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The Changing Roles And Women in Ads Used By Electronic Kitchenware Manufacturing Sector in
Turkey, Since Beginning To Present
Assist. Prof. Dr. Dilek HOCAOĞLU1 Dr. Demet GÜNAL ERTAŞ2 Dr. Dilek AKBULUT3
Introduction
Product ranges constantly expand and increase in number along with brands in our day, demanding more and more importance placed in product design and marketing. Consumption of designed and manufactured products reaches beyond the limits of requirement and advertising emphasizes on a different manner of consumption. Advertisements are targeted on women based on the assumption that women are more prone to shopping than men.
Based on this perception, this paper discusses the relationship of product-gender in printed advertising, which has a key role in promotion and sales of products manufactured in Turkey. The subject is exemplified with printed advertisements designed for electronic kitchen appliances manufactured by the Turkish corporation Arçelik. How the role of woman is fictionalized, the fashion in which the image of woman is used, its influence on promotion and relationship to the marketed product are examined through examples under the heading of advertising.
Consumption and Advertising
Dictionary of Advertising Terms suggests that advertising is a process of marketing that most cost-efficiently transmits the most persuasive sales message for any goods or service to the most appropriate mass (Melek, 1995). The general purpose of advertising is to announce a new product or service to the target consumer and establish in them positive perception of the product, brand and establishment. The sales goal of advertising is to motivate and convince the consumer to purchase the product or service, to promote and demonstrate benefits of and generate demand for products or service manufactured by establishments (Yıldız, 2006). Advertisement must create a bond between the product it promotes and the user to achieve the desired goal. These bonds are mostly established through the transmitted concepts (Karaca, Papatya, 2011).
Gender and Advertising
The term of sex denotes the biological aspect of being a woman or a man while the term of gender stands for the meanings and expectations attributed to being a woman or a man by the society and culture (Dökmen, 2004).
Gender roles demonstrate how men and women are supposed to behave and various duties they are expected to carry out. In advanced industrial societies, the role assigned to women is to do house chores or work in services, in other words, do “the women’s job.” Meanwhile, men spend their life working on their careers outside of home (Marshall, 1999).
Advertisements are used to instruct women on the manner they must work in predetermined areas of life according to their gender role (Yıldız, 2006).
Sociocultural Factors in Advertising
The goal of advertisers is to transmit the effective and persuasive sales message to the consumer correctly. In doing that, they first need to take into consideration the values, consumption habits, social and cultural structure of the society they operate in. There are numerous factors that influence the decision-making process of individual purchasing behaviors,
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Assit. Prof. Dr., Department of Industrial Product Design, Doğuş University, Turkey dilekayyildiz@gmail.com
2 Dr., Department of Industrial Product Design, Istanbul Technical University, Turkey
ertas@itu.edu.tr
3
Dr., Department of Industrial Product Design, Gazi University, Turkey dilek.akblt@gmail.com
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including necessity, motivation, perception, attitude, beliefs and personality as socio-psychological factors. Sociocultural factors are family, social class, reference groups and culture. Demographic factors with the most significant influence on purchasing decisions are income, education, profession and gender.While the father figure was regarded as the head of the household and the purchaser, woman, having earned financial power in today’s world after serving as an assistant in purchasing decisions of the family, gained a say on what money should be spent. Moreover, women became more active in spending on not only cleaning, food and clothing but also automobiles, electronics etc., which used to be a male territory, and led businesses to revise their sales and marketing methods (Hız, Dinçer & Karaosmanoğlu, 2010).
The Female Role in Advertising
Marketers recognized the importance of women a long time ago as they met the eye more at home, at work and in society. The female image started to be used in order to support the purchasing decisions of women in favor of various consumer goods. However, only primary roles of women in society (mother and wife) were depicted in these advertisements. It is observed that women in advertisements could easily make purchasing decisions on food and small goods but made decisions with men to purchase products and services like a vacation, house, insurance policies and durable consumer goods (Hız, Dinçer& Karaosmanoğlu, 2010).
Women had two basic functions in mass-media advertising: the first addresses them the target mass and the second positions them to appeal to the target mass. In contemporary societies, women turned into luxury and extraordinary consumption instruments and advertising material that can be addressed to their own appreciation as well as that of men. In this aspect, woman turns into an object. Female body becomes the most effective visual object for provoking and escalating consumption desires of masses towards products. In this context, woman is described as a mother or a wife as well as a sex object. Three basic roles of women are constantly emphasized as cleaning, cooking and taking care of children in advertisements that position them as mother or wife. The updated role and image of woman in social life is projected as the one who works without forgetting she is also a mother and/or a wife or a woman who produces solutions in recent advertisements. On one hand, the traditional role of women are carefully preserved, while on the other hand, new grounds are established where women can express their individualistic and competitive side (Hiz, Dinçer & Karaosmanoğlu, 2010).
Demir (2006) analyzed the contents of 200 advertisements published between the years of 2000 and 2004 and exhibited the male and female stereotypes in TV advertisements and concluded that the young, beautiful and attractive female stereotype participates more in advertisements while the values attributed to both genders by the patriarchal culture changes in advertising. Sarı (1999) states, while men are portrayed through their attitude, women are depicted through their images in advertisements.
Women appear in product ads that target them such as cosmetics, clothing, household goods and health products; together with the automobile advertisements that target men. In the latter, women are used as more of a sex object (Çetinkaya, 1993; 127). The female image in advertisements can generally be assigned to one of the four following models:
Woman as a mother or a wife Young and attractive woman Working woman
Old woman (Yıldız, 1996).
There are also new images of independent, confident, hardworking women who look for excitement, success and adventure in recent advertisements. However, these new images are masculinized and de-identified into sex objects (Hızal, 2004: 36).
The following presents the female image by years: 1950-1960:
Women and children are frequently used in the advertisements in 1950s and motherhood and babies are conveyed to be important for contemporary women (Wernick, 1999).
1960-1965:
In 1960s, women who live according to the duties of a mother and a housewife were criticized for their graceful, domesticated and feminine portrayal in advertisements. The gender code was shaken in the 60s and 70s (Ün, 1996).
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1965-1970:In the second half of 1960s and in 1970s, the rise of the Second Wave Feminist Movement, increasing number of women working in public service and the reflection of these social alterations in media consequently changed representation of women in advertisements. A new category of “reconciling women,” who are neither too feminine nor too feminist, who establish a balance between the traditional and the modern but also can prefer their home and children to the public service, emerged in this period. So, advertisements started to depict women as people that do not only consume for their home and children but also for themselves. However, the category also led to the rise of physical beauty and attractiveness as a measure of achievement at home and in public (RTÜK, 2004).
1970-1980:
Most of the men in the advertisements in 1970s are described as informed experts on purchased products while women are only portrayed as a user of the purchased product (Dökmen, 2010).
1980-1990:
In 1980s, as the notion of “equality” became one of the basic concepts, the category of “super woman” came to life next to the “good mother and wife” and “reconciling woman” (RTÜK, 2004).
The free market economy was engaged as part of the financial decisions made on January 24, 1980; people were encouraged to consume and as a result the 80s proved to be milestone in advertising.
1990-2000:
Private television channels started broadcasting in 1990s, inducing a great change in advertising (Yavuz, 2004: 41). During this period, commercials were designed in a way that people could watch like TV series (Özçağlayan, 2000: 50).
2000-2010:
In spite of the development in advertising and the transformation in the female image, women were once again cast as housewives, mothers and wives in the advertisements of 2000s.
Whiteware Consumption and Advertisements in Context of Modernism and Gender
According to Veblen, in early 20th century, men regarded their wives and daughters as instruments through which they can exhibit their wealth (Veblen, 1958). Moreover, consuming by proxy of the head of the house became a duty for women in the course of financial development. However, as time went by, owners of lesser wealth adopted luxury lifestyles obtained from expensive shopping as well. As heavy industry declined in 1960s, the increased male unemployment created a pressure on women to find jobs. In 1970s, consumption and production were no longer gender-assigned and both genders staked their claim in these activities. Lifestyles were not privileges of certain groups any more in such a society without fixed social statuses. People worked to earn a living and to participate in the consumption as well while the goods became goals and awards of the job. Purchasing became more a motive (Baudrillard, 1988).
In late 1980s and early 1990s, male body started to be used in advertisements for commercial purposes. Advertisers first adopted psychoanalytical ideas and produced advertisements with the male body and a homoerotic subtext. However, this does not seem to be a taboo-breaker for the young age group. It is assumed that feminist criticism against the exploitation of female body played a role in the appearance of these advertisements. Also, products and advertisements that address men targeted their purchasing power. The market initially targeted homosexual men but expanded and covered others. Consequently, the homosexual group can be positioned as the trendsetter (Bocock, 1997).
Under postmodern conditions, the stratified modern consumption styles and the conscious state of belonging to a style are confused and combined (Bocock, 1997). Identities were conclusively demarcated and clenched with the sense of “belonging” and sometimes went through rapid changes in the postmodern environment. Subsequently, consumption styles that are different and even exclude one another were stretched and integrated. “Imitation” of social hierarchy and lifestyles of superior groups in the modern environment was replaced by finding own lifestyle and appealing to oneself and others.
A similar change is observed in transitivity between the biological and the social, and as a result, “sexuality regulating regimes.” Modernity, which is associated with heterosexuality, offers a “body regime” in which different pleasures and aesthetical and medical tools are attributed to the male and female, accompanied by “space regulating regimes.” Masculine spaces are coded with authority and competition while feminine spaces are coded with aesthetics, emotions and empathy (Sancar, 2012).
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In the Republican era, “home” was one of the fields of modernization, which expressed the ideal to “reach the level of contemporary civilizations”. In fact, different duties were assigned to men and women in this phase of Turkish modernization; politics were given to men and social and cultural affairs to women. Women started organizing modern daily life, waiting men, who are weary from managing the state and politics at home, and constituting the modern family. Actually, this type of modernity designated two basic spaces of life, one in familial and the other in social terms, as in the prematurely industrializing society. The feminine family space, which is the natural and apolitical habitat of women and children, was juxtaposed by the masculine social space, the stage of power struggles (Sancar, 2012).Modernization at home and in domestic life was one of the prevalent themes in the Republican era. Use of technology in modern methods was taught at the education institutes for girls, founded after 1928, in order to rationalize and modernize housework. “Scientific” housework methods were published in textbook as well as popular magazines and promised to make housework more productive, improve hygienic conditions at home and save money and time. Women were going to be more modern along with their homes and have time to do other beneficial things for their home and improve themselves (Ahıska, Yenal, 2006).
The use of electronic household appliances popularized the phenomenon of modernization in the Turkish society. Three important factors are proposed to explain the increase in electric appliance consumption: the release of goods, proliferation of electric energy in rural regions and the improved level of life standards. Whiteware came to be used after 1935 and mediated the strengthening and stiffening of an interclass awareness as the indicator of financial power and modern lifestyle. Popularization of these products induced the transition from the traditional “contented society” to consumption society (Orçan, 2008). The use of refrigerators changed the culinary culture and washing machines spared the time of housewives. Housework, previously performed with the help of neighbors, became manageable by one woman. These new products led to changes in household arrangements, neighborhood relations and off-time activities. On the other hand, two thresholds may be supposed to exit in the evolution of consumption habits. The use of television sets after late 60s played a great role in the change of mass culture and consumption styles. Electric service, extended towards rural areas in this period, and the use of electric appliances especially accelerated the change. However, the real transformation in the consumption culture manifested itself after 1980. Free market economy came into effect and the early Republican ideal of “modernization” was replaced by the goal to “step into a new age.” This new goal revealed itself as an individualistic transformation strategy rather than a societal project like modernism. New consumption styles were the most important indicators of these individualistic strategies.
Promotion and popularization of electric household appliances, offered as a method of modernizing houses and women, found a place in textbooks, magazines, radio and TV commercials in this period. The commercials initially reflected on traditional values and a humble lifestyle and featured mothers and elder sisters as domestic producers. Woman, the symbol of modern privacy, was gradually turned into a consuming, postmodern wife and even a sex object encouraging consumption (Orçan, 2008). While the woman was the domestic producer of modern times, electronic appliances became the new servants of the household. Houses were mechanized with these appliances; advertisements started showing women working at home and the consumer was wrapped in the role of a working woman. Moreover, these home technology articles are currently associated with a male image in advertisements. These ads where women occasionally appear have become an indicator of the changing male identity (Figure 1-2). Meanwhile, Turkish companies like Arçelik and Vestel prefer to use toy robots in their advertisements instead of male characters (Figure 3-4-5). These characters, which turn housework into a game, are in fact the equivalent of male image. It may be interpreted as a reflection of the male identity of technology.
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Figure 2: Bosch commercialFigure 3: Arçelik advertisement, “Çelik” and “Çeliknaz”
Figure 4: Vestel commercial
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Woman Image in Printed Advertisements for Arçelik Kitchen Appliances
Arçelik is the durable consumer goods manufacturer of Koç Holding, which has the largest number of subsidiaries in the list of Istanbul Chamber of Industry (ISO) and is among the largest 500 companies in the world. Arçelik products have a broad market in Turkey and around the world, sold under the brand of Arçelik in Turkey and exported under the brands of Beko, Altus and others.
Arçelik was founded in 1955, started working with designers in late 1960s and became one of the oldest companies to employ designers. Arçelik functioned as a contracted manufacturer prior to 1980s and decided to produce its own goods in late 1980s.
Arçelik products are widely preferred in Turkey, indispensible to older generations and inspire brand loyalty not only because they are national products but also because they are strong and reliable and their spare parts are always available. The company owes its success to industrial design in following the trends without compromising its own corporate identity. Meanwhile, the firm aspires to use industrial design as a tool to strengthen its identity in order to adapt to times without losing its values. Arçelik tries to maintain the long-established corporate identity, keep old customers and appeal to young masses and uses product design to these ends. It is currently observed that Arçelik uses the characters of Çelik and Çeliknaz as representations of the younger part of the society, which actively uses technology. This presentation discusses printed advertisements designed for whiteware, which is one of the business fields to adopt the female image the most frequently and depends on industrial product design. Arçelik was chosen for its being one of the foremost whiteware manufacturers in Turkey. The images of the kitchen appliance advertisements were derived from ISO magazines published between the years of 1969 and 2011 and from web pages. 8 printed advertisements were selected and analyzed.
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Advertisement 3 (1970s) Advertisement 4 (1971) Advertisement 5 (1972) Advertisement 6 (1980s) Advertisement 7 (2010) Advertisement 8 (2012) Table 1: 8 chosen Arçelik advertisements8
Ads 1 Ads 2 Ads 3 Ads 4 Ads 5 Ads 6 Ads 7 Ads 8
Period 1960 1961 1970s 1971 1972 1980s 2010 2012
Product
Group Refrigerator Refrigerator Refrigerator Refrigerator Refrigerator Refrigerator Built-in oven
Small kitchen appliance
Location - - - Dining room - - Kitchen -
Woman’s
Role Daughter Wife Model
Wife and product
user Model
Wife, working
woman Wife Wife
Age 10-15 25-35 25-35 30-35 25-35 20-40 20-30 30-35
Clothing Daily checkered
dress Body not visible
Long evening gown Modern casual clothing Modern mini dress Modern clothing, aprons Modern dress and apron Mini evening dress Other
Characters - - - Husband, son - Husband, child -
Robots Çelik and Çeliknaz Woman-Product Relationship User crouches and uses the product.
Only woman’s face is visible. The face looks at the refrigerator from
above and
examines.
Next to the product but not a user.
Product is not visible.
Next to the product but not a user.
Woman is next to the product but is not a user, examines the product.
User uses the product. Product is not visible. Explanation The advertisement transmits the message that children can easily eat healthy food through the image of the daughter. It is also conveyed that using the refrigerator is as Product features as emphasized upon. Only a woman’s face is used with a content expression. Eyes look at the product from above and
examine it. The image aims at creating the
The woman is not used in direct relationship to the refrigerator but only as a decoration next to it. It may be the image was used to create the impression that the refrigerator is used easily by the wife and does not
The promoted refrigerator product is positioned in a separate section. On the other hand, the family that uses the refrigerator sits happily around the dining table in a peaceful environment. The
The woman is not used in direct relationship to the refrigerator but only as a decoration next to it. The image was used to create the impression that the refrigerator is used easily by the wife and does not
Various woman images are used together to show women in positions of a housewife, a workingwoman, a mother and a wife. The
husband and their child are also included in the images to give the
The wife is shown as a happy user. A young woman displays her talents using the oven and succeeds. A stylish environment, the product in the environment Tulin Sahin, a model who maintains her figure, is used in the advertisement. Tulin Sahin poses with Arçelik robots, Çelik and Çeliknaz, and symbolizes the modern and
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easy as a child’s game, indicating to ease of use. impression that the refrigerator satisfies the wife.tire her. message is that families that use the product are satisfied.
tire her. message that the woman takes good care of her family as a mother and a wife. and achievement in baking are linked together. well-groomed woman and the fact that she can be an accomplished cook as well. Table 2: Analyses
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Conclusion:
Common and different characteristics observed in the woman images used in the analyzed kitchen appliance advertisement posters may be classified as follows:
Use of Location: Although printed advertisements were designed for kitchen appliances, it is observed that only in some kitchen is used as the location. The location is uncertain in the rest. While kitchen is not used often as the location in earlier printed advertisements, the recent ones feature kitchen images. The promoted kitchen appliance is dissociated from the location and is only presented next to a woman figure in older advertisements and the product is shown in its location, modern kitchen of the present, in recent advertisements. Product-location relations in advertisements may be depending on the developing design perception. The current emphasis on product design resulted in a rise in product diversity, and an emphasis on the space of use of the products and the functional and visual relations. In this aspect, products are identified by their relation to the user as well as their environment.
Use of Female Image: The female image is seen as a “housewife, wife or a mother” in most of the printed advertisements analyzed. In some posters, woman is only used as a visual element that enriches the product with the female gender. In more recent advertisements, due to the changing lifestyle and values, women are portrayed in their “modern, well-groomed, working woman” identities.
Use of female body: The female body is shown in full-length or only in torso in kitchen appliance advertisements. In most of the printed advertisements, the female body is seen in full-length next to the product. In some posters, the female body is used as a housewife, wife or a mother in a working stance. In more recent commercials, the working modern woman image is seen on foot in full-length or in a working stance.
Women’s clothing: It is observed that women in posters generally wear casual and proper clothes and sometimes evening gowns, which are not associated to the use of the product. In recent printed advertisements, women are seen in more stylish clothes instead of their casual home wear in parallel with the larger importance placed in product design and popularization of modern kitchens.
Periodicity: The period effect is indistinctly observed in advertisement posters. There is no significant difference between posters in a few successive years. On the other hand, it is seen that the product, design, environment and the woman figure are all different in recent printed advertisements.
The significant fact that the environment of early whiteware products is not the kitchen, makes it impossible to observe the period effect. However, it coincides with the mentioned “early period”s feature that the whiteware were placed in the living room at home as an indication and a display of wealth and social status. Meanwhile, women’s clothing and hairdo in these early examples are indicative of their period.
Female Image and Its Implications: The goal of advertisements designed for industrial products, especially electric kitchen appliances, is to promote various items in the best way and appeal to wide masses. To that end, products are large in size and distinguishable in printed advertisements. As the kitchen is a woman’s domain in Turkish society, kitchen products are marketed through women. Although the female representation in electric kitchen appliance advertisements is not a sexually intended one, is still manifests a decorative quality. In contemporary printed advertisements, the woman appears as a participant emphasizing the usability of the item. The message is that new designs are preferred, appreciated and easily used by working women.
The female image in kitchen appliance advertisements transmits various messages and these messages are strengthened by the values it represents. The following presents a list of women’s representations in kitchen appliance printed advertisements analyzed:
Woman in whiteware advertisement posters: The woman is the “user of the product.” The woman is the “target mass of the product.” The woman is the “individual reflecting the society.” The woman is the “master of home and kitchen.” The woman “thinks about what is best for her family.” The woman is a “mother.”
The woman is a “wife.” The woman is a “housewife.”
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The woman is a “person who makes reliable choices.”Messages transmitted through the female image in whiteware advertisement posters: “The item is adoptable by women manufacturer makes products that women will adopt.” “The women will like the item.”
“The item comforts women.” “The item makes women happy.”
In the current manufacturing network, the number of manufacturers gradually increase, product ranges expand and the importance of design in competition is discovered; so, marketing and promotion of the products are also important. Desired messages are given through correctly designed advertisements and design products will be promoted and marketed better.
Manufacturers need to be more meticulous and selective in advertisements they address large masses with. It is important for them to correctly map the user profile, locate the consumer mass and guide user perception of the product. It should be taken into consideration that women are influential in the decisions to purchase especially electric kitchen appliances and similar products. The female image and other visual elements must be chosen sensitively for advertisements of these products.
The female image and usage in electric kitchen appliance printed advertisements since 1950s to the present indicate that women are portrayed differently in advertisements. The woman, who does housework and is the user of the product, is presented not in her natural appearance but in stylish clothing in an artificial manner. The woman used in the posters are not natural but are used to please the eye. This indicates that the woman is used for its sexual qualities even in the advertisements prepared for electric household appliances they purchase and use. Although advertisements replacing female with male appear recently, as in Bosch commercials, as a local brand Arçelik catches such a trend by using a male “robot” to emphasize the diverting masculine characteristic of technology. However, in the most recent example, the robot is accompanied with a female robot and a famous model.
What is observed in the depiction of woman in advertisements published since 1950s to the present is that products and product styles in the advertisements change over time while the role of women in the advertisements stays the same. Women are portrayed as housewives, wives and mothers. However, even these traditional characteristics of the female gender are accompanied by the sexual aspect of the gender.
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