Title: The representation of gender: A semiotic study of Tom Ford's Gucci campaign 2003 and Frida Gianninis Gucci Campaign 2013. Number of pages: 73 (79 including enclosures) Author: Sara Andréasson Tutor: Anne-Marie Morhed Course: Media and Communication Studies D (2IV091) Period: VT 2013 University: Division of Media and Communication, Department of Informatics and Media, Uppsala University. Purpose/ Aim: The aim of this study was to examine the representation of gender in advertising that has both men and women as the primary audience. The aim of the study was to investigate how Gucci has chosen to represent men and women in their advertising campaigns 2003 and 2013. Material/ Method: A semiotic analysis was performed by using three images from Gucci's spring/ summer campaign for Tom Ford in 2003, and three images from Gucci's spring/ summer campaign for Frida Giannini in 2013. Main result: The results showed that there was a clear difference between Ford and Gianninis ways of representing women and men in the two advertising campaigns. The women in Fords campaign 2003 are presented as sexual objects and represented by the male pornographic imagination and portrayed as sexual eye-catchers while the men are portrayed as addicted to sex. Frida Gianninis advertising images is a contrast of Ford pornographic portrayal of women. Giannini presents women as confident individuals while the man is represented as feminized and androgynous in his appearance.

En av de mest efterfrågade lyxvarorna på dagens marknad är lyxväskor, allt fler väljer attkomplettera sin outfit med denna accessoar. Förr i tiden hade handväskan en merfunktionell roll då den enbart användes för att bära tillhörigheter i. Idag har handväskanen helt annan roll då den framförallt återspeglar en bild av den person som äger väskan.Konsumenter kan med hjälp av denna produkt utge sig för att ha bättre ekonomiskaförutsättningar än vad de i själva verket har.Prognoser visar att efterfrågan på lyxväskor ökar trots att vi befinner oss mitt i vad sombeskrivs som en av de största ekonomiska kriserna i världshistorian. Den svenskamarknaden för lyxväskor växer sig allt större och några bland de främsta varumärkenasom återfinns på marknaden är Gucci, Louis Vuitton, Mulberry, Hermes etc.Eftersom vårt syfte är att undersöka vad motivationen är hos konsumenter som väljer attköpa lyxväskor har vi valt att genomföra en kvalitativ studie på tio personer, varför vivalde att genomföra en studie av kvalitativ karaktär var med anledning av att vi hadebehov av mycket information som berörde respondenterna på ett personligt plan.Respondenterna som vi har valt att genomföra denna studie på är alla unga kvinnor ochmän, större delen av de jobbar inom handel samt restaurangbranschen.Vi har funnit att respondenterna i denna undersökning inför köpet av sin lyxväska befannsig i ett spänningstillstånd orsakat av en konflikt mellan deras lustfyllda begär ochansvarskänsla kring deras ekonomiska situation. Resultatet påvisar att främstaanledningen till varför respondenterna köper lyxväskor är för att bli bekräftade av sinsociala omgivning. Behovet av konformitet är överordnat andra behov som exempelvisfunktionalitet. Status anses vara ett utav de viktigaste värdena som respondenterna kanerhålla igenom köpet av en lyxväska, exempelvis använder vissa av respondenternalyxväskan som en symbol för att öka sin status vid anställningsintervjuer.Utifrån det empiriska utfallet kunde vi se ett mönster där majoriteten av respondenternasom köper lyxväskor prioriterar sitt självförverkligande framför kvaliteten på mergrundläggande behov som till exempel mat och boende. Detta gör att vi funderar på omMaslows behovshierarki är användbar i sin nuvarande form i ett land med västerländskkultur.Respondenternas strävan samt önskan efter att erhålla de värden som köpet av enlyxväska innebär gör att de inte tar hänsyn till hållbarhetstrenden. Bland annat ser vi atten stor del av respondenterna köper lyxväskor som överstiger deras ekonomiskaförutsättningar.

After examining Harmony Korine's feature films, shorts, art installations, music videos, paintings, and novel, a clear pattern of stereotyping and misappropriating African American aesthetics emerges. This thesis addresses the mass appropriation of hip-hop aesthetics by whites, and Korine's complicity in this cultural phenomenon. Additionally, it explores the notion of hipster racism, Carmen Van Kerckhove’s term for respected artists who feel enlightened enough to stereotype in an ironic or comedic manner. Looking closely at cultural appropriation in Spring Breakers, this thesis considers hipster racism and the notion of modern-day minstrelsy. / text

This thesis is about how high level brands communicate their brands to the audience. The thesis consists of analyses of the identity and images of two luxury brands, Gucci and Burberry and two premium brands, Lacoste and Morris. The purpose is to clarify the identity of the brands, by carrying out analysis as well as interviews with key personnel. Furthermore there is an analysis of the advertisement images for the respective brands in order to clarify the brands images. Finally there is an analysis of the alleged conformity between identity and image and also a section about the luxury and premium brand differs, or rather not differ from each other in the identity-image connection. The methods used are Aakers identity system, to establish the respective brands identity. An image analysis with inspiration from Panfosky and leading semoticians are also used to scrutinize the advertising images from the Spring/Summer 2010 campaigns. The results show that there is indeed a good conformation among the brands when it comes to the identity-image connection. The brands identities are thorough and well articulated and the advertisement images are well executed with the identity well in mind which makes for that the campaigns are contributing in building a good brand image among the target audience. There are several areas where the premium brand advertising images congregate with the ones of the luxury brand. / Program: Magisterutbildning i fashion management med inriktning modemarknadsföring

Den reklam vi ser idag är oftast uppbyggd på stereotyper som leder till ensidiga representationer av genus och blir därför problematiskt i skapandet av reklam. I den här uppsatsen undersöks Guccis reklamfilm för deras parfym Mémoire d’une Odeur (2019) där Harry Styles är frontperson, genom en film semiotisk analys där maskulinitet utifrån representation av kropp och aktivitet är i fokus. Resultatet av den film semiotiska analysen av reklamfilmen visar hur Gucci skapar unisex representation av maskulinitet genom att leka med feminina och maskulina koder där den visualiserade manligheten tar avstamp i en mansbild från 1970-talets hippie stereotyp. Guccis representation av maskulinitet bryter därför mot den stereotypa maskuliniteten som brukar gestaltas i reklam. Avslutningsvis diskuteras framtiden för maskulina representationer. / The advertising we see today is usually based on stereotypes that lead to one-sided representations of gender and therefore becomes problematic in the creation of advertising. This essay examines Gucci's perfume commercial Mémoire d'une Odeur (2019) in which Harry Styles is the face out for. Through a film semiotic analysis, focusing on masculinity based on representation of body and activity, the result of the film semiotic analysis of the commercial shows how Gucci creates a unisex representation of masculinity by mixing feminine and masculine codes. The visualized masculinity takes off in a masculinity from the 1970s hippie stereotype. Gucci's representation of masculinity therefore violates the stereotypical masculinity that is usually embodied in advertising. In the ending of the essay, the future of masculine representations in commercials are discussed.

This case study examines how luxury fashion brands communicate their sustainability practices on the brands' sustainability page on the company's website and whether selected luxury fashion brands are greenwashing and bluewashing. The luxury brands selected for this study are Stella McCartney and Gucci, on the grounds that both brands have different types of businesses and approaches. To understand the context, this study uses the triple bottom line sustainability concept by Elkinton (1998), sustainable luxury fashion brands (Godart & Seong ,2017; Wiedmann et al., 2009; Joey et al.,2012; and Franco et al. 2019), greenwashing concept by Delmas & Burbano (2011) and bluewashing concept (Sailer et al., 2022). To conduct the analysis, this study uses textual, eco-lexicon categorization developed by Thomas (2008) and the categorization from Milanesi et al. (2022) is adapted for visual analysis and the sins of greenwashing by Terra Choice (2010) to see the potential of greenwashing. The results shows that Stella McCartney and Gucci sustainable communication serves as their marketing strategy which encourage purchase and therefore it is problematic. Both brands use vague, ambiguous words, terms, and certifications and lack of transparency. While the images are not yet seen as a potential tool to communicate sustainability initiatives. Even though the brands are known as sustainable fashion brands, the result demonstrates brands show irrelevancies and paradoxes between what the brands communicate and their actual practices ; therefore show potential greenwashing and bluewashing.

The purpose of this essay is to analyze the portrayal of gender and sexuality within fashion photography through a representational study of men and women in select Gucci fashion campaigns, Fall/Winter 1996 and Spring/Summer 2003. In doing so we also find specifics as to how artistic expression can manifest itself in the form of sexist advertising, this being through the sexualisation of fashion photography. The study commences with an introduction, explanation of its purpose, and a descriptive background of the Gucci fashion house and it’s then creative director Tom Ford, the material used and the public criticism it has received as sexist portrayal of women. The frame of the study takes form  through the theoretical approaches of gender theory and postfeminism focusing on the structural order of gender, gender roles and the use of feminine pleasure within advertising. Moreover we base our study on the concept of previous research on male pleasure alongside its female counterpart as well as the male concept of power. The analysis is performed through the methodical approach of Roland Barthes semiotic analysis including the use of denotation, connotation and myth as well as a multimodal analysis with a chosen set of semiotic resources; these are primarily focused on terms such as gaze, actions, positioning and camera angles. The material in question is divided into three pictures from each fashion house, totaling a set of six pictures each analyzed individually and ultimately discussed as a whole. Our findings result in a significantly more diverse interpretation than the single result expressed by public, governmental and editorial outcry; implying that the campaigns analysed can, through the use of semiotic and multimodal analysis carry significantly different meaning depending on what pictures are being analyzed as well how it is analyzed and interpreted. As such our results imply significantly less sexist and more conceptually diverse campaigns than what they, and Gucci under Tom Ford, have been known for. Moreover we found that the portrayal of fashion photography can be used as a tool for masking sexual violations through the pretext of artistic expression.