Abstract: "Drawing from several areas of research, this thesis explores the ways in which Dove's Campaign for Real Beauty appropriates feminist themes to sell beauty products, to the detriment of female consumers. Advertising and marketing have long held the power to create, shape, and reinforce cultural norms, and for years, advertisers have been able to propagate and strengthen gender stereotypes. Though there has been a push since the late 1990s to stem the flow of sexist and potentially dangerous advertising messages about women's bodies, ads still disseminate harmful messages that contribute to the further sexualization and oppression of women in the United States. Dove is just one of the many female–targeted brands that claim to hold progressive, woman–positive ideals, while still selling products intended to make women more beautiful–supposedly the ultimate goal for any modern female. While the campaign professes a desire to increase confidence and self–esteem for women and girls around the globe, it promotes a post–feminist, consumerist agenda that actually reinforces what Naomi Wolf titled 'the beauty myth'. Linguistic and visual analyses of Dove's print and viral marketing tactics within the contexts of advertising, feminism, and consumer culture reveal that instead of 'redefining' beauty, the Dove campaign is, in actuality, reinforcing decades–old ideology about women's appearance and status in society."
(Caitlin McCleary, 2014)
McCleary, Caitlin M., "A Not–So–Beautiful Campaign: A Feminist Analysis of the Dove Campaign for Real Beauty" (2014). University of Tennessee Honors Thesis Projects. http://trace.tennessee.edu/utk_chanhonoproj/1691
"Procter & Gamble Co.'s Always today is launching 'Like a Girl,' a video ... that takes issue with generations of playground taunts about people running, throwing or fighting 'like a girl.' It asks: 'When did doing something 'like a girl' become an insult?'"
(Jack Neff, 26 June 2014, Advertising Age)
"Design thinking is ... a discipline that uses the designer's sensibility and methods to match people's needs with what is technologically feasible and what a viable business strategy can convert into customer value and market opportunity. Like [Thomas] Edison's painstaking innovation process, it often entails a great deal of perspiration. ...
Historically, design has been treated as a downstream step in the development process – the point where designers, who have played no earlier role in the substantive work of innovation, come along and put a beautiful wrapper around the idea. To be sure, this approach has stimulated market growth in many areas by making new products and technologies aesthetically attractive and therefore more desirable to consumers or by enhancing brand perception through smart, evocative advertising and communication strategies. During the latter half of the twentieth century design became an increasingly valuable competitive asset in, for example, the consumer electronics, automotive, and consumer packaged goods industries. But in most others it remained a late–stage add–on.
Now, however, rather than asking designers to make an already developed idea more attractive to consumers, companies are asking them to create ideas that better meet consumers' needs and desires. The former role is tactical, and results in limited value creation; the latter is strategic, and leads to dramatic new forms of value."
(Tim Brown, 2008, Harvard Business Review)
Dove co–option through the use of female anxiety about beauty and self esteem.