A Semiotic Analysis Of Diesel Print Ads

The overall picture connotes that women hold ultimate sexual power over men, since the woman looks most commanding with the drill held as if it were a gun, while the finish-flag and the sheer adoration of the driver suggest the promise of sex, with the further 'racy', dynamic view of the future. In all this, the men seem to be compliant with the politics of sexuality, as emphasised by the self-satisfied facial expression of the dwarf. All they want to do is 'win' sexual favours. The power, glamour and commercial value of one of the most expensive sports seem to appeal to these women. This notion is certainly utilised by the company, who aim to show that they manufacture sports-wear and club-wear as well as denim and work-wear. So, while the traditional gender roles are questioned, sexuality is used blatantly as these women are seen to be offering their 'services'! A male and female paired opposition arises, moving on to the central opposition of sexuality and how it is stereotypically defined.

There are elements of both cartoon and tabloid 'Page Three' in this frame, resulting in a negative psychological impact that shows women as sexual commodities in a man's world. So, there is a use of reverse cliché in seeing women as functioning within a previously exclusive male domain, with the choice of being either submissive or in command, but still remaining reflective of the dominant value of viewing women as objects of desire. Socially, the company raise questions about whether anything has really changed in terms of gender definitions. It is also assumed that the text will be read in countries that are familiar with the conventions of this elitist sport, since the codes are basically shared with coverage of the Grand Prix championships. Indeed, matters remain unclear in an advertisement that predominantly functions to set the audience thinking.

Fig.5 encapsulates the essence of the Diesel philosophy beautifully, since it is essentially a satire regarding the power that their clothes can vest in the wearer! Within a bedroom scene bathed in the warmth of a golden light, the Diesel man is awake, self-satisfied and bursting with full knowledge of the way that he behaves with women. The bedside table is covered with photographs of this man with his various brides, and in each of the pictures he is wearing Diesel clothing. There are a number of indicators on the table to suggest wealth, such as gold jewellery, money, the keys to a sports car, casino chips and dice. The basic concept is one of success and having everything you desire, regarded as a direct result of the clothes you wear. The company is implying that their clothes will lead to material power and sexual irresistibility! As Berger [1982] notes [cited in Boyd-Barrett, 1987 : 137], the main function of advertisements is to encourage people to buy the 'right' products with the assumption [or hope] that these products will signify a certain social class, status and lifestyle; certainly a tactic fervently employed by most cosmetic, perfume and clothing companies. What becomes most apparent is that this is a clothing company with a sense of humour!

Paradigmatically, therefore, the themes used are those of lust, wealth, divorce/adultery/bigamy, good times and sex. There are no obvious oppositions in this case, since a single character is concentrated upon, with a brief glimpse of the various dimensions of his life and the smug expression that he maintains in each instance! Politically, I feel that this advertisement is blatantly and unashamedly incorrect in that the man is vested with all the power while women are seen as little more than objects. The main focus is placed on the face of the man; he is awake and is 'someone'. The woman in bed, on the other hand, is out of focus, hidden in the background, and could be just 'anyone'. Seen in the context of a capitalism society in which people are hungry for success, this is satire at its very best. Such a frame could easily be seen in the context of other genre such as satirical comedy or even the 'Good Sex Guide', and move into film or television would greatly enhance the lasciviousness of the central character.

Fig.6 also plays with the notion of sexual politics. A Diesel woman is placed in a high-street shop window, while four greasy bikers stand in fascinated admiration at the miniature motorbikes placed at her feet. She is elevated, emanating from the centre of the bikes, looking directly and commandingly into the camera. The company reverse the concept of women always being the centre of the male gaze, since the men actually pay her no attention whatsoever. The irony lies in the fact that this scenario would rarely arise in real life. This advertisement works within the stereotypical systems of both bikers and women, forming two cultures of riding and fashion respectively. In this way, the codes used are broadcast, since the two groups are instantly recognisable. Yet the Diesel woman is the centre of attention. She stands alone on her own page, she is elevated and empowered through the full body shot, and ultimately superior through the confident stance she has adopted. All the men are seen as uniform with their leather jackets, long hair and tattoos, while the woman is individual.

Althusser [1971], cited in Fiske [1990 : 175], makes an interesting point about the wearing of high-heeled shoes, relevant in the context of this advertisement. He sees the wearing of these shoes as an ideological practice of patriarchy in which women readily participate. He goes on to stress that such shoes accentuate the parts of the body that patriarchy have been trained to regard as attractive - the buttocks, thighs and breasts. To wear them means that the woman is participating in the construction of herself as an attractive object for the male gaze, therefore placing herself under male power. Furthermore, high-heels limit physical activity and strength. Althusser concludes by stating that a woman in high heels is active in reproducing and recirculating that the patriarchal meanings of gender that propose masculinity as stronger and more active, and femininity as weaker and more passive. Here, however, this dominant value is reversed. Even though the woman is wearing heels, she seems superior to the negative connotations that arise. She is placed behind a sheet of glass, seeming knowledgeable and independent in her facial expression and stance; she is placed aside from the crowd and seems untouchable; she is strong enough to resist intimidation and lechery. Yet, at the same time, she remains an attractive and feminine woman. The opposition of men and women seems to be the standard Diesel formula for provoking audience reaction.

Finally, Fig.7 is another fine example of bizarre Diesel humour. There is a nostalgic and retrospective feel to this scene, due partly to the fact that the company are departing from their characteristic use saturated colour. A mother and her daughters hurry to welcome the man of the house after his hard day at the office, still clutching his brief case. The concepts of body-language are utilised in this still frame. The woman has a simple expression on her face and her body is very 'open', while the man is receptive to her advances with his widely spread arms. The twist in the text comes with the placing of a rather lascivious dog between the man and woman. It's tongue is hanging out and the cartoon-style thought-bubble leaves us in little doubt as to what the dog is thinking! It seems to me that the dog is being used as a graphic illustration of what is going through the mind of the man, tying with the concept that women are generally perceived as sex objects irrespective of how they dress or behave. This subtle implication is suggested by the way in which the audience focus mainly on the dog, while the woman focuses on a man who hardly appears in the frame at all.

Diesel are seen, once more, to equate their clothing with sex. They illustrate just how often men think of sex in a day, whilst reinforcing the dominant cultural value of the woman as a high-heeled object of desire, and stressing [as in Fig.5] that Diesel clothing will make you irresistible to members of the opposite sex. The gender oppositions arising here are once more blurred, since the woman actually seems compliant with the rules of a man's world; she is obviously pleased to see her husband/partner. Rather than establishing definite oppositions, Diesel forge a number of interesting links between the characters in the frame. The woman is linked with the children physically, denoting that she is probably a mother and housewife; the man is linked with the car and briefcase, denoting that he has a profession; the dog is linked with the man, as an articulation of his preoccupation; the dog is also linked with the woman, whom he perceives as a sex object; while, ultimately, the man and woman are linked in sexual terms. In a strange way, it is possible to argue that there is a degree of equality, since the man and the woman are both receptive to the other's advances. At the same time, society is reduced to its earthy, animalesque roots and seen to be driven by the need for sexual gratification. There is something very animated about this scene. The 'dots' on the screen in the background and the print of the man's shirt are reminiscent of the Pop Art movement, while the thought-bubble gives the dog a cartoon feel. The retro notion of a good wife welcoming her husband back to the fold, as utilised by government propaganda efforts after the Second World War, is akin to television advertisements for such products as soap powder and food. As a result, the codes may be regarded as broadcast, with the cliché of a standard family with a car and a dog.

Having discussed the meaning that can be derived from the visual images, I now propose to give a brief overview of the important way in which Diesel use text in their advertisements. Roland Barthes [1964], cited in Fiske [1990 : 110], in discussing the importance of text, uses the term anchorage to describe the function of words used as captions for photographs. He argues that visual images 'imply, underlying their signifiers, a floating chain of signifieds, the reader able to choose some and ignore others'. Words, however, can help to 'fix the floating chains of signifieds in such a way as to counter the terror of uncertain signs ...'. Does this apply to the Diesel Adverts in any way? In producing the adverts for their campaign, Diesel have worked with a number of ideas in the context of Successful Living, and they further anchor their suggestions with the caption : Diesel - Only the Brave. Initially, these slogans ensure that the audience is left in little doubt that the clothes are a powerful and daring force in the fashion world. These slogans, however, form only the cap-stone in a more subtle use of words.

In Fig.2, for example, all that is implied in the image is anchored by the text :

FINALLY IT ALL MAKES SENSE  
We welcome 1995. The year of good luck, good taste & friendship

This slogan is as ironic as the image itself. The pig on the table can hardly be described as 'lucky', while the surrounding pigs prove that they have very bad taste, and friendship is certainly lacking in that they are destroying one of their own. The opening few words seem to imply that 'sense' comes from seeing society as it really is, in all its revolting splendour, further emphasising how 'wise' the on-looking Diesel person is in knowing the implications of her situation and the quality of her clothing! The text is also significant and highly ironic in Fig.4 :

Formula 1 motor-racing is not just for fun, it is also a great way to invest money, and leading companies all over the world recognise this. But remember, Diesel spends its money for you. We spend - You enjoy! Unlike other companies, there is absolutely no commercial interest involved. All persons seen in this picture are happily married.

Ultimately, Diesel are presenting themselves as a leading company, since they are astute and affluent enough to recognise the value of investing in the sport. The advert does, after all, picture a racing car covered in Diesel slogans comprising a further slogan: Mental Power. The irony lies in the fact that they satirise themselves and still hope to sell their clothes. Not only do they imply that other companies are tricking consumers with expensive gimmicks, they also imply that they do not actually want to make money. This encapsulates the company policy of satirising the whole business of advertising. Of course their main interest is commercial! The reference to marriage is humorously bizarre in this commercial context, since it undermines the way in which they have attempted to construct a new reality. We are reassured that the lust and displays of sexual power are all an act, since the characters have no interest in any distractions outside their marriage!

Finally, Fig.6 and Fig.7 both utilise a new slogan, stating that :

All Diesel jeans are tested on animals

In both cases, one immediately begins to wonder whether the men in the adverts are actually the animals. This is certainly the dominant suggestion in Fig.6. The meaning derived from Fig.7 is also clearly hinged on the word 'animal', as suggestive of sex drive and male intent. Furthermore, the woman in Fig.6 is said to be vested with Strength and Resistance because she wears the jeans. I find it very difficult to reach any concrete conclusions about the intent of this clothing company, and would suggest that their advertisements should simply be enjoyed for their artistic originality. I feel that semiotics is an effective way in which to embark upon a deconstruction of magazine advertisements, since the study goes some way to analysing the degree of power in advertising. As Fiske [1990 : 156/7] stresses, semiotics is concerned with the way that communication structures and generates meaning in order to circulate it socially. It is said to trace the interconnections between the structure of communication messages and the structures of society in which they work. Messages are agents of production and circulation; they have social power. It simply remains for the individual to derive the preferred message form the visual image they see.

Sources

• Fig.1 : The Face - Date unknown

• Fig.2 : i-D - January 1995

• Fig.3 : Sky Magazine - April 1995

• Fig.4 : Sky Magazine - September 1995

• Fig.5 : The Face - April 1996

• Fig.6 : Sky Magazine - April 1996

• Fig.7 : The Face - March 1996

Bibliography

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