Laundrette - Postmodern Advertising?

A key element in post-modernist advertising is that the whole persona and identity of a brand is just as, if not more important than the product itself. This is seen almost instantly as the focus of the advert is on the main male figure (Nick Kamen) right from the start, rather than the pair of jeans he is wearing. 

Nick Kamen was brought to the public's attention in 1984 as he was placed on the front cover of The Face, a British music, fashion and culture magazine. This instantly made him become an icon for men and a fantasy for women, which is exactly why BBH chose him as the main focus for the ad. Appealing to the emotions was key for post-modernist advertising and throughout the spot Nick's body language signifies a strong sense of confidence, something every man would want. As well as this they way in which the other characters look at the main figure varies dependent upon sex as the two young males stare over the top of the machine with an intimidating look, suggesting that they may in fact feel threatened by the main figure. This connotes that he is an alpha-male, which is then reinforced when the women stare at him with lust in their eyes, he is the top prize. Therefore a pair of Men's jeans were targeted at a wider and unusual audience, women. Women would want Men to wear the jeans in the hope that they would transform in to Nick Kamen instantly. As well as appealing directly to the emotions, post-modernism was also know for defying an absolute truth. Which is exactly what is suggested when the main figure pours stones in to the machine. This is an exaggeration and more of an engaging way in describing the product, making it more memorable whilst communicating it clearly. A technique which is still used to this very day in advertising. 

An example of this is the Smirnoff - Apple Bite spot as it focusses on identity, making it appear as though it is the drink you need to have to stand out and be more exciting. 

Picturing a rather plain couple, looking in amazement at the joyous experiences of others this ad also uses jealousy to appeal to the audience. As well as this there are certain forms of semiotics that are used to exaggerate the key aspect of the Apple Bite. For example, the fire extinguisher is used as an objective correlative, symbolising the the bursts of flavour and excitement you are about to receive. As well as this the snakes are used to signify the venomous power of the flavour and the instant noticeably sharp taste. A snake is also an exotic animal, it's exciting and very distinct in it's appearance, a direct contrast to the main couple reinforcing the need to drink Smirnoff and become more exciting. Even the music that is used is representative of the sharp taste, the crude notes being played on the guitar are overpowering the rest of the band, once again standing out in a more exciting fashion. This is simply reinforced again by the colour of the guitar, the bright green relates directly to the apple whilst standing out from the rest of the band relating to the brand identity of being unique. 

-(2013). Smirnoff "Smirnoff presents: the Apple Bite" by Mother London. Available: http://www.campaignlive.co.uk/thework/1211177/. Last accessed 19th Jan 2014.

Smirnoff - The Effect is Shattering 1970's

'At one time Smirnoff developed a classic series of ads based on the proposition that the effect of drinking it was shattering enough to end your career in accountancy career and turn you to liquor and cigars, for example. Then it turned in to a long-running campaign that implied that the drink helped you discover your 'other' (often somewhat more hedonistic) side.' (Johnson, p 49, 2012)

The idea of pursuing maximum pleasure was at the forefront during the 1970's, the decade which saw DIY and punk culture take centre stage due to high unemployment rates. These advertisements in particular are reflective of that as they capture the rebellious nature of the time, especially within the end-line, "The effect is shattering." This provides anchorage for the images, showing their willingness to break away from the silent majority. In the image on the left the synecdoche is used in direct opposition to the copy above, highlighting the drastic change in her lifestyle as a Library is presumed to be quiet and boring, limited by rules, whereas the the farm/rustic setting signifies a more interesting lifestyle where everything is more laid-back and relaxed, you can do what you want. This is also signified within her body language, as she appears relaxed and without any major cares. Similarly in the image on the right, the male also appears to be relaxed and doing what he wants. However the use of other figures in this image is intelligent, as one of the men stood behind the main figure appears to be staring at him, signifying jealousy, he wants to be like this man.

Contextually, there are similarities between now and the 1970's, the main ones being economic recession and high unemployment rates. I believe this can be seen within Smirnoff's advertising, take the 2013 'Yours for the Making' campaign for example. It is encouraging the resurgence of a new DIY culture, inviting people to be creative with their choices to create new nightlife experiences. 

  

The spot in particular uses a variety of situations that signify a rebellious nature, similar to that of the punk era, in which people are creating new experiences for themselves and breaking away from the silent majority. Once again this is reinforced by the end-line 'Yours for the Making' which clearly communicates the idea of doing something for yourself and steering away from the flow of the masses. As well as this the heavy use of the colour red in almost every scene is used as an objective correlative, relating directly back to the colour of the bottle, highlighting it's influence in every aspect of your life, informing you that you need to drink Smirnoff to stand out. 

- Johnson, M (2012). Problem Solved. 2nd ed. New York: Phaidon Press. 49.

- Eleftheriou-Smith, L. (2012). Smirnoff breaks £7m 'Yours for the Making' campaign. Available: http://www.campaignlive.co.uk/news/1153157/. Last accessed 19th Jan 2014.