SOCI 403: Gender and Media
​Lexi Hilderman
UCID 10187876
Gender Binary, Sexual Orientation, & Advertising
Prada 2021 Campaign
In analyzing Prada’s Spring 2021 Campaign images, most followed the same scheme incorporating a close-up portrait of models’ faces paired with a full-body shot capturing the clothing and accessories being worn. The images were also all placed on a white background and incorporated various words that made up sentences such as “is future a romantic idea for you?” “How is unique different from new?” and “Should we slow down or speed up?”, all asking questions for further engagement of the audience as well as direction to the Prada website.
In terms of relative size, Prada's images portrayed only one figure, therefore, making size differentiation limited. Between the male and female figures portrayed, female figures were more likely to be represented smaller in the full-body images so as to show off their entire figure, whereas male figures were often represented with their body cut off, enlarging them within the frame. Males were also often represented in formal business attire. Their forms were more erect and demanding of the frame by taking up more space, giving a sense of control and or superiority or direction (Goffman, 1985: 28).
When considering feminine touch, female figures were noted to always have their hands within the frame of the full-body image, often holding onto their jackets or purses lightly giving a sense of protection or closing off of the body. Their hands were of special notice as they were not caressing or lightly touching but rather would align with self-touch by holding onto their clothing or carrying a bag; this gave a sense of helplessness or precarity (Goffman, 1085: 29) in the case that the model hand might be needed for another function (i.e., them being unable to use that hand for anything else). Conversely, male figures had their hands completely free, motioning to the accessibility of their hands in the case they are needed.
Function ranking became less apparent in Prada’s images and was only noticed by the actions each figure was partaking in. Male figures always seemed to be in motion, such as walking in a certain direction, while female figures were represented static, remaining in place. This action and inaction notions to the performance of executive roles (Goffman, 1985: 32), men with more agency and control of their movements than women.
Ritualization of subordination remained apparent in that male figures maintained holding their bodies upright and erect as a stereotypical mark of superiority and disdain (Goffman, 1985: 40). The images often represented figures from the knees upwards, thus, the posture of legs or body was not of specific notice; figures demonstrated some equity in their positioning. Both male and female figures generally held their heads upright with serious expressions. However, this seriousness was also noted in contrast to differences in apparel worn by both male and female figures. Male figures were often represented in neutral black attire while female figures were shown in a variety of colours. In Goffman’s (1985) words, women are more likely to participate or are portrayed in trying out various guises whereas men are all too often displayed wearing formal, business, or informal attire that provides a seriousness in their identity (p. 51).
As it pertains to licensed withdrawal, again there is equity represented between the images of male and female figures. Across the board, all figures, no matter their gender, were partaking in licensed withdrawal in the form of an averted gaze, little acknowledgement of the camera or audience, and often focusing on some sort of elements outside of the frame (Goffman, 1985: 61). This can imply aversive behaviour especially alongside the seriousness of each figure’s expressions.
In considering Mee-Eun Kang’s (1997) extended model, the bodily display was not of significant notice in Prada’s Spring 2021 Campaign. Almost all figures showed little to no skin, the clothing was not revealing of the figures’ bodies and did quite the opposite; figures were often represented in layers of clothing and very few wore clothing that was form-fitting (Kang, 1997: 984).
Independence as defined by Kang (1997), entails a consideration of the bigger picture or message of the overall image (p. 984). This is important as a concluding factor in the analysis of Prada’s Spring 2021 campaign. Across all images gleaned from Prada’s Spring 2021 campaign, figures were often represented in very similar ways. The images took the same or similar compositions (i.e., a close-up and full body shot, as well as words placed on a white background) and motioned to further engagement by the audience. The wording used within each image was intentional and contributed to the overall reading of each image within the campaign.
The messaging was inquisitive and gave a utopic sensation to the portrayals of each figure. Seconding that notion, the figures, in their serious expression, gave a sense of lifelessness and adherence. Prada’s choices for representation gave a sense of equity between the male and female figures, removing focus from body display or position, and towards the clothing in its design. Along this line, the overall campaign felt quite neutral and open for audience interpretation and engagement. In this, there is control transferred from the company to the audience (McKeage, Crosby, and Rittenberg, 2017:74).
