Netecha Elizabeth
Kamyanets-Podilskiy Ivan Ohiienko National University
Scientific Supervisor: Nykytiuk Svitlana Ivanivna, a Senior Lecturer
EASTERN VS WESTERN FRAGRANCE ADVERTISEMENT
THROUGH THE PRAGMATIC LEVEL OF SEMIOTICS
The concept of perfume advertising has a long history to itself, starting from scripts on scented bottles or signboards in ancient Rome, to the first close to modern TV commercials in the 80-s and it`s not the end yet. The two main rivals in today’s perfume advertisement world are the so-called “west” and “east” cultures. Caring out different signs, motivations, and peculiarities, they managed to intertwine and create a strong bond within the last 10-15 years. More western brands are directing their projects toward the East, seeking a new marketing field. Asian brands at the same time are orienting their promotion on western countries and experiences. Nowadays, big brands are facing stiff competition from these so-called cult brands as consumers lean towards a more personalized and intimate fragrance experience. They are most heavily influenced by the digital landscape, as the report of Bluebell’s Lifestyle Consumer Profile study said [2].
In this study, we will focus on the pragmatic level of semiotic analysis in western and eastern fragrance advertisements. The term “pragmatics” was introduced at the end of the 30s of the XXth century by C. W. Morris to designate one of the three sections of semiotics [1, p. 32]. Pragmatics studies the relationship of sign systems to those who use them, the conditions of use, and language signs as a means of establishing mutual understanding between people.
As the “west” has developed fixed models for men and women in perfume ads, dictating the rules of portraying a typical western society image for both genders, based on cultural and sexual conventions established by Gucci, Versace, Giorgio Armani, Dior, etc. In the Eastern market, however, these conventions weren`t so restricted and it`s the first difference, the observer may notice.
For example, a cliché advertisement for the western consumer may be considered the DIESEL “Only the Brave” [3]. In the video, an attractive young man is struggling to achieve a three steps structure of male ascendance: “passion, boldness, strength”. The commercial stars Liam Hemsworth, shown as appealing to women as well. His inside monologue convinces us: that in order to become an “ideal man” you should challenge yourself with a girl – “passion”, with a wolf, – “boldness” and a cement hard wall, that he should break in order to gain “strength”. Therefore, when one purchases the perfume, he can associate himself with a role model, and get all three points done: a girlfriend, success, and strength. What else a man would desire, or what other kind of man would be appealing to the women`s standards?
However taking a view of the eastern perfume advertising, it becomes clear, that there is no such strict differentiation between gender roles. Compare: “Still night fulfilled with the scent of floral that captures the timeless moments” (Stillnight. ENLEE) [4]. This advertising was composed for male audiences as well, nevertheless, such tender images portray the potential consumer as gentle, and vulnerable. He doesn`t have to break walls or tame a wolf to be happy, the simple “timeless moments” with the loved one are enough for him to be happy.
In terms of language and structure, we may observe a fusion of different experiences and images, which reflect the mentality of the brand producer and consumer. Researching the current brand of Tom Ford we have noticed that the most important thing for the brand is the usage of “experience” when the customers interact with the company. As the first step towards globalization, Tom Ford together with Partner Lane Crawford Joyce Group plans to open at least 87 franchised stores over the next 10 years, in Japan, China, Hong Kong Taiwan, Singapore, and Indonesia [5]. The example of his advertisement for male perfume reaching direct toward men revolves around the idea of men dressing and behaving in a certain way: “Classic. Sharp. Maverick. Beau de Jour presents the perfectly groomed gentleman, who considers every detail but beneath the surface is something deeper – refreshing and sublime in all its layers” (Beau de Jour) [6]. The use of elevated expressive language, the concrete structure of the advertisement, indicating the target audience, and portraying their visuals, show us the typical image of a male in western society. However, there is no role model in the video itself, only the shots of ingredients in the aesthetic background, which is more of an eastern style to represent the product.
Maison Dixsept, launched in December 2020 by founder and creative director Catherine Zhou is expected to reach highs and its product sales are gaining momentum. Mainly because of partnering with Symrise AG – a major producer of flavors and fragrances, based in Germany. The advertisements they created are useful in terms of linguistic, semiotics, and international cultural experience exchange. We may observe a stunning fusion of European and Asian legacies and cultures. The names of scents themselves serve as markers: “Shanghai Vibe” directs us to the vibe of a highly developed, modern Chinese city with endless tradition, and “Sway with Me” in its turn gives the reference to the famous song “Sway with Me” by Frank Sinatra. Such symbiosis is seen also in the language and references in advertising. The image of the “Shanghai Vibe” perfume is represented by a model with European features, wearing very neat and appealing eye makeup in the style of 60th. This feeling of exotic freshness and complicated combination carries out through the text too: “The balance of sweet and sour, of freshness and floral delicacy. The natural mandarin from Madagascar at the top brings the zesty, citrus, aldehydic touch. The beautiful osmanthus at heart recalls the sweetness. A juicy, apricot, plum, dry fruity flower. The rose absolute reigns, fresh, green, honeyed to perfection” [7]. Almost every sentence contains one or a few ingredients, subsequently leading to the emotions, they carry. The structure is stiff, repeated on the level of the sentence and cognitive perception, gradually building up some image in the mind.
If we take into account the different cultures in these and other ways, including the level of economic development, it is clear why consumers in different countries show distinct ways of making purchasing decisions, attitudes toward advertising, behavior, etc. And creators of fragrance advertisements composing a text for the global market, have to deal with such peculiarities and differences: gender roles; minimalism vs. flamboyant, luxury style, mass consumer or niche small brands, eastern/western references, an appropriate language, integral use of imagery and signs.
REFERENCES
- Бондаренко. О. М. Особливості перекладу рекламних текстів (стилістичний аспект). Наукові праці історичного факультету ЗДУ. Запоріжжя : Просвіта, 2007. 90 c.
- Bluebell’s Asia Lifestyle Consumer Profile study URL: https://bluebellgroup.com/insights/asia-lifestyle-consumer-profile/
- DIESEL “Only the Brave” Official website URL: https://global.diesel.com/man/perfumes/
- ENLEE Official website URL : https://twitter.com/enleeofficial
- Dubaichronicle “Lifestyle at Glance” 11.10.2008 URL: https://www.dubaichronicle.com/2008/10/11/dubai-mall-fashion-avenue-luxury-brands/
- Tom Ford Official Website URL: https://www.tomford.com/beauty/fragrance/discover-private-blend/
- Maison Dixsept Official website URL: https://maison-dixsept.com/