How Gillette's Slogan Contributes in Redefining the Concept of Masculinity - Research Proposal Example

GILLETTE 1.0. INTRODUCTION Globalization, a contemporary phenomenon (Soros, 2002), has affected not only the market economy but also the socio-cultural facets of contemporary society (Suarez-Orozco & Qin- Hilliard, 2004). Contemporary organizations and marketing have at its centre customer satisfaction, and upholding stakeholders and shareholders’ interests (McDermott & Hastings, 2005; Toncati & Zolsnia, 2006; Zolsnia, 2009). With this knowledge, part of marketing strategies of products include advertisements, which in turn, utilize culture as its multi-level playing field (Hakala, 2006). While, gender acts as one of its guiding themes in the creation of the story board as it identifies the target market. In this regard, the interconnected relations of culture, gender, advertisements, marketing and companies in the contemporary socio-economic arena are undeniable. The primary question of the research is ‘How Gillette’s The best a man can get contributes in redefining the concept of masculinity in the contemporary period?’ This question is significant as it recognizes the truism that the power of advertisements in the contemporary period goes beyond brand awareness or brand association. It creates images that open paradigms where social attractiveness and grooming rituals are elucidated, clarified, modified, affirmed and re-conceptualised. The objectives of this research are: first, to understand the intricate relation among culture, masculinity, product, advertisement and marketing. Second, to know how Gillette’s campaign manifests this relation. Third, to appreciate the fact that advertisement has a wider social responsibility. Likewise, limitations are observed in the paper. These limitations are: first, the notion of culture for this paper will be at its broadest sense. Second, gender discussion will focus on the notion of masculinity. Third, as there are many male grooming products in the market, the researcher opts to focus on Gillette and its slogan The best a man can get campaign. Furthermore, there are some assumptions in the writing of this paper. The first assumption is the notion that masculinity, as well as femininity, is a social construct (De Beauvoir, 1989). As such, gender is to be construed as different from the biological differences inherent between male and female. Second, in the contemporary period, advertisements play an important role. However, whether it has a negative or a positive effect is still subject to debate. Finally, the concept of male consumption is a reality. There are some ethical considerations regarding this research. Advertising has the capacity to represent material possessions as the penultimate source of happiness, of providing an illusion and masking it as true, and of creating an idealized image of what is beauty (Hakala, 2006; Clow & Baack, 2004; Wykes & Gunter, 2005). In addition, the issues of pornography and sex are linked to advertisement. This is due to commercials or ads of semi-clad women and men which sometimes crosses the thin border between legitimate advertisement and pornography. In light of this, there are calls for more socially responsible advertisements that respond to the ethical issues raised against the discipline (Salzer-Mörling & Strannegård, 2004). As advertising shapes the opinions, attitudes and behaviour of people, it cannot remain insensitive to other cultural and social sensitivities (Hakala, 2006). The paper will be having four parts. The first part is the introduction where the research question, significance of the question, objectives of the research, limitations, assumptions and ethical considerations of this study are given. The second part is the literature review. The third part is the presentation of the research methodology and last is the conclusion. 1.1. LITERATURE REVIEW Gender is one of the most common themes in advertisement (Beynon, 2002). In the past, femininity has been the dominant subject in most advertisement. However, in recent years, there has been an upsurge on the depiction of masculinity in advertising (Hakala, 2006). In this regard, the role of culture in understanding the image of the masculine becomes necessary as it lays down the framework with which masculinity is defined (Hofsted, 1991). Gender is learned (Wood, 2004) as it is a construct of the society and to know the masculine is to posit whatever is the opposite of the feminine (Wood, 2004). For example, if the feminine is identified as submissive, gentle and attach to the home, the masculine is aggressive, competitive, assertive and self-confident (Connell, 2002; Wood, 2004). This is the traditional way of identifying and differentiating the masculine from the feminine. However, the Second Wave of feminism during the 60’s has paved for the deconstruction of the masculine (Hakala, 2006). This is a very important change since prior to 60’s any products introduced for male grooming has to be packaged as a health commodity and that even use of perfumes is exclusively feminine. The deconstruction of the concept of masculinity has paved the way for new ideas regarding it. However, any changes in the understanding of the concept of the masculine (and feminine), is not removed from society. This implies that although the concept is fluid and that it changes in time and space (Wood, 2004; Beynon, 2002; Devereux, 2003), it is still a process that is allowable within the limits of the society. Since, culture provides the meaning, the value and the characteristics that are attributed as masculine (Beynon, 2002). Culture functions in this way because culture is the “collective mental programming of the people in an environment, which is expressed at different levels: symbols, heroes, rituals and values” (Hofstede, 1991 as cited in Hakala, 2006: 39). Symbols are the superficial gestures, words and objects that manifest the culture to others. Heroes are persons, whether living or dead, who possess the esteemed attributes of the culture, thus, they become role models (Hakala, 2006). While rituals are the collective activities wherein embedded are the ideas regarding the proper way of doing things and of behaving (Hakala, 2006). Moreover, rituals contain the dominant social value system of the society (Dubois, 2000). This aspect of culture is the one that advertising uses (Hakala, 2006). Finally, values are those that address the issue pertinent to choosing one state of affairs over others. Concept of masculinity is reinforced and redefined using the rituals and value system of the culture (Hakala, 2006; Allen, 2006). In this case, advertising is the same facets of culture in order to affect changes in the notion of masculinity (Hakala, 2006; Allen, 2006). However, can advertising really do this? Advertising is capable of affecting change, since “advertising serves as the lexicon of ... cultural meanings” (McCracken, 1988: 77 – 79). Products sold in the market use names, logos, signs or symbols so that it can be distinguished by consumers from other similar products. This process of naming a commodity is known as branding (Chen et al, 2009). As the brand is introduced in the market, it undergoes the process of brand introduction, brand awareness (Chen et al, 2009; Salzer-Mörling & Strannegård, 2004). In order to attain brand awareness, part of the marketing strategy is advertisement. Advertisements represent, identify and create the process of production of new ideas coming from the product (Fuller & Parsons,nd). This is done by using rituals that are observed in the society. The products are introduced as part of the rituals (Chen et al, 2009; Heartfield, nd) reaching the consumers, transferring meanings from the product to the individuals via the rituals of the society itself (Hakala, 2006). Rituals are perceived as forms of social cohesion. These rituals are employed in order to familiarize the people with the norms and customs of the society, it establishes commonality, thereby, enhancing shared feelings and values (Hall, 2002). There are four rituals used in advertisements. These are: 1. The exchange rituals wherein the gift giver chooses a specific gift because it possesses the meaningful properties they wish to transfer to gift-receiver. 2. Possession rituals signify the idea that possessing a good says something about the person. According to the possession ritual, goods are used as symbolic resources for the construction and maintenance of identity 3. Grooming rituals, in this ritual advertisements describe how confidence, better looks, and social attractiveness can be imbued by particular make-up, hair-styling goods and the likes. Grooming ritual helps draw meaning out of these products and invest it in the consumer. 4. Divestment rituals concern goods that a person previously owned or that have been owned previously by someone else. SOURCE: McCraken, 1986: 78 - 80, 1988: 83- 88; Hakala, 2006: 45 These rituals, especially the grooming rituals, provide the framework for defining the notion of beauty. It goes beyond mere hygiene (Hakala, 2006). It is the guide in understanding what is social attractiveness. In the past “appearing beautiful” is the concern of women, since women are necessarily required to be beautiful because of their status in the society (de Beauvoir, 1989). While, men are not required because their image is more on strength, power, intelligence, success and confidence. Brannon (1985) has presented four categories of images of masculinity. These are : 1. No Sissy Stuff which depicts men as never like a woman. This means that a man is all toughness, ruggedness, and pays no attention to hygiene and beauty. 2. The Big Wheel is the image of success, wealth and power that is always associated with masculine competitiveness and aggressiveness. 3. The Sturdy Oak which is dependable, invulnerable, self-confident and self- reliant image. And 4. The Give ‘Em Hell this is wild and aggressive characterization who would assert his manhood on women just to attain sex (Brannon, 1985). Several images of the masculine have been proffered since the 70’s (Hakala, 2006). The most recent of which is Holt and Thompson (2004) with their three images. These are: first the breadwinner image. It depicts men as bastions of economic power, family values, responsibility and good father (p 427). The second image is the Rebel image of masculinity that is rogue, physical skills, autonomous, anarchic, seducers, and warriors (Holt & Thompson, 2004: 429). Finally, the third image of masculinity is the man-of-action which is the mix of the breadwinner and the rebel. Man-of-action is not afraid to challenge the institutions and is willing to transform it. But despite the success, man is still sensitive and caring (Holt & Thompson, 2004; 428). In the contemporary image of masculinity, the idea of a caring, loving and gentle man is not a taboo but integral in the current image of masculinity. All of these images are combined with the 21st century image of masculinity – the metrosexual. Metrosexual is defined as a man who “is sensitive, well-educated, heterosexual urban dweller who has effeminate features and lifestyle elements: he likes to shop, he wears jewelry, and he is interested in fashion. He is willing to push traditional gender boundaries, still thinking – despite his indulgences previously being considered as solely female – of himself nothing but a real man” (Hakala, 2006; 66 – 67). The image of a metrosexual man is the image of multifaceted masculinity. In this concept, the blending of female-male images is accepted and adapted (Hakala, 2006; Allen, 2006). However, the down side with the image of the metrosexual man is that man too is now subjected to the gaze. He, just like the feminine, is objectified and his body is reduced to its materiality which in turn is exploited, abused and commodified (Boni, 2002; Beasley, 2005). This entire discussion shows that it is an accepted truism that the images of masculinity as depicted in advertisements have changed overtime. However, current discussions do not show how advertisements contribute to it. It just accepts it. Moreover, the idea of feminisation of the masculine is assumed as part of the modern picture of masculinity but as to what is the extent of the contribution of advertisements towards the development of the female –male blending is not discussed. This gap needs to be addressed not only to further understand the nature and power of contemporary advertisement but also to provide a clearer picture of the modern man. And this research will be filling in this gap by primarily focusing on how Gillette as a powerful male brand contributes to the contemporary images of masculinity. This will be undertaken because the importance of lived experience in the understanding of a theory or a system is necessary as it grounds and anchor the theory into reality. Thus, a look into the campaign of one of the most powerful male brands in the world today is indispensable – Gillette The Best a Man can get. 1.1.1. GILLETTE THE BEST A MAN CAN GET: IN FOCUS Gillette is a brand that is attached and is considered as synonymous with shaving and personal hygiene for men. In 2005, Gillette has been acquired by P&G. But originally, Gillette Company was founded by King Camp Gillette in 1895 and it was primarily a razor manufacturing company. For a century, Gillette has established an emotional bond with the men who continuously patronised the products for they cater to the needs of men who are looking for products that can give them the confidence they want and need to step up, perform, and look, feel and be their best (www.gillette.com). The brand value of Gillette is claimed to be $ 16 billion (Chen et al 2009). And for its campaign it has signed several big names in the sports industry as its endorser. The names include Roger Federer, Theirry Henry, Tiger Woods, Derek Jeter to name some. Clearly, Gillette uses sports marketing in order to reach its target market – young men who are active in life (Fullerton & Merz, 2009). Looking at the names that are endorsing Gillette, one can only think of the best in sports. And that is Gillette’s campaign is all about, The best a man can get. Gillette is known for reshaping the concept of masculinity (Fullerton & Merz, 2009) and this is not surprising. Moving away from the big chunks of flesh that has often been associated with the masculine, Gillette has introduced the clean shaven man look as the look that man ought to have: being clean is being handsome. And that men do not have to shun cleanliness as it too adds to their confidence and appeal (www.gillette.com). However, what is incredible in the Gillette campaign The best a man can get is that it opens the door for the feminization of the masculine. What does this mean? Look at one of their champions – Roger Federer. The guy is a man-of-action in the field of tennis. He is the best tennis player ever. In court, he is tough, aggressive, without fear, very competitive and oozing with self-confidence. However, outside the court, watching his interviews, he is very gentle, soft spoken, humble, caring and without huge ego (www.gillettechampions.sg). This is already gender blending but at the same time the message is clear – the best a man can get is one who is a man –of –action, a man who is on top of his craft yet gentle, clean and caring. It deconstructs the image of men as brute and unshaven. Moreover, the slogan The best a man can get is a symbol of what men can get – they can be the champions of their own field, at the same time, they are loving, caring and gentle. The slogan speaks not only of the brand but it speaks of what men are capable of becoming and Federer becomes the symbol of the champion. On the other hand, there is the Gillette curse. Look at what happened to Thierry Henry and Tiger Woods. But then again, the worst thing that happened to them has been modified into challenging themselves in becoming the best that they can get. The whole slogan is full of vitality and potentiality that invites the user to be part of the champions so that sooner or later they too will become the champions. In the end, the slogan, the best a man can get, affirms the 21st century man who just like his feminine version is “I shopped, therefore I am”( Mörling & Strannegård, 2004) but who is also somebody who is at the top of his game, his craft, his life, his love. But as to how it it contributes to the redefinition of masculinity should be further studied. 1.2. RESEARCH METHODOLOGY As the aims and objectives of this study are to provide ample literature that will first, to understand the intricate relation among culture, masculinity, product, advertisement and marketing. Second objective is to know how Gillette’s campaign manifests this relation, and third is to understand and further appreciate the fact that advertisement has a wider social responsibility. These purposes can be achieved by combining conceptual analysis of these intricate relation and content analysis. Content analysis is going over salient points that depicts kinds of people, age, gender and their interrelation. Moreover, cultural analysis enables determination of elements of culture like words or pictures that may demonstrate trends in advertisements (Fullerton & Kendrick, 2000). Thus content analysis is very useful in the study of the message itself (Wheeler, 1988). 1.2.1 LITERATURE SEARCH The electronic databases Academic Source Complete, Jstor, EconLit and Business Source Premier, Google scholar and ERIC were searched using a combination of the following key terms: brand, brand management, marketing, advertisement, culture, social reality, gender, masculinity, brand strategy, organizations, Gillette and male consumption. Articles written only in English and published in journals from the period of 1985 till 2010 will be selected selected. Correspondingly, excluded in the selection will be editorials, position papers, pamphlets and monographs. The reference list of the articles will be searched to identify additional relevant publications. For the content analysis, various advertisements of Gillette will be utilised in order to gain understanding of the different images of contemporary masculinity and use it to study and analyse the depicted images. 1.3. CONCLUSION Masculinity now has been redefined by culture through advertisement in order to adapt not only to changes brought about by events and history but by time itself. Gillette’s slogan The best a man can get shows the power of advertisement to represent, identify and produce new ideas as the commodity interacts with social reality and the consumers. However, there is a need to further clarify how and to what extent with which Gillette contributes to the contemporary concept of masculinity. REFERENCES: Allen, D.W. (2006) “Making over masculinity”, Genders: Presenting Innovative Work in the Arts, Humanities and Social Theories, issue 44. Beasley, C. (2005) Gender & sexuality. Critical theories. Critical thinkers. London: Sage Publications. Beynon, J. (2002) Masculinities and culture. Buckingham: Open University Press. Brannon, R. (1985) “Dimensions of the male sex role in America” In Alice G. Sargeant (ed) Beyond sex roles. St. Paul: West Publishing Company. 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