Dolce & Gabbana, an Italian designer company, released an advertisement in 2008 that stunned viewers due to its provocative and extremely sexist images. The advertisement portrays a scantily clad woman being held down by a half naked man, while four other men stand nearby watching. The image denotes that objectifying women as sexual objects is acceptable, that men should have all the power and control in relationships and society, and that men want a certain physical type of woman. These themes and images work to police women’s sexuality and thus keep them from being threats to male dominance and male sexuality.
The Dolce and Gabbana advertisement blatantly denotes that women are sexual objects by placing the female model in such a compromising position. Since the 1990s, there has been an unbridled return to sexually objectifying women. Women are told that their sole merit is their sex appeal and they are simply things for men to use as they please. Society views and places woman in such demeaning manners in order to prevent total sexual justice as female sexuality is seen as threatening. Furthermore, as Susan Douglas notes in Enlightened Sexism, society constantly conveys that female power can be achieved through sex and sexual exhibitions. The preeminent way to gain authority and influence is to gratify and cater to what men desire. Women are told that they should enthusiastically select and rejoice being sexual objects. Thus, women accept and actually welcome the role of a ‘sexual object’ as they believe it will ultimately empower them. A woman’s main advantage or skill, therefore, becomes being able to ‘strut her stuff.’ Catering to men’s desires through high heels and short skirts and buying into male sexual fantasies become a source of power. Yet, in all actuality, it is not a source of power. It is demeaning and ultimately, it is a way to keep women in their place. As sexual objects, they are viewed as mindless and idiotic. They cater to men and not to their own desires. Thus, their sexuality is kept in check and cannot threaten male dominance and male sexuality. By diminishing women to their sexuality, it damages their campaign for full equality. Women become less than people (Douglas 154-187). Curtis Sittenfeld in ‘Your Life as a Girl’ comments on this phenomenon, saying “you wear spandex shorts that make you feel like your legs are pieces of sausage…Men stick their heads out windows of their cars and hoot at you…then you realize that they aren’t seeing you, not as a person. They are seeing you as long hair and bare legs, and you are frightened” (Sittenfeld 6). A fear factor is created, working to keep women frightened of men and thus, keeping them in their place. This fear becomes a part of being a woman as Emilie Morgan remarks in ‘Don’t Call Me a Survivor’, saying “I am not sure which was harder: being gang-raped, or having the sudden realization that this is what it means to be a woman” (Morgan 36). Sexual objectification and violence harness women’s sexuality and ultimately keep women from being threats to male dominance and sexuality.
The designer advertisement also implies that men should have all the power and control in relationships and society by having one of the men stand over the woman and hold her down, while the other men look on menacingly. Female power is seen as a very threatening and real issue in society. Douglas points out that people believe that women will lose control or go ‘wild’ if feminism and women gain power. She cites three different cases: Lorena Bobbitt, Tonya Harding, and Amy Fisher. Each of these cases demonstrates the result of female empowerment as violent and terrifying. The media used such rare cases of female aggression to incite the necessity of harnessing female power and sexuality. The media issued out the message that men need to remain in control; the patriarchy must be maintained. Otherwise, there will be disastrous consequences. Janet Reno is another common example used to keep women from seeking empowerment. Reno Reno Douglas 54-75). Sittenfeld cites a personal example, saying “you cannot hear everything they say, but you make out your name and the word ‘nagging.’ You have overstepped your boundaries, and they have put you in your place” (Sittenfeld 10). Thus, this advertisement also works as a regulating device, by visually showing women that men are in power and have control over women.
The advertisement also paints a picture of what the ideal woman should look like. The woman in the ad is clad in tight, body-hugging black spandex that is shaped like a bathing suit, hugging her crotch and revealing her long, naked legs. She has extremely high, pointy heels on, boatloads of makeup, and tan skin. She is tall, extremely slender and although her cup-size is not evident, one can guess that she has fairly big breasts. According to the ad, this is the ideal woman. This is what men want. Yet, this body type is rarely found in nature. Very few women fit the profile of a ‘lanky twelve year old boy with Pamela Anderson’s breasts” (Douglas 217). Thus, the media ultimately tells most women their bodies are not normal or attractive unless they meet these standards. Such unrealistic expectations result in eating disorders, low self-esteem, and low self-confidence. It becomes impossible for a woman to be satisfied with her body. This lack of satisfaction actually is used to financially benefit corporations. The policing of women’s bodies results in women spending all sorts of money in order to make their bodies ‘ideal.’ Thus, the ideal body is about capitalism as corporations (pharmaceutical, cosmetic, film companies etc.) ultimately benefit. This image also gives one meaning to ‘sexy.’ It tells women if they want to be sexual and desired, they have to look exactly like the woman in the ad. By giving a concrete and bounded definition of ‘sexy,’ female sexuality is again policed. The creation of an ideal woman that is inaccessible to most women serves as a regulating device. Joan Brumberg writes that “[young women], their self-esteem began to have more to do with external attributes than with inner qualities, such as strength of character or generosity of spirit” (Body Projects 101). Women start to judge or rank themselves in regards to an unreachable physical body image. Thus, they can never be really happy or satisfied. They will never be perfect or good enough. This keeps women from gaining personal empowerment and confidence. It works to control female power and thus keep patriarchal society and masculine prerogatives safe (Douglas 214-241).
The Dolce and Gabbana advertisement is ultimately a way to police and regulate female power. By sexually objectifying the woman and putting her in a submissive position, the ad harnesses female sexuality and implies the necessity of male dominance. Images such as this one are seen all over the media. These repetitive themes work to embed and engrain certain ideas into society so that they are not questioned or overturned. These ideas include the danger of female sexuality, a celebration of female sexual objectification, and what it means to be sexy as a female. Women become so focused and obsessed with fitting these unattainable ideals that they end up losing confidence and personal conviction. Women also focus on only pleasing men and do not take into consideration their own sexual desires. They see sexual objectification as empowering and thus work to satisfy men and not themselves. Thus, women play a part in keeping themselves in a submissive position. They play into the patriarchy of society and are a huge reason of why it is still maintained. As Allan Johnson says, patriarchy is not all about men. Everyone participates in the system. Women support and buy into stereotypes and constantly follow paths of least resistance. Until the entire system is questioned by both men and women, society will continue to think and run in a sexually unequal manner (Johnson).
References
Douglas, Susan. Enlightened Sexism. Times Book, 2010.
Findlen, Barbara, ed. Listen Up: Voices from the Next Feminist Generation, New Expanded
Edition. Seal Press, 2001.
Johnson, Allan G. The Gender Knot. “Patriarchy the System: An It, Not a He, a Them, or an
Us.” Temple University Press: Philadelphia
Morgan, Emilie. “Don’t Call Me a Survivor.” Listen Up: Voice from the Next Feminist
Generation. Ed. Barbara Findlen. Seal Press, 2001. PAGES
Sittenfeld, Curtis. “Your Life as a Girl.” Listen Up: Voice from the Next Feminist Generation.
Ed. Barbara Findlen. Seal Press, 2001. PAGES
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