Classic Perfume Essay Example

their ability to express themselves. Women's magazines feature advertisements that highlight how wearing a specific fragrance allows women to embody different personalities. However, it is essential to recognize that each woman has her own individual preferences and interests when it comes to perfumes. The success of a perfume advertisement largely relies on its capacity to appeal to its intended audience. For example, athletic women and elegant conservative women are likely to have distinct fragrance choices, just as the taste of a teenager would differ from that of a 50-year-old woman.

Various techniques must be employed by advertisers to market women's perfume, appealing to different styles and identities. Advertisements depict diverse relationship types - romantic, familial, or friendly - as well as social indicators like masculinity, femininity, race, ethnicity, age, ability, and sexual orientation. Thus, advertising mirrors society and aims to create a familiar and relatable image (McCracken, G. 1990). Within the broader framework of consumer society encompassing production and consumption aspects in entirety, advertising serves as a specific medium for communicating verbal and visual messages on product integration into consumers' lives. Advertising takes various forms such as television ads, billboards or magazine ads but ultimately seeks to sell products. In present times, many perfume advertising campaigns prioritize simplicity.

The ad campaigns for Clinique's perfume showcase a compelling example of this theme. They conducted a survey of teenagers called "Happy." In the survey, a girl can be seen wearing a sleeveless turtleneck jumper. Although her face is partly hidden behind the turtleneck, her smile is evident. The advertisement's theme is "Clinique happy." Despite its simplicity, this advertisement has a powerful impact on women. It is featured in a

magazine aimed at teenagers, making the young appearance of the girl in the ad relatable to the target audience.

The advertisement, titled "Simply," featured in Cosmopolitan magazine, appeals to older women by offering a rejuvenating experience that makes them feel a decade younger. Unlike many other perfume ads, this particular ad solely displays a bottle of the "Simply" perfume resting on a table, with the touch of a woman's fingertips. Remarkably, it eschews showcasing the woman's face. The ad's minimalist approach is exemplified by its monochromatic palette reminiscent of golden skin tones, representing a simple lifestyle. The model's unadorned and beautiful hands feature natural-looking nails, reflecting an understated yet elegant style. Additionally, the use of wood for the table in the ad further underscores a simple and sustainable way of life. By opting for materials that evoke nature rather than marble or glass, Clinique's perfume line effectively targets women who embrace a fresh and clean existence.

Estee Lauder, a different perfume brand, utilized the same concept as Clinique with their fragrance called "Beautiful." The advertisement showcases a bride and a flower girl seated in a room, with a warm-colored background. The flower girl is whispering into the bride's ear, eliciting a smile from her. The purpose of this ad is to convey to the viewers that it is their moment to feel beautiful. By watching this advertisement, one can infer that the flower girl is complimenting the bride on her appearance. Utilizing a straightforward and concise approach is more impactful and effective for promotion.

The olfactory sense, also known as the sense of smell, is considered the most mysterious among the five senses. According to Kenneth (1975),

there is still a lack of definitive knowledge and evidence regarding this sense. Classen, Howes, and Synnott (1994) further argue that smell has a powerful impact on us physically, psychologically, and socially. Despite its importance in our emotional and sensory experiences, smell is not given enough recognition in contemporary Western society. Additionally, gender differences and variations in scent perception are observed even among women who are considered desirable or undesirable.

In The Deipnosophists or Banquet of the Legend, Socrates suggests that men and women should have unique scents, just as they have different clothing (Henry G. Bohn 1854). However, it is possible that there could be a single scent that perfectly matches an individual. While the effect of fragrance on others is undoubtedly important, it also greatly influences an individual's self-expression. When considering someone's connection to fragrance, it is closely linked to their sense of identity. Individuals should view fragrance as something personal and secretive.

Sticking to one scent for an extended period can evoke nostalgia and classicism. Classic products have low energy consumption, making them more environmentally friendly than seasonal ones. Frequent trend changes increase production time and strain the environment. In contrast, handcrafted products have higher value and refinement, adding a long-lasting style that maximizes their lifespan.

"Classic" refers to something that is esteemed and valuable. Classic products are recognized for their exceptional quality. In the realm of perfume, classic fragrances elicit positive emotions, sophistication, elegance, and a unique sensation. They grant individuals with distinct character and appeal, enabling them to express their identity. Like fragrances themselves, each scent is exclusive and holds its own meaning; different scents represent diverse identities. While some women prefer simplicity

in their everyday existence, perfume advertisements also cater to those who crave desire, passion, and sensuality.

In the Cosmopolitan magazine, there is an advertisement for Bvlgari's perfume: BLV Eau de parfum II. The concept behind this perfume is inspired by the color blue, with a focus on natural beauty. It also showcases the sophistication and elegance of women. The name BLV Eau de parfum II carries a symbolic meaning. Although Bvlgari is primarily known for their jewelry, this ad cleverly combines perfume and jewelry. The ad features a woman wearing glamorous makeup, with mesmerizing blue eyes that transport you to a magical world.

She is wearing a necklace with a bottle of BLV Eau de Parfum as a pendant, suggesting that the perfume is waiting for you to try. The advertisement exudes an air of mystery. Another example of this type of perfume ad is for Tom Ford's "Neroli Portofino" fragrance, which portrays a sensual connection between a man and a woman. In the ad, the couple face each other, holding perfume bottles and playfully showering themselves in the fragrance, while embracing their nakedness.

Despite being an advertisement, the underlying concept conveyed is the desire to share scent. The message suggests that the perfume ingredients should be free from toxicity, emphasizing a natural quality. Perfume remains significant for women today, influencing their lives. The sense of smell is intertwined with memory and emotion, greatly impacting how fragrance is utilized. In our society, fragrance is linked to glamour and luxury.

Perfume is a commonly worn daily product by women, often used to attract the opposite sex. However, inspired by the advertisements of certain perfume brands, there is a potential for

creating perfume in a more sustainable manner. Instead of spraying perfume directly on clothing or the body, one's own personal scent can be worn in alternative ways, such as through a perfume necklace, earring, or brooch. This innovative approach ensures that the scent lasts longer and promotes environmental sustainability.

To appeal to diverse customers, perfume advertisements must attract to their individualities, lifestyles, and desires, ultimately winning their inclination to purchase the product. Marc Jacobs has exemplified this approach through the production of a highly popular perfume necklace called "Daisy". Daisy is a radiant floral fragrance that has gained significant traction among female consumers since its market debut. This collection offers the convenience of transforming its liquid form into a solid state, allowing for easy portability, and also functions as a wearable necklace.

The flower-shaped container of the solid perfume enables easy use by twisting the top, and this design is also applied to a ring. Women can keep the container as a fashionable accessory after using the perfume. As a result, this innovative concept not only reduces waste from packaging but also lessens the environmental impact. Ultimately, this study aims to examine how perfume affects modern women's lives.

It is acknowledged that there is not a single main reason for the use of fragrance, as this relationship has been influenced by various factors throughout history. However, in today's world, women appreciate a more minimalistic lifestyle and view perfume as a symbol of timeless elegance and glamour. This has made perfume a sought-after product with overall positive associations (Newman, C. 998). In order to promote sustainability within the perfume industry, it is necessary to change consumers' mindset when purchasing

products. It is important for consumers to understand that "more is not better" and that reducing production aligns more with the goals of our consumption-driven society. Slowing down the manufacturing process can also enhance the classic image associated with perfume, as sometimes less can be more. Once people have shifted away from thinking "more is better," it becomes crucial to focus on improving quality.

The product will only be recognized as a true classic style if its quality has been improved, as classic products are known for their durability and sustainability. Bibliography: Debra Wong. A study on sense of smell in Patrick Suskind’s perfume. Taiwan. 2011. Kennet, F. History of Perfume. London. George G, Harrap & Co. Ltd. 1957. Classen, C, Howes, D & Synnot. Aroma: The Cultural History of Smell. London. 1994. Synnot, A. The Body Social. London. 1993. Henry G. Bohn Athenaeus. The Deipnosophists or Banquet of the Lengand. London 1854. Mc Cracken, G. Culture and Consumption. Indiana University Press 1990.