascination of idealism and
therefore perfectionism. By the advert highlighting the
key parts of the female body also, and mapping on her
bodily vitals this created extra pressure for society to
follow and fall in line with accordingly.

Fig 28.

1927
Advert: Munsing Wear.
This clothing advert from the late 1920s promotes
women whom have a much more athletic and sporty
build, as well as promoting more relaxed dress, or
modish styles as noted by Munsing.
Behind the female figure is what appears to be a large
medallion or coin from a sporting event, with the
strap line let Munsing wear cover you with satisfaction,
co-insiding with the idea of winning.
This also plays on the idea of if you wear Munsing
clothing you have a better chance of being a winner and
being satisfied.

Fig 29.

1928
Advert: Jantzen Swimming Suit.
This advert promotes a specific red swimsuit for women.
The woman stands out amongst the surrounding males
in the illustration whom are also, playing water polo.
As the only woman on the advertisement who is
engaging with the sport, this promotes a sense of
equality and freedom for women to actively play sport
at their own discretion and free will.
This is also emphasised by the figure promoted - slender
yet toned and athletic.
However the main target audience for this advert would
be for those with the same interests and figures as the
woman advertising the product due to a standardisation
of the ideal over the past couple of years.
The advert promotes the feeling of being active like the
model if they wear the same red swimsuit, as well as
having her body/the promoted body if they do so.

Fig 30.

1929
Poster: The Squall Film.
In this advert, the film is being advertised through a single
female character, who has a tangible role whereby the
art worker can sexualise her in order to entice viewers and
draw attention to the film.
The fantasy style illustration, draws up the ideal female as a
curvy, glamorous and sexy figure, one which represents the
future yet to come.
By dressing the information regarding the movie with the
illustration, the product being sold is surrounded by
mystery and beauty.

Fig 31.

1930
Poster: Bear Brand Luxury Stockings.
This advert embodies not only a desirable female, yet an
attitude oozing sex appeal and cheek, which was seen for
the first time through this advert.
Women wanted to please their husbands, asking for
stockings as presents. Was this a sign of sexualisation?
The females facial expressions, echo the conversation
which took place over the phone as noted on the advert,
allowing further sexual connotations to arise.
The woman featured in the advert has fair hair, which is also
a first as models often had dark brunette, or black hair. She
is also glancing downwards towards her left hip in a
seductive manner, with her back against a mirror. Lacan
would argue this is a sign of her exerting her self hood and
self-confidence, opposed to aspiring to be like someone
else.
With the female being so alluring and confident, by buying
into the product and the brand, the user would expect to
feel the same way also.

Fig 32.

1931
Advert: Ponds Creams.
This advert for Ponds beauty creams, showcases the
epitome of an ideal beauty at the time, showcasing the
power of commercial imagery.
The blonde haired female, boasts a slim figure, with a
tiny waist, and large breasts, perching with confidence
on a diving board over the sea.
She stares at the user with conviction and passion,
encouraging the user to buy into the product and use it
in order to achieve the look she has, along with the
lifestyle.
This again echoes the principal of using the female body
as a selling tool and method of manipulating the public.

Fig 33.

1932
Magazine Cover: Vogue US, July. Photograph by Edward
Steichen.
Not only does this magazine cover reflect a sporty,
athletic, slim and aspirational physique for the time, yet
shows the first photographic cover published by Conde
Nast.
Whilst the country was suffering the Great Depression,
Steichen pushed for photographed imagery to be used
for the covers of Vogue and Vanity Fair opposed to
illustration.
Using photography would shape the future of fashion
and commercial advertising, allowing different and at
times manipulated aesthetics and physiques to be both
pushed forward and promoted.

Fig 34.

1933
Advert: Evening Wear by Jenny.
The early 30s saw women become more conservative
once again in terms of their dress as WWII approached.
Many struggled for money, whilst some lived lavish lives
of luxury, as demonstrated on the advertisement to the
right.
Two very slender, tall women have been illustrated by
artist Paul Valentin, of the ideal figure associated with
females and elegant dress of the upper classes at the
time.
The attire the females are promoting is conservative, yet
flaunts their envious figures. So much so the female on
the right, appears to be glaring at the female on the left,
who with her hands on her hips oozes confidence and
pride in her appearance and body figure.
This is also another valued example of the Female Gaze
theory by one almost stares with jealously in the wish
they had that body, or that dress.

Fig 35.

1934
Advert: Lingerie by Kestos, Photographed by Scott Adie.
Not only did the 1930s see a rise in conservative
outerwear, or outer dress, their was an emphasis on
promoting the sales of underwear.
This advert in particular shows two young females
holding each other in a playful, and arguably sexual
manner. However, at the time sex wasnt a main priority
for men nor women a like, however using slender, toned
bodies, along with attractive faces made the promotion
and sales of these garments much easier.

Fig 36.

1935
Advert: Glamour the Perfume by Chanel.
The advert shown to the right is an early Chanel
perfume advert targeted at a young female, upper class
audience, whom can afford to buy into the brand.
The image portrayed of the woman is that of innocence,
with a delicate nature and a glamorous undertone.
This is what women wanted to achieve the feeling of by
wearing the perfume and buying into the French luxury
fashion brand of Coca Chanel.
By holding the flowers in the models hands, she is
almost holding the fragrance and contents of the bottle
in her hand, allowing a closer connection to the product,
whilst taking on a physical role.
Whilst remaining a soft photograph, the model comes
across sophisticated and elegant, as well as conservative
in terms of dress, allowing a sense of engagement and
empathy with the target consumer.

Fig 37.

1936
Advert: Visit Uruguay Poster.
The advert shown to the right promotes the ideal
summer in Uruguay.
Rather than using basic information to promote Uruguay
for its tourist attractions, the chosen method was to use
a female figure - like that of the Blackpool poster which
has been previously discussed.
By the woman waving at the audience, she is creating
a personal connection or relationship with the audience
whilst, enticing those visitors, whom would mainly be
male to visit in the hope of finding or seeing women like
her on the beach.
Using women to promote irrelevant products has
dominated advertising culture for years, yet appeared to
push its limits with vacation posters, especially around
this era.
However, the female in the advert, boasts a slim body
which was the promoted ideal at the time, whilst still
remaining both conservative and demure with her dress.

Fig 38.

1937
Advert: Visit Phillip Island, Victoria, Australia Poster.
Like the previous advert shown, by using a female
figure to promote an irrelevant product, marketing
experts kept up this fad the following year with an advert
beach in Australia, known for its Penguins.
The female in the advert, boasts a slim figure with curvy
hips and a plunging neckline, drawing attention to her
cleavage and the fact shes a young, pretty woman. This
alone is a contributing factor to the ideology behind the
advertising campaign, encouraging visitors to travel to
see Phillip Island, with the preconception that the Island
is full of women like her. Or furthermore, that you would
become her when you do visit the Island yourself.

Fig 39.

Using the female body as a marketing tool was

beccming more evident overtime, especially with how
their bodies were slowly being revealed more and more
over the years.

1938
Advert: Rigaud, a perfume by Feerie.
This advert, from a French perfumerie, Rigaud,
promotes their new scent in an unusual manner which
was far ahead of the time for the 1930s.
For the first time, a young looking female had been
photographed naked and used to advertise an everyday
product.
The image used, to make this less obvious is placed in
photograph frames and placed around the photography
set in order to create a more subdued aesthetic.
Furthermore this denotes that someone has been
looking at these photos, possibly as an influence or out
of sexual desire.
In regards to the female whom is naked smelling
flowers, this captures advertising of the present day at
an unpredictable period of time. Yet, being a French
product, the Europeans have always been more open
sexually than the British, and as sourced from French
Vogue, allows for that cultural crossover within
commercial realms.

Fig 40.

1939
Advert: Kelloggs Pep Cereal.
It was towards the end of the 1930s beginning of the
1940s, coinciding with the start of WWII, whereby
women were heavily domesticated as cooks and
cleaners within the household.
This advert epitomises this through the Kelloggs cereal
Pep which was known for being high in vitamins.
Both a male and a female are shown on the advert, in
stereotypical 1940s housewife attire, with the comic-like
speech bubble stating so the harder a wife works, the
cuter she looks promoting the cereal by having more
energy and strength to clean in order to please your
husband.
Not only does his advert create a stereotypical approach
to promotion, yet tarnishes females with domesticated
roles even more, when they were slowly gaining more
freedom and independence.
This advert again is a case of advertising the product in
order to solve a problem, and achieve an end result.

Fig 41.

1940
Advert: US Navy, Women Recruitment Poster.
Just after the start of WWII, women were actively
encouraged to join the US Navy as admin roles or as
nurses and on-site medics.
This is done however through the idea of objectifying
the female in a uniform, making her more of a sex
object than an influence in regards to career.
The role is made to look glamourous by her slim, yet
naturally cury body and her cheeky, demure, and sexy
body language/facial expressions. Using an image of an
attractive female, opposed to an injured male was more
appealing in regards of recruitment.

Fig 42.

1941
Magazine Cover: Vogue, US. Julys Summer Beauty Issue.
As women became more domesticated once again
housewives, whilst their husbands fought in the war or
worked, they had time to read and soak up fashion and
beauty advice from the likes of Vogue.
Not only does the cover shown to the right promote a
thin, youthful, sporty and athletic figure, but the cover
itself promotes this as the ideal images due to its
content and strap lines.
For example, Summer Beauty Issue and 3-Day
Beauty Plan promote ways in which to achieve this by
manipulating and physically changing your body to fit in
with this societal standard.
By following this plan, the reader or participant, would
expect to see the results as shown in the magazine,
whether they would be realistic or not. And furthermore,
by not following the plan one was made to feel unfitting
with the rest of society.
This would be the start of promoting diets and fad
exercise trends in order to achieve the ideal body
image on the covers of magazines, as well as slowly
dominating their content too.

Fig 43.

1942
Advert: Matson Line Cruises - Hawaii Ed.
As seen dominating advertising in the 1930s, the trend
of using women to promote holidays and locations was
re ignited by Matson Line Crusies with their advert to
travel to Hawaii.
This advert boasts a female figure, with a toned and
athletic physique. The female appears to be enjoying
the sun, with sporting activities taking place in the
background.
By using the female to promote the Cruise Line with
such an enticing smile and demeanour, they are
hoping marketing through females will entice travellers
and holiday makers a like.

Fig 44.

1943
Tour Guide Cover: Whitley Bay Official Tour Guide.
Similarly to the Cruise Line advert, this Whitley Bay
Official Tour Guide, supplied by the Council Office,
promotes the Bay with yet again a slender female, this
time in a two-piece swimsuit as woman began revealing
their bodies more.
This advert promoted the ideal body image of the
time, than advertise the attractions of the bay, apart
from catching a star fish which the woman featured is
shouting about.

Fig 45.

1944
Advert: War Production Co-ordination Company,
Howard Millers We Can Do It!
By the mid-1940s womens rights were forged from steel
during WWII by Rosie the Riveter, who is pictured in J.
Howard Millers advert shown to the right.
While men were at war, six million women took over at
industrial plants.
Rosies iconic feminist image appeared on magazines,
newspapers and posters, helping to increase womens
rights, earning power and acceptance into male trades,
rather than just be photographed in role in order to sell
a product or service.
American graphic artist J. Howard Miller helped forge
womens rights from factory steel during WWII.
Miller was hired to create a series of posters to support
the war. This was done by replacing men who had gone
off to war with women.
Overtime six million women began working at
manufacturing plants, showing how objectifying women
into roles has both social and cultural effects.

Fig 46.

1945
Advert: Jantzen Lingerie.
This advert promotes underwear through the well known
concept of being a natural beauty.
However natural the womans figure may, or may not be
though is the ideal many aspired to look like, and by
purchasing these delicate undergarments hopefully
would be one step closer to perfection and societies
expected image.
As more pressure mounted on society to look a certain
way, Jantzen stand true to be[ing] yourself which they
have attempted to potray through their advert. This is
the same for their advert previously noted and discussed
in 1928.

Fig 47.

1946
Advert: Prima Lingerie.
This advert once again re-introduces Freuds theory of
the mirror stage, whereby one recognises self hood
from 18 months when one looks in the mirror. Regardless
of age, by looking in the mirror we give our minds room
to exercise and manipulate our vision, encouraging dieting and physical bodily change.
When surrounded by adverts and commercial imagery
promoting an ideal body shape, the pressure can show
and women can fall into the trap which we have as a
society set up ourselves by encouraging advertising.
In response to such campaigns subliminally and
consciously affecting womens perception of their bodies, Jon Stratton (1996) claimed that, [with enough
work] people can construct the appearance they want.
Such understandings emphasize the visual, pointing toward a world of gazes and mirrors and spectacles where
the eye is the central sense and the body its major focus.
Such a world is distinctly modern.
This may be the case with dieting or what clothes we
decide to wear, in this particular case being underwear
which can shapes ones appearance and our subsequent
and important thoughts about oneself and our body
image.

Fig 48.

1947
Advert: J. Roussel of Paris Lingerie.
Towards the end of the decade, the female body image
began being promoted shows an slim, hourglass figure,
that is emphasised by a small waist, large breasts and
curvy hips.
This was the ideal which soon many women would
aspire to follow and be apart of.
The female used in the Roussel lingerie advert has her
hand raised towards her face, almost as if she is going
run it through her hair.
This shows the female in a subtly seductive manner. The
detailing on the womans clothes furthermore hint at a
feminine aesthetic and undertone, showing how one
can be graceful, elegant and sophisticated regardless of
what they are wearing.
This is another prime example of how the buyer
becomes the product being advertised.

Fig 49.

1948
Advert: The V-Lite Bra by Whirlpool.
This advert by Whirlpool echoes the points raised in
1947, whereby a woman is gazing adoringly and intently
at the audience, in the hope that women of a similar age,
would buy into the products also to achieve the same
visual aesthetic and tone.
It is important to note that this was Amercias Most
Asked For Brassiere at the time, hinting at the fact that
you could achieve Americas ideal body image by
wearing such product also.
Women were slowly becoming much more exposed in
terms of their bodies, especially in terms of exposure to
men.

Fig 50.

1949
Advert: Special Bath Size Palmolive Soap by Palmolive.
This advert promotes Bath Size Palmolive soap,
targeting Bare Skin Beauty, causing a sensation over
partly naked women. The female used to sell and
promote the product is a young woman, with blonde
tousled hair, and a two-piece swimsuit showing off her
figure and body shape.
The ideal being promoted through this advert, boasts a
small waist, large breasts and a tiny waist, keeping the
ideal similar in terms of societies expectations when
looked at in regards to the figure society have been
accustomed too.
By buying into the product, and using the soap, the
advert suggests you with be lathering yourself in
beauty so to speak, and that this look is the way
forward in regards to body image and shape, especially
in regards to attracting the opposite sex, as also
highlighted in the advert. This is the first time that
women were used as sex objects, allowing for men to
look down on them in a derogatory fashion.
Even though the advert targets women, the advert also
shows a future glimpse of how women would be
sexually-objectified through advertising and commercial
imagery.

Fig 51.

1950
Advert: J. Roussel of Paris Lingerie.
Once again, J. Roussel promoted their underwear
through a use of a group of females, all sporting a slim
yet naturally curvy figure and body shape.
By promoting the underwear through a series of female
figures, the brand highlights how all women should or
will look when wearing the J. Roussel underwear, which
in turn creates, promotes and advertises this particular
body image.

Fig 51.

Through showing more than one female figure, this also

allows for a comparison of bodies for the first time to
become evident in commercial imagery. However, in
turn this would create a sense of ease and empathy with
the target audience, allowing them to relate with the
female figures, by wanting to aspire to the ideal.

1951
Magazine Cover: Movie World, May 1951, featuring
Marilyn Monroe.
The 1950s marked the start of celebrity culture, whereby
icons such as Marilyn Monroe were being promoted for
their bodies opposed to their raw talent. Monroe
promotes how the body built a career, opposed to
promoting films as predicted noting the magazine title.
By promoting Monroes success through her body this
suggests that by looking like her, and following in her
footsteps, other women could also be
successful whether they are in the world of Hollywood or
not. Monroe quickly shot to stardom in the early 1950s
with her blonde locks, large breasts, and elegant, yet
curvaceous figure, creating sex appeal for the first time
amongst women. Her provocative photoshoots, and
engaging looks enticed worldwide fans, both male and
female, in a bid to be with her, or someone like her, or
even better, aspire to be her.
Magazine covers like this one for Movie World do not
mention the contents of the magazine, nor promote a
film, instead promotes a woman who is
sexually-objectified to allow consumers to fall in the
trap, a trend which would catch on over years to come,
especially in the hot celebrity world.

Fig 53.

1952
Advert: Chase & Sanborn Pressure Packed Coffee.
In the early 1950s, women became much more
accounted into the domestic housewife role, whereby
the role itself would sell and market the product
opposed to the body. The advert shown to the right
promotes the sense of being a good housewife, abiding
by the laws and rules of their husbands, or the man of
the house.
However, the way in which the advert is put together,
resonates what would be seen now as domestic
violence or abuse and would be frowned upon by
society, yet at the same time would scare the female
target audience into buying to the product to avoid such
occurrences, in turn allowing it to be a successful
campaign for coffee.
Not only does this advert highlight the obvious
differences between men and women in a domesticated
setting, but highlights the power of the male figure at a
time women were starting to work, claiming their
independence and initially standing on their own two
feet.
Therefore in summary this advert acts as a reminder
almost that men are superior to women, and you will do
as you are told in order to live the ideal marital life.

Fig 54.

1953
Magazine Cover: Life, December 1953. Featuring
Audrey Hepburn.
This magazine cover for Life magazine, features yet
another iconic celebrity as the main marketing too,
similarly to the Marilyn Monroe Movie World Cover from
1951. The main difference however being the
difference in the icon being promoted.
Firstly, Marilyn Monroe, even though around the same
period of time, had a much more curvaceous, and
feminine figure, opposed to Audrey Hepburns very slim,
slender, and petite body shape. Both had their own
background stories and thoughts regarding their body
image, however, Hepburn, overtime would become the
new Twiggy, and therefore the new Kate Moss, shaping
beauty, model and fashion culture for years to come.
Her petite, feminine and glamorous figure was envied
by many women across the world, coming across as
ladylike and charming in her roles and in real life.
This perspective of her was used as a marketing tool of
the magazine, showcasing Audrey at her most natural
state, wearing a white, oversized shirt and last nights
make-up creating that girl next door figure many saw
the ideal female aiming towards.

Fig 55.

1954
Centerfold: 1954 Playboy Magazine - Miss January Centrefold.
Playboy is an American mens lifestyle magazine that
features photographs of nude women as well as
journalism and fiction. It was founded in Chicago in 1953
by Hugh Hefner. Marilyn Monroe was the first centrefold
in 1953, and then became the cover star in 1954. The
idea behind this was to gain attention for Playboy as a
new brand using an already famous female, with a
successful career, yet stripped down and carefully
photographed in a manner which covers women with
sex. Monroe encourages women to adapt to this ideal
accordingly. By looking like Monroe, and feeling
glamorous like the Hollywood stars of the time, would
make women feel more attractive to men.
This was the first time that women were explicitly
sexually-objectified in order to sell a product, idea or
brand to specifically men. Most commercial images, had
been aimed at a female audience.
At this point in the 1950s, sexualisation of women was
becoming prominent in commercial imagery and
advertising, leading to a strong ideal physique which
for the first time could only be achieved through diet
and exercise.

Fig 56.

1955
Advert: Lys Noir by J. Roussel of Paris.
This lingerie advert by J. Roussel almost imitates the
advert created for the same brand in 1947, in regards to
the body shape, poise, body language and facial
expression of the model.
This particular advert for one-piece body suits, promotes
the unusual beauty of women, which echoes the idea
of being different to others, by not following the social
norms and conventions set out. The message being
promoted also tells the audience that it is okay to be
true to yourself, and by buying into the product shown
that will be evident to others.

Fig 57.

1956
Advert: Gant Evening Wear, Paris.
The advert shown to the right, is a prime example of
how a mid-decade, high fashion advert really bares no
relevance to the product, yet promotes the product
using a female figure the audience and target market
can relate with.
Using real women as slim models became even more
popular in the fashion industry, whereby illustrations
were phased out, only showing the reality of the ideal
body..
By promoting the classy evening wear, the woman used
to model the dress is sending a message to the viewer
that with a Gant evening dress, you can also look and
feel as she does, and perhaps feel just as important.
Satin as a luxury fabric was also introduced to women,
and left them feeling sheer, sexy and feminine, oozing
with sex appeal.
It is important to note that by the late 50s, women had
different role models and ideals to live up to, however
the overall aim of aspiring to this was to draw in
attention from the opposite sex.

Fig 58.

1957
Advert: Catalina Sportswear.
This late 1950s advert, is reminiscent of the 60s to come
due to aesthetic and tone of the photograph.
The female model used to promote the sportswear
brand, Catalina, shows off her sporty, athletic female
figure, with a low cut neckline, and a mini-skirt.
This was far from the elegant, clean and sophisticated
image that was previously put across by icons such as
Audrey Hepburn only a few years previous.
This retro aesthetic was to become a worldwide
sensation, creating a flirty, sporty look, men would
adoringly look at aspiring to be with, and women would
look at aspiring to be the model at hand.
This was also the first time strawberry blonde hair was
photographed and promoted as a statement of beauty
and fashion, allowing further equality and individualism
amongst women.

Fig 59.

1958
Advert: Chanel No. 5.
It is evident from glancing at this early Chanel advert
that glamour, Hollywood and feminine beauty were still
in tact, and promoted through the use of further
sexualising women.
The spray cologne product as noted in the
description on the advert is economical to use, and
luxurious to have allowing those who use the product
during air travel. This alone shows the product is for
those of an upper class, or social status, or simply those
who want to put forward the impression of understated
luxury, and quality products.
The female in the advert uses her upper body and facial
expressions to sexually, and seductively sell the product
to the chosen target audience, whom is essentially the
woman in the advert. The pose of the model spraying
perfume on her neck whilst adoringly tilting her head
back, and pushing her shoulders forwards seductively,
gives the buyer the indication they will feel and look as
she does by simply using the product. This would in time
become popular and commonly used strategy in these
types of perfume and beauty adverts. The idea behind
this was to show and to recreate the sensation and
feeling of applying the luxury perfume, Chanel No. 5.

Fig 60.

1959
Advert: Lou Dresses.
The advert shown to the right is a promotion for Lou
dresses, which promotes dresses that emphasise the
breasts, or chest as the strap line translates to.
The female in the advert, is gazing at the audience,
creates an instant impact and connection with a young
female audience.
The youthful beauty modelling the product, and
promoting the brand retains a slim figure which is
emphasised by the corset style bodice, shaping her
figure, whilst boosting her chest at the same time
creating a more exaggerated and womanly figure.
This is once again a simple and classic case of fashion
advertising through the hope of looking like and feeling
like the person modelling the product, which we have
associated as the ideal or right look.

Fig 61.

1960
Advert: Warners Lingerie.
The 1960s marked the beginning of an intense period
of diet-oriented ads targeting women in a bid to lose
weight and fit in with the new slim and skinny trend
which rapidly emerged at the beginning of the decade,
with the rise of icons such as Twiggy, dominating the
fashion industry.
This particular advert is taken from a weekly womens
lifestyle magazine, promoting a new range of
underwear which can help you to avoid being pear
shape. Warner tarnished this body shape as corpulent This is no shape for a girl!. Beneath this on the advert,
states a smaller strap line, claiming, thats why Warners
makes the Concentrate girdle and the Little Fibber bra,
suggesting without these you are not, and wont be, or
perceived as the ideal, slender woman societe expects
you to be.
Women were now being used in commercial imagery to
not only solve problems, but were being photographed
and placed across different types of adverts and
commercial imagery at a rising rate, with the results
becoming more literal, to the point and sexually overted.
It was now also becoming predictable in regards to how
advertising agencies were selling women and sex for
product sales and brand promotion.

Fig 62.

1961
Advert: LOUS Marine Lingerie Collection.
Lou launches its lovely ensemble is the strap line of
this lingerie advert, that promotes a Marine style
two-piece set, playing on the idea of role play and
sexualising females in masculine roles.
The advert itself does not need to state much in terms of
body copy to promote the products. The female model
used, is both waving and acknowledging the audience.
By doing so this creates an instant connection through
her gaze. She is intently focused on her audience,
promoting a slim, yet healthy looking physique.
Whilst targetng women through the lingerie lines and
the body image they could achieve by wearing this set
also, but targets men also through the females
sexualised role as a Marine.

Fig 63.

1962
Advert: American Airlines.
This particular advert is an early promotion for the
established international travel company, American
Airlines. The image embodies the true sense of the early
60s, in terms of the ideal figure and retro fashions,
encouraging mini-skirts, hot pants, short-shorts and big
smiles. Toned, slim women were made the face of
American travel, setting a beauty standard for cabin
crew at an early stage.
The beauty standard is one which has been adapted, yet
maintained overtime in regards to air travel. When air
hostess or cabin crew come to mind, the two
stereotypes that are prominent in the present day are
attractive, ditsy females or homosexual males.
Naomi Wolf (1990) summaries this point with the
following quote in relation to beauty and occupation,
Culture stereotypes women to fit the myth by flattening
the feminine into beauty-without-intelligence or
intelligence-without-beauty; women are allowed a mind
or a body but not both.
Back in the 1960s this profession was dominated by
female beauties, enticing clients, sales and satisfactory
service, primarily through their body, and their face.

Fig 64.

1963
Advert: Capezio Bags.
This particular advert is for a new Capezio handbag, an
Italian luxury brand.
At first glance the product seems almost unnoticeable,
being the same colour as the car the model is perched
against. However strategic this may, or may not be in
terms of clever product placement and marketing, the
eye is drawn to the model herself, who is seductively
staring at the audience.
Women were being placed more often in adverts that
consumers associated with them, for example, perfume
and handbags, opposed to cheese or tourist
destinations. This alone allowed for both advertisers and
photographers to be more playful in terms of concept
and art direction taken for campaigns. This allowed for
a more obvious approach to selling a brand and in turn
a product. This was a strategy that has since continued
into the present day.

Fig 65.

In regards to the models body image, no major or

noticeable difference is apparent between the previous
couple of years, maintaining a slim, and toned physique.

1964
Book Cover: Cocktail Guide by Southern Comfort for
Playboy Clubs.
With the major rise in popularity of the Playboy
magazine, the brand had expanded by the mid-60s to
a series of Gentlemans clubs around both the USA and
the UK.In return, women who fitted the Playboy bunny
look as seen on the right, were hired as drink runners
and hostesses at the clubs. Gambling sessions which
consisted of both drinking spirits and smoking cigars
were promoted as a social event by beautiful women
who would be at your full assistance all evening. The
Playmates, as they were/are still called, became the face
of the brand. This then allowed the perfect, ideal beauty
to be synonymous with a global power brand, which has
influence on both the women men want to be with, and
how women perceive themselves in turn as a result.
Furthermore, this standardisation across this one brand
meant that if you wanted to work for Playboy, or appear
in the magazine you had to look a certain way. This was
the first time in modern history such strict, cult like rules
were placed on women to follow. This sexualisation of
women as animals, or bunny rabbits, lead to a worldwide
sensation whereby women began being dictated by
men to taken on this role.

Fig 66.

1965
Tour Poster: Pied Piper.
This advert once again sexualises and objectifies
women in order to sell and promote an irrelevant
product, through stripping the singer down to her
underwear. It may promote the singer herself, but the
main promotion taken from this advert is that of her
slender, toned and boyish like figure which is the main
focal point at first glance.
As the 1960s progressed, bodies began slimming down
even more, and adverts became more sexual in terms
of body copy and innuendo in a bid to attract a male
audience. This is seen in this advert also - Follow me,
Ill show you where the action is!

Fig 67.

1966
Advert: MultiGlide Car Oil.
This advert is one which actively pushes the boundaries
in terms of sexually-objectifying women in roles where
they become prey for the opposite sex. In this case this
is due to the context the women are placed in.
Using a group of young, slim, toned, healthy, beautiful
women for an advert for car oil, takes the concept of the
F1 umbrella girls who would later become
associated as a sex symbols in relation to the sport, to
another sexualised level.
By transforming the FI trackside context into a
promotional photograph, this has confirmed the idea of
females being sexualised in male roles in order to
promote a product in an indirect and sexual sense with
full-on innuendo rather than a to the point sales manner.

Fig 68.

They do however have some relevance to the product at

hand, but minorly, therefore by using them to market a
primarily male product, opposed to using an image of a
car in which the product would be used on, it is obvious
that in fact, sex sells.The headline itself, 5 beautiful
things you can do to improve your car for 85p also
suggests that the product should or could be used
sexually in association with the 5 females modelling.

1967
Advert: Triumph Lingerie.
This advert poses an interesting concept whereby
Triumph play on the idea of being green with envy. The
woman who the troops are staring at posses at the time
the ideal body shape, which some may of found hard to
obtain or maintain.
The advert suggests that by purchasing and wearing the
slip dress as an under garment, that will give you the
perfect foundation to build the perfect body
image from. Not only does the advert emphasise how
the lingerie as being as the base of ideal beauty, but
of the worlds most beautiful giving the end user the
impression of being the epitome of perfection.
In addition to this point, the strap line if you dare to be
hated by women, suggesting that only the brave, the
fighters, will manage to succeed in winning the body
shoe wars.

Fig 69.

1968
Advert: Bermubas de Rosy.
The advert shown to the right is a promotional piece of
material for Bermubas de Rosy, a hosiery manufacter
brand.
The image put forward for the advert reflects that of a
vintage-style 1920s woman, relaxing after an elegant
and sophisticated night on the town.
Her relaxed and coy body language and intent glare at
the audience, promote a sexy, seductive undertone, that
is heavily supported by her lack of attire.

Fig 70.

1969
Advert: Aristoc Bridal Lingerie.
Reaching the end of the decade, women were still being
promoted in commercial material to have a slim,
slender, toned body, a pretty face and good fashion
sense.
This advert for Aristoc in particular, promotes the idea
of wearing the best lingerie, therefore feeling and
looking the best. This, as seen has been simultaneously
represented by the young female model in the image.
For instance, Aristoc are always worn to the best
weddings. Brides, bridesmaids, mothers and guests
prefer to choose the best. And that means Aristoc. This
summaries the nature of advertising at the time.

Fig 71.

Womens bodies were being exposed and exploited in

a more direct manner, however in this case, rather than
being overtly sexual and explicit, promotes the ideal as
an idyllic, innocent bride to be.

1970
Advert: Rosy Lingerie.
This lingerie advert by Rosy showcased the changing
ideal body image once again as the 1970s began. Even
though at the end of the previous decade, the ideal
was slim, and slender, it was apparent that the female
body continued to shrink in size.
It was more evident than ever before that womens ribs
and collar bones were exposed more than seen in
commercial imagery in the past. Furthermore the trends
of what was fashionable or not expanded to coned bras,
adding structure to petite, androgynous body frames.

Fig 72.

1971
Advert: Top Liberty Lingerie.
The advert to the right promotes Top Liberty Lingerie,
targeting the audience featured in the advert, creating a
sense of direction and empathy.
Two different models are shown, the one on the left
almost caught in action, with a slim, toned body,
sexualised by the lace lingerie and her body language
- she has she hand on her posterior as well as her lower
stomach. Her body along with her facial expression, give
the audience the impression of charm [and] seduction,
beauty as noted on the strap line.
The second model, shown on the strip of images on the
right hand side, again slender and toned, also posing in
other poses promoting the lingerie at different angles.
Not only this, but my forcing the product on different
models, this shows that the viewer can also look like this,
becoming the product and ideal being sold.

Fig 73.

1972
Advert: Sears Cling-alon Pantry Hose.
The advert shown to the right is for the staple piece,
Sears Cling-alon panty hose. The way in this has been
promoted is through the labelling of body parts, on a
grid-like system that highlights key areas of the lower
female body, in this instance, the legs.
This concept was carried out in regards to showing
problem areas and how the product, conceals and fits
perfectly, in order to achieve the ideal pair.
Modelled by a young, naturally pretty, long, blonde
haired beauty, buyers are shown how to achieve the
look, and be like the face of Sears.
Opposed to shooting the photograph of the model
stood-up, the model kneeling down. This enforces that
her posterior is visible in the photo, showing the shape
of her body, and using this asset as a promotional tool
also.

Fig 74.

1973
Advert: Jane Records.
This advert is a piece of promotional material for Jane
Records.
Even though the advert is promoting the company and
single put forward by R Dean Taylor, the female model
has been branded with the name Jane creating a face
for the brand so to speak.
Not only does this give the brand, Janes Records a
sense of identity, yet sets the beauty standards for the
brand and artists in order to sell more records.
In regards to the female whom is modelling the record,
she is only wearing a white t-shirt, an item of clothing
which would become synonymous with the Amercian
Girls Next Door visage many wanted to follow.
This in particular allowed for the female to be sexually
objectified in terms to sell a record, of whom she has no
relevance with, therefore Jane Records uses sex to sell
records, opposed to the values and meaning of the
music. The body shape being promoted also is more
natural than the very slender figures highlighted in the
previous years - the model has large breasts and
womanly hips, creating a new ideal for women to aspire
to be like.

Fig 75.

1974
Magazine Cover: Playboy, November 1974.
Playboy introduced further provocative ideas in regards
to sexuality and the way in which women were
objectified for the entertainment of men. This particular
1974 cover introduced the idea of women loving their
own bodies, and wanting to show them off. For
example, in this case, the model goes one step further
than seen before, and is photographed touching herself
whilst looking down at her breasts. By facing the mirror
the model gives the impression of a confident, beautiful
and a demure woman.
Ones reflection in both the mirror, and in the publics
eye can affect an individual in many ways. The affect one
has may vary depending on the individual, however the
noticeable aim is that women specifically, desire and set
goals to be something they are not, or even something
that is psychically unattainable.
This theory, along with Lacans Mirror Stage are evident
in the cover shown, and will encourage women to look
and act a certain way, whilst men are told this is how all
women should look, and therefore aspire to be with.

Fig 76.

This in turn creates a social and cultural problem within

itself, in regards to the vicious circle of seeking
perfection and idealism.

1975
Advert: Wonderbra by Gossard.
To the right shows the first ever advert which was
published promoting push-up bras by Gossard, which
were titled Wonderbra.
The advert advertises new wonderbras, which are
quite something as noted in the body copy.
Furthermore, Gossard claims, nobody understands a
girl like we do, pushing the idea that they know more
than other brands, and therefore arent to be trusted.
This was the first time that the idea of a push-up bra was
created and promoted, alongside a skinny, androgynous
female ideal which arose after this advert was published.
Breasts became heavily sexualised within Playboy and
even more so with advances in enlarging them through
clever garments, but who were we changing and
aspiring for? Ourselves, or those waiting for us at home?
The answers in the advert.

Fig 77.

1976
Advert: Penril Modem.
The advert shown to the right uses a young, slender
woman as a marketing tool in order to pull in male
customers.
The female modelling the Penril Modem, is placed out
of context, modelling and promoting an irrelevant
domestic and household appliances. This is reminiscent
of the early 1940s and 50s when women were heavily
domesticated into different roles in order to sell a very
specific product.
The strap line, versatile, dependable, compatible
(maybe even sexy) is an innuendo in regards to the
female, opposed to the product, yet disguises these as
values of the Penril Modem.

Fig 78.

1977
Advert: Cole of California.
This advert for swimwear from the American brand Cole
of California.
The strap line, never in history has mankind done so
much for so many, suggests that the swimsuit being
modelled has changed many lives in a positive way, even
though this may be for physical and aesthetic purposes,
opposed to being for the benefit of society, the
environment or the world.
What the strap line is suggesting however, is that no
other swimsuit or lingerie, has ever made a woman look
and feel as good.
The female model also boasts a slim, athletic and toned
body which was seen as the ideal of the time, especially
heading into the 1980s.

Fig 79.

1978
Advert: Christian Dior.
The advert to the right advertises newsworthy
swimwear from Roxanne, promoted through the French
luxury fashion line Christian Dior.
From glancing at the image, it is possible to see
glimmers of fashions of the 80s which are yet to come,
as well as the body shape which soon rise to be the
epitome of perfection.
Electrifying if Your Dior is the main headline for the
advert which promotes the idea that by wearing these
swimsuit you can be electrifying also.
In addition, the body language of the models is that of
confidence, fierceness and oozing, glamorous sex
appeal. Towards the end of the decade, women became
much more conscious of their clothing, beauty regime,
fitness plans and work-outs, in order to look and feel
good for themselves and their other halves.

Fig 80.

1979
Advert: Gianni Versace.
The advert shown to the right is a unisex denim advert
for Gianni Versace.
For the first time men and women were photographed
together in a overly sexual manner.
The two models that are stood upright are the main
focal point of the advert, promoting their bodies, and
subsequent garments through their poise, body
positions and interaction.
Not only is the female body promoted in a sexual
manner exposing the womans pert breasts and tiny
waist, yet for the first time promotes the ideal male
figure, which before this time had been pushed to one
side.
By buying to products and into the Versace brand,
adverts such as these gave the impression of who and
what you would be come.

Fig 81.

1980
Advert: Okidata Printer.
Similarily to the Penril Modem ad. of the 70s, this advert
for the Microline 80 Okidata Printer promotes the
product in a manner which objectifies the female model
as a specific role. In this case, an overly sexualised Santa.
Placing women in either domesticated or fantasy roles
has been a strategic advertising tool since the early
1900s, is a commonly used marketing tool put in place
in time for the Christmas trade.
The advert promotes the product as a present for a male
audience.

Fig 82.

1981
Advert: Calvin Klein, featuring Brooke Shields.
This advert for Calvin Klein jeans became one of the
most notable fashion ads of the early 1980s.
Featuring Brooke Shields, a beautiful, athletic, slender
and toned model who became the face of the brand for
several years to come.
Brooke Shields known for her girl next door image and
perfect body many aspired to achieve.
The subtle sexual undertones of the advert, including
Shields unbuttoning her shirt, and her bodily position
became equally synonymous with this ad. campaign,
and presented the ideal American 80s woman.

Fig 83.

1982
Advert: Joe Walsh Tours.
This advert for Joe Walsh Tours, is promoting the idea of
an annual summer holiday abroad.
The way in which this is done however, is through
promoting the destination as a location full of tanned,
toned, skinny women - no men are visible on the advert.
The imagery used for the advertisement is that of
stereotypical holiday activities on the beach, or by the
pool.
By using women once again to promote a location, it
gives the male audience the impression of what to
expect, and gives women an idea of how they should, or
could look on holiday. The female placed at the centre
of the advertisement however promotes that of a skinny,
androgynous figure, highlighted by minimal swimwear.
Swimwear itself has also noticeably changed over the
decade, developing from one pieces, to conservative
two pieces, to modern day pieces which are designed
to highlight and promote the breasts and the posterior
for example, opposed to conceal them.

Fig 84.

1983
Magazine Cover: Sports Illustrated, featuring Elle
Macpherson.
Sports Illustrated, was first published in the United States
of America in 1964, and promoted the male sporting
world.
The 1980s popularised high-cut lingerie and plunging
necklines, revealing a womens best assets.
Elle Macpherson was to become noted for her body
across the decade, and many women dieted and worked
out in order to achieve the same fit, fabulous and toned
body.
Sports for women were really pushed in the 1980s,
introducing yoga, pilates, swimming and beach sports.
The articles throughout the magazine not only covered
the sports events and surrounding issues through
journalism and photography, they encouraged women
to actively take part in sports, seeing it as a social event
and an opportunity to meet men.
In addition to the sports features, articles on health,
beauty and fitness were included throughout each
edition, along with photographs of women which not
only reveal their ideal bodies, yet promote their
sexuality.

Fig 85.

1984
Magazine Cover: Topp-Listan, Volume 3.
This is a Dutch advert for a compilation album which
includes 99 Left Balloons and Radio Ga Ga.
The album came in the form of a cassette, with an image
of this in the bottom right hand corner. The image on
the cassette shows a female whom is topless, translating
to the name of the compilation.
This was not the first time that the sex sells tactic had
been used to promote music related products,
whereby the models photographed bare no relevance
to the product. The ideal shape however remained the
same, emphasised by high-rise swimwear.

Fig 86.

1985
Advert: Chanel.
This was a generic promotion released by Chanel in the
mid-80s, promoting the brand and the classic Chanel
look which was worn and trademarked by Audrey
Hepburn.
This advert however, shows three teenagers stood in the
street, adoringly staring at a female, elegantly dressed
head to toe in the now stereotypical Chanel attire,
boasting youthful beauty and a skinny, petite body
frame.
This was the ideal body image at the time shaping
high-end, luxury fashion and the brands associated
image for years to come.

Fig 87.

1986
Advert: LOU Lingerie.
Do you love it? is the translated strap line from the
LOU Lingerie advert featured.
Photographed face-on, the breasts are the focal point of
the advert, drawing the viewers eye. In regards to this,
the strapline also poses the question of do you love the
body?
This along with the noted strap line creates a sensation
of confidence in her body and her appearance, which
reflects the target audience, whom may want to become
her, or look like her, by buying into the product.

Fig 88.

1987
Advert: Christian Dior Lingerie.
The late 1980s marked the first time luxury fashion
photography, involved a concept and art direction.
Furthermore, these were heavily considered in regards
to the message being relayed to the viewer and the
impact the advert is to have on them also.
For instance, with this Christian Dior advert for their
luxury lingerie line, the youthful, slim and beautiful
model appears to almost be jumping out of a gift box,
where she is seen as a gift, or a present to their other
halves.
This type of clever, yet almost manipulative marketing
and advertising strategy subtly influences the female
audience into buying the product, as well as convincing
males that this is what all women would look like in this
lingerie set if they bought it as a gift also.

Fig 89.

1988
Advert: Malizia Lingerie.
This French lingerie advert, takes a step back from
overtly sexy in terms of advertising strategy, and takes
on a much more demure, coy and subdued image and
tone.
The body image is still slim, slender, toned and
androgynous, bordering on boy-like, yet pushes a more
casual approach to dressing lingerie-wise, and promotes
that you dont have to wear your best lingerie to be seen
as attractive and ideal.
The female model shown is commercialised in a way
that promotes once again who the end user could be,
and how they could feel if they buy into the product and
brand at hand.

Fig 90.

1989
Advert: Budweiser.
This advert in particular, marked the end of the subdued
decade of the 80s and said hello, to the
hyper-sexualised decade that would continue on and
flourish through the 1990s.
As previously noted, advertisements show the audience
what or who they can become if they use the product
on offer, however overtime women were being used
primarily as a marketing and sales strategy to draw in a
male audience. This advert for Budweiser is the prime
example of this.
Advertising Theorist Baudrillard claimed in response to
this idea that it is no longer the territory that provides
the model for the map, but the map that defines the
territory, meaning that if people didnt follow adverts
such as these, then people wouldnt make more.
This proves that in reality society does not help itself in
terms of the ideal image that is promoted to a mass
audience, as it is pushed and driven by those who are
naive to fall into the trap who keep it going, which in turn
provides another commercial campaign to keep the
cycle going.

Fig 91.

1990
Poster: Elle Macpherson for Sports Illustrated.
This advert shows Elle Macpherson 7 years after her
cover for Sports Illustrated. She returned in 1990, yet in
the form of a pull-out centrefold poster.
Facially, she didnt look much different, still youthful
and beautiful,however in terms of her body shape, she
had lost considerable weight, leaving her hips almost
pretruding, even though she appeared to have much
larger breasts, hinting at plastic surgery.
The 90s was the decade of super-sexualised women,
the introduction to photo manipulation and a rise in
plastic surgery statistics in a hope to perfect ones body.

Fig 92.

Naomi Wold (1990) claims that Cosmetic surgery

processes the bodies of woman-made women, who
make up the vast majority of its patient pool, into
man-made women in turn creating a new species
which is evidently impossible to gain for all, yet aspired
to by so many.

1991
Advert: Wonderbra by Gossard.
After the first advert for Wonderbra in 1975, sales soared
as women wanted enlarged breasts without dramatically
changing their bodies, whilst adding sex appeal to men.
This advert from Gossard, promotes the idea and
concept that when one wears a Wonderbra, ones breasts
are so large you should say goodbye to your feet.
This strap line associated with the image provided,
encourages this concept even further, by the woman
happily looking down and smiling at her breast, almost
in amazement of the results.
Again this is a simple example of advertising whereby
the target audience is promoting the product,
showcasing what the end user could have.

Fig 93.

1992
Advert: Aubade, Feminine Lingerie.
This advert once again promotes sexy lingerie, this time
however, modelled by a slim, sultry, and demure model,
whilst on the left, a photo of a man and woman kissing
can be seen, associating the product as an intimate one,
or one that should be shared.
The advertisement not only promotes an ideal lingerie
for a specific occasion, or scenario, yet promotes the
female ideal of the time as a sex object nonetheless.

Fig 94.

1993
Advert: Versace, Atlier.
The 1990s promoted an androgynous, boy-like figure
for women to aspire to.
This began being popularised by luxury fashion brands
through international advertising campaigns and a wide
selection of models, ensuring the ideal ones were
booked.
Models were becoming more of a cool profession to
be, and many girls were aspiring to follow in the
footsteps of Twiggy for example, meaning the perfect
figure was imperative to succeed.
This advert promotes the skinny figure which was to
dominate the 90s. Stick like legs and protruding collar
bones were the sign of fitting in with the ideal beauties
of the time, as highlighted in this advert.

Fig 95.

1994
Advert: Chloe, Spring/Summer Campaign.
The fashion industry continued to develop, and
introduced as many different races as possible across
the years, ensuring diversity and equal rights within the
industry.
This is evident in the example, where a young, female
African model is used to promote a tribal themed
Spring/Summer collection for luxury fashion line Chloe.
At a time where body image and beauty were vital for
many people in terms of self confidence, relationship
building and keeping up with the appearances to
speak.
This advert reinforced a sense of diversity in a world of
ideal beauty.
At the same time as many perceiving individuals as
beautiful, the campaign still promoted a skinny and,
skeletal looking figure which continued to dominate
the media. In turn different forms of commercial imagery
began persuading society to conform to an ideal once
again.

Fig 96.

1995
Magazine Cover: British Vogue, January, featuring Kate
Moss.
This particular advert was one of Kate Moss first Vogue
covers and features the model posing naked on a
plastic chair.
Not only does this cover show Moss slender figure, it
plays on the concept of having nothing to wear. Kate
Moss would soon rise to model stardom for her subtle
youthful beauty, and perfect body - toned, skinny and
athletic.
Furthermore, the cover poses further questions and
strap lines for the audience to consider in relation to the
current trends of the time, in terms of, beauty, body and
shape. In addition, the strap line are you leaving it too
late to have a baby? pushes and promotes the idea of
being a young mum.
These are the sort of articles, along with make-up that
works which over the next decade would shape the
younger generations and cause major social, and
cultural influence globally.

Fig 97.

1996
Advert: Chanel Spring/Summer Campaign.
This advertising campaign for luxury fashion line,
Chanel, promotes the brand and the associated brand
image through their choice of model and subsequent
garments.
Like the previous Chanel campaign shown (1985), it is
apparent that they still have a strict image on the
women they choose to front the brand and the
campaigns - natural, slim and elegant. By choosing a
model with the same look and vibe, this allowed for
a connection and understanding of the brand values,
encouraging customers to want to buy into Chanel and
therefore become a graceful and upper class, elegant
woman.
Charles and Kerr researched into how the body is used
to control your feelings and emotions, which are evoked
through the clothing one chooses to wear, and their
body shape and size - Women are constantly trying to
reduce, or increase, their body size so that it will
conform to the ideal, abnormally slim conception of
female beauty which dominates our culture. At the same
time their social position is often one of powerlessness
and the body, something which can be brought under
control and which power can be exerted over, bears the
brunt of womens rage and feelings of impotence.

Fig 98.

1997
Advert: Calvin Klein Underwear.
Once again Kate Moss made an appearance for an
international advertising campaign wearing very little
clothes revealing her figure.
Moss was known at the time for her boy-like,
androgynous, straight and almost skeletal figure, which
can be seen to the right.
Towards the end of the decade, being skinny, or even
super-skinny became fashionable and on trend. Rather
than aspiring to the ideals of the 1920s through for
example, a new ideal standard was set for women to
aspire to reach, which was seen as unhealthy and
stick-thin. Furthermore, it was not only the product
people were being tempted into trying. At this point of
the 1990s, more imagery of both super-skinny and
photoshopped models surfaced on billboards and in
magazines, impacting many individuals in different ways.
With more people trying to reach the promoted
standard of perfection, society was promoting as the
ideal, women began crash dieting and heavily
exercising in order to see this results. Overtime this lead
to a rise in mental illnesses such as Body Dysmorphia
and Anorexia Nervosa around the world.

Fig 99.

1998
Advert: Dolce & Gabbana, Underwear.
Dolce and Gabbana took influence for this 1998
underwear advert, from the previously noted 1997
Calvin Klein advert in terms of tone, context, audience
and direction.
However, on this advert in particular a noticeable
skeleton can be seen with protruding ribs, hips, collar
bones and scarily skinny legs, yet was pushed as a
beautiful, alien-like figure.
This was the first time an Anorexic looking model was
used to promote lingerie, or any product for that
matter. Not only did this encourage women to want to
lose weight and exercise in order to look how society
expects us to. This however was now promoting an
healthy, unrealistic and unattainable physique.
In response to this new ideal, Westminster College
Professor Kasey Serdar claimed that only a small
percentage of women in Western countries meet the
criteria the media uses to define beautiful [even though]
so many women are repeatedly exposed to
media images that send the message that a women is
not acceptable and attractive if she does not match
societies ultra-thin standard of beauty.

Fig 100.

1999
Advert: Fragile Perfume by Jean Paul Gaultier.
This advert focuses on the idea of using a character as a
marketing tool.
At the same time however, the model posing in an
almost artistic manner, with caricature style features,
is reflecting the character associated with the French
brand, as seen in the perfume bottle, whereby a figure
of the model, or vice versa is displayed in a snow globe
fashion.
The pure elegance displayed through this advert
promotes the brand values, as well as the ideal which it
is associated with.

Fig 101.

2000
Advert: Be Stupid Campaign for Diesel.
At the start of the new Millennium, many women were
still aspiring to be skinny and fit in with the now normal
social and cultural conventions of the 20th Century.
Diesel injected fun, and lightheartedness to their
advertising campaigns, whilst promoting a much more
natural and healthy body image.
However, Diesel isnt seen as a high-end luxury brand,
and in turn has never beforehand, or since promoted
skinny models. The brand chose an alternate route of
using sexist comedy which in turn promoted healthier
physiques.

Fig 102.

2001
Advert: Dolce & Gabbana Perfume, featuring Gisele
Bundchen.
The Dolce and Gabbana advert from 1998 promotes
their lingerie collection through a skeleton-like model,
however for the perfume advert in 2001, only 3 years
later promotes the female as a sex-object once again,
whom is being caressed by her other half, in order to sell
the product.
This promotes the idea of scent as an attraction, in
regards to both men and women.
The advert also promotes Gisele Bundchens perfectly
toned beach body, once again promoting a skinny, and
unrealistic ideal figure for many.
Furthermore, adverts such as this one in particular,
denote not only how we should look, but the sort of
women that men aspire to be with to fulfil their sexual
fantasies and pre-conceptions of normal. Naomi Wolf
(1990) summaries this in the following quote, What
editors are obliged to appear to say that men want from
women is actually what their advertisers want from
women.

Fig 103.

2002
Advert: Spa Water.
This advert for Spa Water for the first time, takes a much
more unusual approach to advertising body image in
the 21st century, by promoting the body you are already
in opposed to changing it to fit in.
The strap line stay the way you are reinforces the point
and suggests the way to do so is by drinking water.
This is a health fad which many celebrities swore by in
the early 21st century, in order to detox and clear
toxins keeping them and their skin, clear and glowingly
beautiful.
Furthermore this advert promotes the idea of loving your
own body through photographing the model naked.
This would go on to then influence future beauty
campaigns, petitions and protests in regards to
supporting a natural, healthy body figure, at a time when
super-skinny was in and eating disorder statistics were
rising at a rapid rate.

Fig 104.

2003
Magazine Cover: French Vogue.
This 21st Century French Vogue cover shows how the
skinny ideal body can be sexualised and promoted,
without even opening the magazine.
In turn this allows for different audiences and age groups
to become susceptible to photoshopped imagery and
clever subliminal messages through fashion
photography.

Fig 105.

2004
Advert: Gucci.
In 1994, American fashion designer Tom Ford was
appointed the Creative Director of Gucci, whose sales
at the time were rapidly declining. In a bit to save the
luxury line, he brought in photographer Mario Testino,
and French stylist Carine Roitfeld. Between the years
1995 and 1996, sales increased by 90%.
By 2004, Tom Ford had successfully picked the label back
up and set it off on another flying start. Ford pushed one
final ad for Gucci promoting their S/S line through
sexually objectifying women, by trimming the females
pubic hair into a G, taken from the Gucci logo as the
advert itself contains no body copy for reference to the
brand, nor the product. The photograph is to speak for
itself, yet as they say a picture tells a thousand words.
Tom Ford then went on to launching his self-titled
clothing line, whereby his advertising campaigns
followed similar marketing strategies, whereby the
emphasis is primarily on the womans body. In this advert
however, the female body is heavy photoshopped,
allowed a perfect torso and slim, stick like legs, not only
promoting sex, but promoting an ideal which remained
consistent throughout the early years of the decade.

Fig 106.

2005
Magazine Cover: British Vogue, September, featuring
Kate Moss.
As years passed, magazine covers especially famous
fashion magazines such as Vogue, developed from
featuring little body copy to masses of information,
making sure the audience are aware of its content, in a
bid to catch their eye, or attention with a familiar topic,
or issue.
Vogue are notorious for advertising luxury brands, as
well as the idea of a luxury lifestyle and beautiful figure,
however, as noted, over the years changes considerably
depending on social, cultural and fashion trends.
This particular November cover features a very skinny
Kate Moss once again, promoting her tiny waistline and
skeletal chest as the new womanly allure, which once
again adds pressure to women to fall into this so-called
allure.

Fig 107.

2006
Magazine Cover: Playboy, featuring Jessica Alba.
Fashion magazines over previous decades had
promoted models and Hollywood icons as sex symbols
and women we should aspire to look like to also achieve
amazing careers and lifestyles. Playboy on the other
hand sexualised everyday women and celebrities in a
way like no other, swearing by nude photoshoots and
provocative art direction. This particular cover for
example, featuring actress Jessica Alba, is not promoted
for her talent as an actress, but for her sex star of the
year status. Not only promoting Jessica Alba, the cover
promotes the top 25 sexiest celebrities of the year,
allowing for a sense of hierarchy and ranking of beauty.
Katzmarzyk and Davis, examined changes in the bodies
of Playboy centre-folds over a period of two decades
(1979-1998). Contrasting examples are of Monroe and
Alba, whom feature dramaticly different bodies decades
apart, yet grace the cover of Playboy denoting the ideal
of the time. The results showed that there was a
significant decrease in the both models weights and
measurements with 70% of the women being
underweight and greater than 75% of the women were
less than 85% of their ideal body weight, therefore
shaping how men perceive women and the ideal body
shape.

Fig 108.

2007
Advert: Tom Ford Aftershave.
After leaving Gucci in 2004, Tom Ford made a success of
his new super luxury fashion line, where by his
campaigns followed similar marketing strategies and
concepts he had previously put in place for Gucci,
whereby the emphasis is primarily on the womans body.
This advert in particular is for mens aftershave, and is
promoted through a heavily sexually-objectified woman.
The female body is highly sexualised, promoting the
idea that her breasts are so large they can hold the
bottle of aftershave between them. By using this image
to promote the product, men will be instantly attracted
to the advert due to its overtly provocative and sexual
nature, including the models facial expression.
This advert however, promotes the idea of a womanly,
sexy figure being the ideal especially in relation to
attracting men, opposed to the super skinny ideal which
had dominated fashion over the past decade.

Fig 109.

2008
Advert: Michael Kors Sprint/Summer Campaign.
2008 marked the start of the Size 0 phenomenon which
would dominate the fashion industry, followed by
commercial media for several years to come.
The US Size 0 is the equivalent to a UK Size 4. Being a UK
Size 4 in terms of dress size, would mean having a 23 inch
waist, the same as an 11 year old.
The trend was prominent in high-end, luxury fashion
campaigns such as Michael Kors, who promoted their
garments and accessories through a lavish lifestyle and
super skinny legs, which would only continue to shrink in
the years to come.
It appears to the consumer, that one has to be like the
model in order to wear the product being promoted.

Fig 110.

2009
Advert: Mulberry, Autumn/Winter Campaign, featuring
Kasia Struss and Irina Kulikova.
The Size 0 trend continued to dominate fashion
campaigns and fashion photography, with celebrities
following suit adding pressure to the general public to
conform also. By 2009, whatever celebrities endorsed or
promoted, the public bought into. The Mulberry advert
shown however, promotes the trend which came after this
fad, Size 00, a UK Size 2. This is evident with the two
models featured in the campaign, whos skeletal structure
and muscles are prominent, encouraging a very slim,
dangerous and unhealthy figure.
Models and the fashion industry at the time were
suddenly being heavily criticised by the media in regards
to the unfit and unhealthy models promoting fashion to a
young, suspectable audience. This came just after Eliana
Ramos, and Hila Elmalich, both fashion models
suddenly passed away from Anorexia. Anna Wintour of
Vogue called for all international Editor-in-Chiefs to place
a ban on underweight models and those with an eating
disorder to prevent the promotion of such a damaging
figure, and subsequent mental illness.
Being skeletal however, was the face of fashion. You had
to be thin, to be in.

Fig 111.

2010
Advert: Unknown Fashion Campaign, featuring Isabelle
Caro.
This French fashion campaign featuring model Isabelle
Caro was published months before she passed away from
extreme Anorexia, at only 28 years old.
For years she had modelled for the worlds most famous
luxury brands promoting her emaciated frame, yet rose to
ultimate stardom when she decided to appear in a
controversial advertising campaign, No Anorexia.
This showed Caro with vertebrae and facial bones
showing under her skin in a picture by photographer
Oliviero Toscani, creating international awareness for the
illness.
By allowing Isabelle Caro to walk the runways and be
featured in magazines such as Vogue for so many years,
this gave both readers and viewers the impression, that it
is okay to be that slim, and perhaps ill, and in some ways,
made the illness look fashionable.

Fig 112.

2011
Advert: Lynx Deodorant, featuring Kelly Brook.
This advert highlighted the difference between the two
messages being promoted using women as a marketing
tool to sell a commercial product.
The first message being that women should look a certain
way, conform, be skinny, and toned in order to fit in with
the fashion trends and catwalk models many aspired to
be.
Whilst, the second message is that of wanting to appeal
to the opposite sex by using our bodies as sexual tools,
exploiting ourselves, or being exploited by others in
order to achieve an end goal. Therefore, in this advert,
Kelly Brook is disguised as a curvy, young angel, with
large breasts, curvy hips and a toned bum in order to
appeal to a male audience who would buy the product.
It is evident that using a female figure to attract a younger
male audience is often worthwhile for sales, yet
derogatory for the female, reiterating the point previously
made.

Fig 113.

2012
Magazine Cover: ESPN, The Body Issue, featuring
Candace Parker.
In 2012, American Female Professional Basketball Player
Candace Parker, made the cover of ESPN magazine in a
the body issue.
This cover refreshingly highlights the ideal body for a
female athlete, which showcases lean muscle, tone and
a healthy weight, as well as promoting a more masculine
figure. By photographing Candace naked, her body is at
its best showcasing the body of champions, whilst her
key tool covers her breasts.
This is vastly different to the adverts and magazine
covers from the previous decades, and promotes a
different outlook on the ideal body image.
Other women, such as those who play Sports for
example, may feel more comfortable aspiring to be like,
Candace, opposed to being compared to skeletal
women which grace the covers of fashion magazines.

Fig 114.

2013
Advert: Calvin Klein Underwear.
Similarly to the 1997 Calvin Klein advert featuring Kate
Moss, this advert takes on a similar direction in terms of
concept, and the ideal image.
The Calvin Klein brand are known for using overly
muscular, fit men, and very skinny, toned women in
their campaigns, especially for the original underwear
lines.
This advert, features a model photographed in black
and white, again like their other advertisements,
allowing the body to be seen for what it truly is with
additional highlights, shadows and tones.
It is evident that the model is very slight, with her ribs
and chest protruding. Brands over the years, had
adapted their ideal used for their campaigns according
to what is hot or not where as Calvin Klein remained
true to promoting a slender, fit, beautiful, muscular and
lean body image, whether this was achievable for the
general public, or not.
Even though this is not the average female body figure,
images such as this are one of the main contributing
causes to rise in eating disorders.

Fig 115.

2014
Magazine Cover: Paper, Winter 2014, featuring Kim
Kardashian.
In November 2014, Paper magazine launched their
newest issue featuring a naked Kim Kardashian in a bid
to show what a balancing act it is for a women to be
in todays society; whilst of course promoting her body
which has caused a worldwide uproar for years previous.
Photographed by Jean-Paul Goude, the series of
images taken of Kim Kardashian in Audrey Hepburn
style clothing, re-created his 1976 portrait of Carolina
Beaumont in which a nude, smiling black woman
performs the physically dubious Champagne trick. The
subject wears an exotic hairstyle and smiles for the
camera in the pose of a happy savage pleased to serve.
A primitive vision to provide pornographic pleasure
and intoxication presumably for a white male spectator.
stated Janell Hobson in Venus in the Dark, in regards to
the original, yet the philosophy remains the same.
Kim Kardashian may be trying to prove a point about the
difficulties of being a women in todays society, however
by doing so simply promotes her body and the idea of
being the ideal woman, role model and therefore
figure for society, women and young girls to look up to.

Fig 116.

Index.
Fig 1.
Christie Turlington for Calvin Klein Underwear, Oct 2013 (advert).
Available at: http://ftape.com/media/wp-content/uploads/2013/07/
Christy-Turlington_Calvin-Klein-Underwear_04.jpg
Fig 2.
Cola-Cola, 1990 (advert). Available at: http://en.wikipedia.org/wiki/
File:Cocacola-5cents-1900_edit1.jpg
Fig 3.
Snelgrove & Allens Clothing Sale, 1901 (advert). Available at: http://
www.nationalarchives.gov.uk/education/resources/selling-the-victorians/clothing-sale-1901/
Fig 4.
Justrite Corsets, 1902 (advert). Available at: http://www.adclassix.com/
ads/02gdcorsets.htm
Fig 5.
Domen Belt Corsets, 1903 (advert). Available at: http://www.fotolibra.
com/gallery/896024/advert-for-domen-belt-corset-1903/
Fig 6.
Sunny Servants Metal Boot Polish (advert). From: London News, March
1904.
Fig 7.
Groebel Beer. (advert) From: The Detriot Free Press, August 23rd 1905.
Fig 8.
Pears Soap, 1906 (advert). http://www.pinterest.com/mysoapbase/
vintage-soap-posters/
Fig 9.
Kelloggs Toasted Corn Flakes, 1907 (advert). Available at: http://
www.magazineart.org/main.php/v/ads/foodandbev/breakfast/KelloggsCornFlakes-1907A.jpg.html
Fig 10.
Zara, 1908 (advert). Available at: http://www.historyworld.co.uk/advert.
php?id=1435&offset=175&sort=0&l1=fashion+%26+clothing&l2=
Fig 11.
Marra Liquor, 1909 (advert). Available at: http://www.vintageadbrowser.com/alcohol-ads-1900s
Fig 12.
Jonteel Talcon Powder and Blusher, 1910 (advert). Available at: http://
www.vintageadbrowser.com/beauty-and-hygiene-ads-1910s/3

Fig 13.
A. Claverie Corsets, 1911 (advert). Available at: http://hprints.com/
Claverie_Corset_1911_Mona_Lisa-29117.html
Fig 14.
Kabo Corset Co, 1912 (advert). Available at: http://chuckmancollection.blogspot.co.uk/2014/11/ad-chicago-kabo-corset-company-live.
html
Fig 15.
H & W Brasseries, 1913 (advert). From: Vogue 1913.
Fig 16.
Flemings Farm Stock, 1914 (advert). Available at: http://www.nlm.nih.
gov/hmd/almanac/heyday.html
Fig 17.
Onyx Silk Hosiery, 1915 (advert). Available at: http://www.allposters.
co.uk/-sp/Onyx-Silk-Hosiery-Advert-1915-Posters_i6239225_.htm
Fig 18.
Munitions Factory Recruitment, 1916 (advert). Available at: http://www.
bbc.co.uk/schools/0/ww1/26439020
Fig 19.
Navy Recruitment, 1917 (advert). Available at: http://bluejacket.com/
usn_recruiting-posters_1863-1939.htm
Fig 20.
Martini and Rossi, 1918 (advert). Available at: http://www.multivu.
com/mnr/60949-bacardi-limited-martini-150-anniversary-vermouthitalian-sparkling-wine
Fig 21.
Lucky Strike Cigarettes, 1919. Available at: http://globalhealthequality.
blogspot.co.uk/2011/11/tobacco-advertising-and-product.html
Fig 22.
Wrigleys Gum, 1920 (advert). Available at: http://paulmufc.deviantart.
com/art/Origional-1920-s-Wrigleys-Advert-295084528
Fig 23.
Amerias Greatest (advert). From: Sears Clothing Catalogue, 1921.
Fig 24.
Holeproof Hosiery, 1922 (advert). Available at: http://www.textilehistory.org/VintageHosieryAds.html
Fig 25.
Vivaudou Bath and Beauty Products, 1923 (advert). Available at: http://
www.corbisimages.com/stock-photo/rights-managed/42-19930711/
vivaudous-mavis-toilet-preparations-advertisement-by-henry

Fig 26.
Hoover, 1924 (advert). Available at: http://hair-and-makeup-artist.com/
wordpress/wp-content/uploads/2013/05/1924-Hoover-advert.gif
Fig 27.
Visit Blackpool, 1925 (advert). Available at: https://www.flickr.com/photos/castlekay/4652260557/
Fig 28.
The American Venus - Miss America 1926 (advert). Available at: http://
sfsilentfilmfestival.blogspot.co.uk/2009/11/american-venus.html
Fig 29.
Munsing Wear, 1927 (advert). Available at: http://www.vintageadbrowser.com/clothes-ads-1920s/20
Fig 30.
Jantzen Swimming Suit, 1928 (advert). From: Vogue US, May 1928.
Fig 31.
The Squall Movie Poster, 1929 (poster). Available at: http://www.morangup.com.au/network/sign-in?back_uri=movie%2F169842
Fig 32.
Bear Brand Luxury Stockings, 1930 (advert). Available at: http://www.
vinmag.com/online/catshow/Art_Deco_Posters/art-deco-posters.html
Fig 33.
Ponds Cream, 1931 (magazine cover). From: Vogue US, June 1931.
Fig 34.
Vogue Cover (magazine cover). From: Vogue US, July 1932.
Fig 35.
Jenny Evening Wear, 1933 (advert). From: http://hprints.com/Jenny_Couture_1933_Evening_Gown_Fashion_Illustration_Paul_Valentin-8624.html
Fig 36.
Kestos Lingerie, 1934 (advert). Available at: http://hprints.com/adverts/lingerie/Kestos/
Fig 37.
Chanel Glamour Perfume, 1935 (advert). Available at: http://hprints.
com/Chanel_Perfumes_1935_Glamour_Photo_Munkacsi-46725.html
Fig 38.
Visit Uruguay Poster, 1936 (advert). Available at: N/A.
Fig 39.
Visit Phillip Island. 1937 (advert). From: The Library of Congress.

Fig 41.
Kelloggs Pep Cereal, 1939 (advert). Available at: http://hative.com/
vintage-ads/
Fig 42.
US Navy Recruitment Poster, 1940 (advert). Available at: http://www.
pinterest.com/acmk2005/navy/
Fig 43.
Summer Beauty Issue Vogue Cover, 1941 (magazine cover). From:
Vogue US, July 1941.
Fig 44.
Matson Line Cruises, 1942. (advert) Available at: https://www.flickr.
com/photos/29069717@N02/13410140693/
Fig 45.
Whitley Bay Poster, 1943 (advert). Available at: http://en.wikipedia.org/
wiki/Whitley_Bay
Fig 46.
War Production Co-Ordination Company, 1944 (advert). Available at:
http://www.artlex.com/ArtLex/p/poster.html
Fig 47.
Jantzen Lingerie, 1945 (advert). Available at: https://3.bp.blogspot.
com/-F0S_iifl-xY/VGJbD6OAINI/AAAAAAAAcSo/2fkpFFQ0e1o/
s320/20763-jantzen-lingerie-1945-hprints-com.jpg
Fig 48.
Prima Lingerie, 1946 (advert). Available at: http://hprints.com/Prima_
Lingerie_Ets_Bernard_1946_M_S_de_Saint_Marc_Girdle_Bra-11360.
html
Fig 49.
J. Roussel of Paris Lingerie, 1947 (advert). Available at: https://www.
flickr.com/groups/vintage_advertising/pool/with/13706227815/
lightbox/?rb=1
Fig 50.
V-Lite Bra by Whirlpool, 1947 (advert). From Vogue UK, March 1947.
Fig 51.
Palmolive Soap, 1949 (advert). Available at: https://www.flickr.com/
photos/retroarama/7163093977/
Fig 52.
J. Roussel of Paris Lingerie, 1950 (advert). Available at: http://hprints.
com/search/J-Roussel-Girdles/

Fig 53.
Movie World Cover featuring Marilyn Monroe (poster). From: Movie
World May 1951.
Fig 54.
Chase & Sanborn Coffee, 1952 (advert). Available at: http://moazedi.
blogspot.co.uk/2013/09/international-coffee-day-secretary.html
Fig 55.
Life Magazine Cover featuring Audrey Hepburn (magazine cover).
From: Life Magazine, December 1953.
Fig 56.
Playboy Magazine Cover featuring Marilyn Monroe (magazine cover).
From: Playboy Magazine, Janruary 1954.
Fig 57.
Lys Noir by J. Roussel of Paris Lingerie, 1955 (advert). Available at:
http://flickrhivemind.net/Tags/roussel/Interesting
Fig 58.
Gant Evening Wear, 1956 (advert). Available at: http://coutureallure.
blogspot.co.uk/2012/06/harvey-berin-dress-1956.html
Fig 59.
Catalina Sportswear, 1957 (advert). Available at: http://free-vintagenetwork.blogspot.co.uk/2012/03/50s-model-suzy-parker-photospart-1.html
Fig 60.
Chanel No. 5, 1958 (advert). Available at: http://champagneandstilettos.com/?attachment_id=7401
Fig 61.
Lou Dresses, 1959 (advert). From: Vogue US, October 1959.
Fig 62.
Warners Lingerie, 1960 (advert). Available at: http://hprints.com/adverts/lingerie/
Fig 63.
LOUS Marine Lingerie Collection, 1961 (advert). Available at: http://dmuntyan1215-dc.blogspot.co.uk/
Fig 64.
American Airclines, 1962 (advert). Available at: N/A.
Fig 65.
Capezio Bags, 1963 (advert). From: Vogue UK, March 1963.
Fig 66.
Cocktail Guide for Playboy, 1964 (book cover). Available at: http://
thevodkaparty.com/drinks/barmate-southern-comfort-with-playboystyle-1964/

Fig 67.
Pied Piper Poster, 1965 (advert). Available at: https://www.flickr.com/
photos/54664152@N02/favorites/with/5092854190/lightbox/
Fig 68.
MultiGlide Car Oil, 1966 (advert). Available at: http://www.panspeople.
com/?q=node/677
Fig 69.
Triumph Lingerie Ad, 1967 (advert). Available at: N/A.
Fig 70.
Bermubas de Rosy Ad, 1968 (advert). Available at: Vogue US, March
1968.
Fig 71.
Aristoc Bridal Lingerie, 1969 (advert). Available at: http://vintageweddingfair.co.uk/2014/06/05/1969-wedding-lingerie/
Fig 72.
Rosy Lingerie, 1970 (advert). Available at: http://hprints.com/adverts/
lingerie/Rosy/
Fig 73.
Top Liberty Lingerie, 1971 (advert). From: Vogue US, September 1971.
Fig 74.
Sears Cling-alon Panty Hose, 1971 (advert). Available at: http://www.
thejumpingfrog.com/?page=shop/browse&offset=760&category_id=
1366&fsb=&featured=&keyword=&searchby=
Fig 75.
Janes Records, 1973 (advert). From: Janes Records 1973.
Fig 76.
Playboy Magazine Cover (magazine cover). From: Playboy Magazine,
November 1974.
Fig 77.
Wonderbra by Gossard, 1975 (advert). Available at: http://www.gossard.com/About-Gossard/Heritage
Fig 78.
Penril Modem, 1976 (advert). Available at: http://www.hongkiat.com/
blog/vintage-tech-ads/
Fig 79.
Cole of California, 1977 (advert). From: Vogue US, June 1977.
Fig 80.
Christian Dior, 1978 (advert). Available at: http://hprints.com/adverts/
lingerie/Christian-Dior/
Fig 81.
Gianni Versace, 1979 (advert). Available at: http://www.versace.com/
en/history

Fig 82.
Okidata Printer, 1980 (advert). Available at: http://1980computer.
blogspot.co.uk/2012/03/okidata.html
Fig 83.
Calvin Klein, featuring Brooke Shields, 1981 (advert). Available at:
http://edoublem.blogspot.co.uk/2010/08/calvin-klein-brooke-shieldsad-circa.html
Fig 84.
Joe Walsh Tours, 1982 (advert). Available at: http://brandnewretro.
ie/2011/11/02/old-adverts-23-joe-walsh-tours-1982/
Fig 85.
Sports Illustrated Cover featuring Elle Macpherson, 1983 (magazine
cover). From: Sports Illustrated, Feburary 1983.
Fig 86.
Topp-Listan, Vol 3, 1984 (advert). Available at: http://flashbak.com/
selling-the-sizzle-10-sextacular-music-ads-from-the-60s-70s-and80s-18750/
Fig 87.
Chanel S/S Campaign, 1985 (advert). Available at: http://styleregistry.
livejournal.com/99143.html
Fig 88.
LOU Lingerie, 1986 (advert). Available at: http://hprints.com/Lou_Lingerie_1986_Bra-38834.html
Fig 89.
Christian Dior Lingerie, 1987 (advert). Available at: http://hprints.com/
adverts/lingerie/Christian-Dior/
Fig 90.
Malizia Lingerie, 1988 (advert). Available at: http://hprints.com/search/
Malizia-Lingerie/
Fig 91.
Budweiser, 1989 (advert). From Spin Magazine, 1989.
Fig 92.
Sports Illustrated Centrefold featuring Elle Macpherson (magazine
cover). From Sports Illustrated 1990.
Fig 93.
Wonderbra by Gossard,1991 (advert). Available at: http://beta.thesun.
co.uk/sol/homepage/woman/5500129/The-uplifting-history-of-Wonderbra-as-new-campaign-launches.html

Fig 94.
Aubade Feminine Lingerie, 1992 (advert). Available at: http://www.aubade.co.uk/
Fig 95.
Versace, Atlier 1993 (advert). Available at: http://blog.roberttimothy.
com/2013/04/Look-back-British-Vogue-Magazine-1993-Nick-KnightLinda-Evangelista-Versace-Testino-Helena-Christensen.html
Fig 96.
Chlue S/S Campaign 1994 (advert). Available at: http://fashionindustryarchive.com/Campaigns/Chloe-Campaign-SS-1994-Naomi-Campbell-by-Karl-Lagerfeld/
Fig 97.
Vogue Cover featuring Kate Moss, 1995 (magazine cover). From:
Vogue UK, Janurary 1995.
Fig 98.
Chanel S/S Campaign, 1996 (advert). From: Vogue US, March 1996.
Fig 99.
Calvin Klein Underwear, 1997 (advert). Available at: http://www.tatler.
ru/dress-kod_14/fashion-telegraf_26/278968_kristi_tarlington_dlya_
calvin_klein_underwear.php
Fig 100.
Dolce & Gabbana Underwear, 1998 (advert). Available at: N/A.
Fig 101.
Fragile Perfume by Jean Paul Gaultier, Gisele Bundchen, 1999.
(advert) Available at: http://hprints.com/Jean_Paul_Gaultier_Perfumes_1999_Fragile-24416.html
Fig 102.
Be Stupid Campaign for Diesel, 2000 (advert). Available at: http://
www.theguardian.com/media/2010/jun/30/diesel-asa-advertising
Fig 103.
Dolce & Gabanna Perfume, featuring Gisele Bundchen (advert). From:
Vogue UK, March 2001.
Fig 104.
Spa Water, 2002 (advert). Available at: http://www.coloribus.com/adsarchive/prints/spa-1985-2002-5541655/
Fig 105.
Vogue Cover (magazine cover). From: French Vogue 2003.

Fig 106.
Gucci, 2004 (advert). Available at: http://www.thefashionspot.com/runway-news/167663-the-golden-years-a-look-back-at-tom-fords-monumental-legacy-at-gucci/
Fig 107.
Vogue Cover featuring Kate Moss (magazine cover). From: Vogue UK,
September 2005.
Fig 108.
Playboy Cover featuring Jessica Alba (magazine cover). From Playboy,
March 2006.
Fig 109.
Tom Ford Aftershave, 2007 (advert). Available from: http://models.
com/work/tom-ford-tom-ford-for-men-fragrance-2007
Fig 110.
Michael Kors S/S Campaign, 2008 (advert). Available at: http://fashionforlinda.blogspot.co.uk/04/michael-kors-adverts.html
Fig 111.
Mulberry A/W Campaign, 2009 (advert). Available at: http://womenmanagement.blogspot.co.uk/2009/07/mulberry-fall-2009-campaignpreview.html
Fig 112.
Isabelle Caro, 2010 (photo). Available at: http://www.fanpop.com/
clubs/celebrities-who-died-young/images/29386897/title/isabellecaro-12-september-1982-17-november-2010-photo
Fig 113.
Lynx Deodorant, featuring Kelly Brook, 2011 (advert). Available at:
http://old.gamegrin.com/game/news/2011/kelly-brook-wants-togive-you-something-for-the-weekend
Fig 114.
ESPN Cover, featuring Candace Parker (magazine cover). From: ESPN,
The Body Issue 2012.
Fig 115.
Calvin Klein Underwear, 2013 (advert). Available from: http://ftape.
com/media/?p=66741
Fig 116.
Paper Magazine Cover featuring Kim Kardashian (magazine cover).
From: Paper Magazine, Winter (November) 2014
Cover.
Vicoria Secret A/W Campaign 2014 (poster). Available at: http://eatthecakeblog.com/2014/07/08/aeriereal-the-real-you-is-sexy/