Running head: DOLCE AND GABANNA VISUAL ANALYSIS

Dolce and Gabbana Visual Analysis Amanda L. Griesbach University of Minnesota

DOLCE AND GABBANA VISUAL ANALYSIS Abstract

This paper explores the elements and principles of design that are prominent in the Dolce and Gabbana cosmetics advertisement present in the March 2012 issue of Vogue. The 2-page advertisement features Felicity Jones modeling the cosmetics on her face on the left side and the actual cosmetics on the right page. The most prominent elements of design are line, shape and balance. The principles of design that are most noticeable are balance, rhythm and harmony. The elements and principles in this magazine image influence the aesthetic function, utilitarian function and symbolic function of the design. Overall these functions are a bit unbalanced, and the aesthetic function is more present. Keywords: Dolce and Gabbana, Vogue, line, shape, color, balance, rhythm, harmony

DOLCE AND GABBANA VISUAL ANALYSIS Introduction The elements and principles of design are used all around us. They are what make things look good, or bad and are present in everyday objects, buildings, magazine advertisements and so many other things. The Dolce and Gabbana advertisement in the March issue of Vogue is an excellent example of how the elements and principles work together to create an overall great design. This particular advertisement has a prominent use of line, shape, and color as far as the elements go, as well as rhythm, balance and harmony in regards to the principles. These elements and principles influence the aesthetic function, utilitarian function,

and symbolic function of the design. The overall balance of these three functions is a bit overturned by the aesthetics of the advertisement. Description of Magazine Image The advertisement that is being analyzed is for Dolce and Gabbanas kohl collection for eyes and nails. This advertisement was present in the March issue of Vogue magazine. It is a 2-page spread that is very rich and glamorous. The chroma of the overall ad is very eye-catching and deep. The left hand page (Figure 1) features Felicity Jones in a satin red dress, bold eye makeup and gorgeous glossy red lips. Sex appeal is definitely the main focus of this page. On the right hand page (Figure 2), there are cosmetic products, eyeliner and nail polishes, that are all pressed together in a vertical setup with the exception of one of the eye pencils, which is askew. The brand name, Dolce and Gabbana is written in large white capital letters across the bottom of the page, contrasting heavily with the deep red of the background. The elements and principles of design are very evident on these pages,

DOLCE AND GABBANA VISUAL ANALYSIS and your eyes bounce across the pages as an effect. The ad gives a very strong, luxurious and luscious feel to the viewer. Elements of Design The Dolce and Gabbana ad in Vogue shows a prominent use of line. The use of line differs throughout the advertisement adding a dynamic overall effect. The lines carry the eye up and down and across the 2-page spread. On the left hand side (Figure 1) there are faint, wispy horizontal lines that are slightly curved. The

positioning of these lines guide the eye to the right page which features the products that are dominantly being advertised. Another use of line on the left page (Figure 1) that guides the eye over would be the curve of the hair that is blowing to the side. The overall usage of line on the left side has a very soft quality. On the right hand side (Figure 2), there is a dominance of vertical lines created by the positioning of the cosmetic products. The line quality on the right is very hard and the weight varies amongst the different products. There is a use of diagonal line by one eyeliner pencil, which very cleverly guides the eye to the corner with the information on where to purchase the cosmetics. Shape is another element of design that was utilized in the advertisement. The cosmetic products have a very geometric shape to them. The nail polish bottles are rectangular and the eyeliner pencils are rectangular with triangular tips. The orientation of the shapes of the cosmetics is vertical, which is very conclusive to their geometric quality. In contrast, on the left page the models hair has a curvilinear shape to it, which gives a more fluid feel.

DOLCE AND GABBANA VISUAL ANALYSIS In this Dolce and Gabbana ad, the overall color scheme is red. There are different tints and shades of red prominent through out the 2-page spread, which means it has a monochromatic color scheme. Among the makeup products on the right page (Figure 2), there is an analogous pattern of color, mixed in with neutral colors. On the left page (Figure 1), there is a strong sense of value contrast between the lightness of the models skin, and the rich dark colors of the dress, lipstick and background. The lipstick jumps off of the page because of the high intensity of chroma. Principles of Design

Rhythm is very prominent in this ad, especially on the right hand side (Figure 2). The repetition of the cosmetic products, the eyeliners and nail polishes up against one another, leads the eye horizontally across the right page. Rhythm through gradation is also present among the cosmetic products. There is an incremental decline starting with the eyeliners. The eyeliners are the tallest, the nail polishes are then about 3/5 of the size, and the mini nail polishes are slightly smaller yet. This creates a sense of incremental growth. Balance is present on both pages of the Dolce and Gabbana cosmetics advertisement. Visual equilibrium is the type of balance that is most heavily prominent. The model, Felicity Jones, on the left page (Figure 1) has symmetrical balance among her facial features and earrings. In the photograph, she is symmetrical on both sides of an imaginary central axis. She also has bilateral symmetry in regards to the y axis. On the right page (Figure 2), there is a completely different kind of balance used. The type of balanced used is asymmetrical, or

DOLCE AND GABBANA VISUAL ANALYSIS informal, balance. The regular size nail polishes act as the center of balance, while the mini nail polish and eyeliners are the example of asymmetrical balance. The eyeliners are skinny and tall, while the mini nail polishes are short and wide. Although the objects are dissimilar, they have equal visual weight. An example of asymmetrical balance on the left page (Figure 1) would be the models hair blowing to the right and her hand pointed to the left. This advertisement has a great overall sense of harmony with its design. There is an interplay between unity and variety that creates an effective and beautiful overall image. The arrangement of the component parts in this

advertisement, the model and the cosmetics, form a cohesive whole. There are many examples of harmony in this advertisement. The pure difference between the right page (Figure 1) and left page (Figure 2) is pretty evident in the fact that one page displays the cosmetics, while the other page features a human model. Although they are distinctly different subjects, there is a sense of unity because both subjects are very bold and beautiful, creating a cohesive feel of harmony. Another example of harmony is present on the right page (Figure 2). The cosmetic products are all different colors and different types which creates a sense of variety. The packaging is very similar among all of them though, sleek and vertical, creating a sense of unity. Again these elements blend together to create harmony. Aesthetic Function, Utilitarian Function and Symbolic Function The elements and principles present in the advertisement influence aesthetic function, utilitarian function and symbolic function. In regards to aesthetic function the aspects of the ad go beyond the other functions, and present themselves to the

DOLCE AND GABBANA VISUAL ANALYSIS senses in a very stimulating way. According to Virginia Postrel (2003), Aesthetics have become an accepted and unique selling point-on a global basis (p.2). The aesthetics are very glamorous and pretty. The coloring, sleek packaging, glossy hair and faint lines in the background create strong aesthetic value. It also has a very sensual component of behavioral design. All of these qualities will most likely help with the sales of the featured products. The Utilitarian function is also highlighted in the ad. Instead of showing only the makeup products in their packaging, they are present on the model on the left hand page. Donald Norman (2004) said that in most utilitarian designs, function comes first and foremost (p. 70). By actually showing the cosmetic products in action, it shows that the products are usable and fulfills peoples needs. Symbolic function is present in the sense that Dolce and Gabbana is an exclusive and high-end brand. A point brought up by Donald Norman (2004) is that whether we wish to admit it or not, all of us worry about the image we present to

others (p. 84). The Dolce and Gabbana Brand in itself gives a great sense of symbolic function. My Opinion In my opinion, I feel as though the aesthetic function dominates in the Dolce and Gabbana cosmetics advertisement. The focus of the ad is most definitely on the pretty factor. The entire ad is very rich and glamorous. Utilitarian function and symbolic function are most definitely present and play their role, just not as prominently.

DOLCE AND GABBANA VISUAL ANALYSIS Conclusion The Dolce and Gabbana advertisement featured in the March 2012 issue of Vogue utilizes the elements and principles of design very well. The overall effect of the advertisement is very strong, luxurious, and luscious. The elements (line, shape and color) and principles (rhythm, balance, and harmony) discussed all work very well together to create an effective and visually pleasing magazine advertisement for the company. The design has aesthetic, utilitarian and symbolic function, which all good designs should have, but in this particular case the aesthetics have a prominent presence. Overall, Dolce and Gabbana produced a beautifully designed

advertisement, which executes their product especially well using the elements and principles of design.

DOLCE AND GABBANA VISUAL ANALYSIS

Figure 1, Right Page of Advertisement

Figure 2, Left Page of Advertisement

DOLCE AND GABBANA VISUAL ANALYSIS References Norman, D. (2004). Emotional design: Why we love (or hate) everyday things. (pp.62-95). New York, NY: Basic Books. Postrel, V. (2003). Preface. The Substance of Style (pp. ix-xv; 1-33). New York, NY: Basic Books.

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