Introduction
This essay explores the rising cultural emphasis on personal enhancement as a mechanism for social adaptation through the comparative analysis of two advertisements: a print advertisement for a luxury skincare brand, Chanel’s “No. 5 L’Eau” (2016), and a video advertisement for Nike’s “ Dream Crazier” campaign (2019). Both advertisements reflect how contemporary popular trends compel individuals to transform themselves to meet evolving social standards. By presenting cultural goods—beauty products and athletic identity—these advertisements carry valued and devalued meanings, appealing to and challenging viewers to believe in new identities and ideals. Drawing on sociological perspectives, this essay examines how these advertisements construct narratives of self-improvement, analyse their cultural significance in shaping social expectations, and consider their implications for identity formation. The discussion will address how these campaigns navigate personal transformation within the context of societal pressures, using symbolic meanings to both attract and provoke viewers.
The Cultural Context of Personal Enhancement and Social Adaptation
The concept of personal enhancement, often tied to physical appearance, skills, or social status, has become a dominant theme in contemporary society. Sociologists argue that modern consumer culture promotes self-improvement as a pathway to social acceptance and success (Featherstone, 1991). This is particularly evident in the proliferation of media and advertising that idealise certain lifestyles or appearances, creating benchmarks for individuals to aspire to. Featherstone (1991) suggests that the body, in particular, has become a site of cultural capital, where enhancements signify social worth and adaptability. Advertisements play a pivotal role in this process by framing personal transformation as not only desirable but necessary for inclusion in social groups or achievement of status. The two advertisements discussed in this essay exemplify this trend by presenting transformation as both an individual choice and a societal expectation, embedding valued meanings of beauty and strength while subtly devaluing non-conformity or stagnation.
Chanel No. 5 L’Eau: Reinforcing Beauty as Social Capital
The print advertisement for Chanel’s “No. 5 L’Eau” (2016), featuring actress Lily-Rose Depp, encapsulates the cultural value placed on beauty and femininity as tools for social adaptation. The image portrays Depp in a poised, ethereal manner, with soft lighting and minimalistic design drawing attention to the iconic perfume bottle. The tagline, “You know me, and you don’t,” suggests a duality—an invitation to reinvent oneself while maintaining an air of mystery. This advertisement upholds traditional valued meanings of femininity as elegance and allure, positioning the use of Chanel perfume as a transformative act that elevates one’s social standing. As Bauman (2007) notes, consumer goods in late modernity often serve as markers of identity, enabling individuals to signal their alignment with societal ideals. Here, Chanel constructs the perfume as a cultural good imbued with the promise of sophistication, appealing to viewers who seek to adapt to elite social circles.
However, the advertisement also subtly challenges viewers by devaluing static or unrefined identities. The implied message is that without such enhancement, one risks remaining invisible or insignificant in social contexts. This duality taps into societal anxieties about personal presentation, particularly for women, who are often judged by appearance (Wolf, 1991). While the advertisement seduces with the promise of becoming ‘someone else’—a more polished version of oneself—it also reinforces exclusionary standards, potentially alienating those who cannot access such luxury goods. Therefore, Chanel’s campaign both appeals to aspirations and provokes discomfort, urging viewers to believe in the necessity of transformation for social acceptance.
Nike’s Dream Crazier: Redefining Strength and Ambition
In contrast, Nike’s “Dream Crazier” video advertisement (2019), narrated by Serena Williams, challenges traditional gender norms while promoting personal enhancement through athletic achievement. The advertisement features a montage of female athletes overcoming adversity, accompanied by Williams’ voiceover that addresses derogatory stereotypes such as “crazy” or “emotional” often applied to women in sports. The campaign culminates in the tagline, “Show them what crazy can do,” reframing devalued traits as sources of power. Unlike Chanel’s focus on external beauty, Nike valorises internal strength and resilience as cultural goods, encouraging viewers to adopt a new identity of perseverance and ambition.
Sociologically, this advertisement reflects a shift in popular trends towards valuing non-traditional forms of femininity, aligning with Giddens’ (1991) concept of reflexive self-identity, where individuals actively construct their personas in response to changing social norms. Nike appeals to a broad audience by celebrating diversity and challenging outdated gender expectations, yet it also devalues passivity or conformity by suggesting that transformation through physical and mental grit is essential for social relevance. The campaign’s provocative tone pushes viewers to rethink societal labels and believe in a redefined version of themselves. However, as with Chanel, the advertisement subtly pressures individuals to conform to a new ideal—this time, one of relentless ambition—potentially marginalising those who cannot or do not wish to embody such traits.
Comparative Analysis: Valued and Devalued Meanings in Cultural Goods
Both advertisements highlight the growing importance of personal enhancement, yet they differ in the cultural goods they promote and the meanings they assign. Chanel’s “No. 5 L’Eau” reinforces valued meanings of beauty and exclusivity, using luxury as a marker of social adaptation, while devaluing identities that fall outside these narrow standards. Nike’s “Dream Crazier,” conversely, challenges traditional devalued meanings of female emotionality, transforming them into valued attributes of strength, though it too establishes a new benchmark that may feel unattainable for some. Both campaigns, therefore, operate within a framework of social pressure, appealing to viewers’ desires for acceptance while simultaneously provoking unease about their current selves.
Arguably, these advertisements reflect broader societal trends towards individualism and self-reinvention, as discussed by Beck (1992), who argues that modern societies place increasing responsibility on individuals to craft their identities. However, they also reveal the limitations of such freedoms, as the ideals promoted are often tied to consumerism or specific cultural norms. This tension between empowerment and constraint is central to understanding how advertisements shape beliefs about becoming ‘someone else.’ Both Chanel and Nike exploit this dynamic, using cultural goods to offer transformation as a solution to social challenges while embedding subtle critiques of non-conformity.
Conclusion
In conclusion, the advertisements for Chanel’s “No. 5 L’Eau” and Nike’s “Dream Crazier” illustrate the pervasive cultural narrative of personal enhancement as a prerequisite for social adaptation. Through their use of valued and devalued meanings, both campaigns appeal to viewers’ aspirations while challenging them to adopt new identities—whether through beauty or strength. Chanel reinforces traditional ideals of femininity as social capital, whereas Nike redefines gendered expectations by valorising resilience. However, both subtly pressure individuals to conform to specific standards, highlighting the complex interplay between empowerment and societal constraint in popular trends. This analysis underscores the role of advertising in shaping identity and social norms, raising important questions about the accessibility and inclusivity of the ideals being promoted. Further research could explore how diverse audiences interpret these messages, shedding light on the broader implications for social cohesion and individual agency in a consumer-driven world.
References
- Bauman, Z. (2007) Consuming Life. Polity Press.
- Beck, U. (1992) Risk Society: Towards a New Modernity. Sage Publications.
- Featherstone, M. (1991) Consumer Culture and Postmodernism. Sage Publications.
- Giddens, A. (1991) Modernity and Self-Identity: Self and Society in the Late Modern Age. Polity Press.
- Wolf, N. (1991) The Beauty Myth: How Images of Beauty Are Used Against Women. Vintage.
