The Persuasion of an Lipgloss Ad

October 7, 2012
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People may not expect it, but everyday media elements surround these civilizations using methods of rhetorical persuasion in their advertisements or campaigns, in order to convince them to “buy” or “ like” something or someone. Mundane objects, such as fashion magazines, exert these psychological “traps” from the gloss of their pages, to the size of their font, to the models “selling” their products. An example of a persuasive ad was found in InStyle magazine, featuring L'Oreal Paris’s 8-hour Le GLOSS, with Gwen Stefani as the spokes model. Ethos, or character and reliability, can be established by branding or commercial trademark, which is what L'Oreal’s name provides, as one of the most acknowledged cosmetics companies in our media, for forty years. Also, celebrity can create ethos, renowned for skill, or beauty, or even notoriety, gives off a recognizable glamor that is hard not to taken in. Logos is directed toward logic and reasoning, providing exhibits or evidence to support their presentation, which is the main point of this rhetorical effect. The advertisers provide the characteristics of the gloss such as its 8-hour durability and variety of shades that pertain further to the quality of this product. Furthermore, they provide a picture displaying the effects of the gloss on a woman (Gwen Stefani.) Pathos, emotion, is probably the most problematic and important component of advertisement. For this, the advertisers need to appeal to the deepest desires and insecurities of their primary audience, without making the consuming patrons feel as if they’re being taken advantage of. Often society is painted by vanity, and so members often feel as if they’re obligated to fulfill society’s standards of beauty. Usually, the primary targets are women, frequently young women, who are susceptible to these pressures and as unSpun suggests, the employment of the “Bridesmaid’s Bad Breath” strategy, that if you aren’t at your physical peak, then you will be “unloved” and “wanted.” That’s why cosmetics sell, these uncertainties, these fears are spotted, and hit directly, and while sometimes it can just be a pretty picture with a pretty woman, for others it’s the fountain of youth, the very vaccine to prevent ugliness, loneliness, or rejection, and frankly no one wants that. “Because who wouldn’t want it?” This is the offer of beauty and salvation that makes you an emblematic woman who can be beautiful and not be isolated from her society. This rhetoric, this subtle manipulation, is what makes ads so persuasive and why they work.





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