Textual Analysis - Maybelline Xxl Mascara

In the January of 2006, Maybelline New York featured a full-page advertisement in the magazine Cleo, displaying their new XXL volume + length microfiber mascara. This analysis will argue how this particular text produces an ideology of androgyny and investigates its means of doing so through its selections of signs and semiotics, use of intertextuality, choices of register, rhetoric, and interpellation, and the addresser-addressee relationship it constructs.

The visible signs in Maybelline's text lay the foundations for further meaning to be produced, and strongly connote the ideology of the desirability of androgyny. The initial signs that are seen are the top half of a Caucasian woman's face, a thickly striped black and white jumper being pulled up and covering the lower part of her face, the mascara product itself, and its accompanying text. The model is not presented as a person, and is not assigned a name or personality, but embodies the ideology of androgyny designed to be desired by the addressee. In an attempt to initiate a phatic bond between the addresser and addressee, the model's face is shown close up and intimately. Her mouth is covered, however, and connotes her as uncommunicative and silenced. Similarly, her eyes are upward and do not invite any form of contact or connection between the addresser and addressee. This distance between the addressee and addresser is present to encourage the addressee to desire the object the model is representing. Her elevated gaze, apart from displaying the model's product-lavished lashes, also connotes confidence, ambition, victory and strength; all traditionally Ð''masculine' abilities and traits. The way the model has her jumper pulled up over her face also contradictorily connotes traditional femininity through a sense of shyness and modesty. The model's hair and jumper shape a space exclusively for her eyes and through intertextuality of the Ð''headdress', connotes Muslim and exotic ideologies. Tying in with her Ð''silenced' mouth, this ideology connotes the strictest sense of traditional femininity, adding to the contrary mix of confidence and submission within this text. To cater to and mix with modern Western ideologies, the model's eyes are not downcast in submission but are raised and consistent with the ideology of androgyny; where women can possess both traditionally masculine and feminine traits.

The masculinity and femininity of the text's register also supports the advertisement's ideology of androgyny. To describe the promises of the product, many selections from the available word paradigm within the text are traditionally masculine, with such words as Ð''XXL' Ð''double dose' Ð''oversize', Ð''longest, thickest, biggest!', as well as the business metaphors of Ð''set[ting] the stage' and Ð''seal[ing] the deal'. These word selections are borrowed from the discourse and social power institution of patriarchy, and they connote male domination in a corporate, sexual, and physical sense. In a binary opposition to these masculine selections of words are the feminine, through the use of the words such as Ð''microfiber' and Ð''gentle'. By silencing the female model and juxtaposing it against traditionally masculine text, the text supports the institution of patriarchy and constructs an ideology of androgyny. Another discourse-borrowed sign is Ð''XXL', taken from the discourse of the clothing industry and denotes an Ð''extra extra large' size. The text transfers its meaning onto the mascara, promising that customer's lashes will also become Ð''extra extra large' through its usage. The Ð''X' symbol also connotes notions of such things as prized treasure through Ð''X marks the spot'; challenging Ð''Xtreme' sport; strength of flavour in things such as mints or beer; as well as hardcore pornography or restricted access. The Ð''X' symbol appears even within the placement of the product within the text, with the two mascara wands crossing over each other. The wide-striped jumper, too, is a symbol recognised within the discourse of the fashion industry, and is known to produce illusionary Ð''bigness'. The text constructs its addressee as one who desires Ð''bigness' not only in eyelashes, but in strength, confidence and sexual freedom. The text is presenting an ideology of desirable androgyny which allows women to discard traditional expectations of femininity and to safely display their Ð''masculine' abilities.

The freedom that the text's ideology of androgyny provides is, however, paradoxical in that it imposes certain restrictions