Jordans cosmetic range for kids - Does it over sexualize kids?

18 May 2010

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Pete fury as Jordan sells kids make-up

ANDRE outraged over ex-wife's plans for kids' make-up range - with daughter as cover girl

Published: 2010-03-16

Peter Anger-e ... star mad at ex-wife's plans

PETER Andre is FURIOUS over ex-wife Jordan's plans for a kids' make-up range - with daughter Princess as the cover girl.

The busty model plans to milk the recent controversy from pictures of the two-year-old caked in slap by bringing out kiddie cosmetics.

The range will feature the toddler's name and face.

But dismayed Peter, 37, has told a pal he's hoping Jordan - real-name Katie Price - "will see sense" over her latest business scheme.

He is petrified that Princess could be put in danger and be targeted because of the exposure.

The friend said yesterday: "Peter's concerns are genuine. He really doesn't think it is right to see a child wearing make-up.

"He's hoping that it's some sort of joke - or that she sees sense and doesn't ahead with it."

Mother of three Jordan, 31, wants to bring out a kit with EDIBLE lipstick, blusher, mascara and nail varnishes for youngsters.

She will call it after her blonde daughter and plans to use Princess to advertise it.

The busty glamour girl has been in talks with the company that makes her perfume about bringing out the range.

Peter was furious when a picture of Princess wearing make-up and false eyelashes was put on Facebook last month.

Jordan's best pal Michelle Heaton had given Princess the makeover during filming of Jordan's ITV2 show What Katie Did Next?

But angry Pete said of the Facebook snap: "If I'm honest, I'm absolutely disgusted and to me that's the worst thing to be worried about. It's a two-year-old girl and to me that's disgusting."

But he didn't know that Jordan was planning to launch kiddie cosmetics.

Pitching her idea about using blonde-haired Princess for the range, Katie says on her show: "Obviously the story would be she nicks my make-up all the time."

Jordan concedes: "It's not safe for her to use a lady's mascara."

But going into further detail, she describes what would be in her planned range.

She says: "Edible lipstick, little case with wipes to take your make-up off. You can get a nice case for make-up wipe, lipsticks, blushers and mascara and nail varnishes."

The manager of her perfume brand is heard telling her: "There will be a lot of PR from this because it can be quite controversial."

The pair then cackle with delight after Princess nods when asked if she would like her own make-up.

The manager says: "We've got a model, we've got a name we just need a product."

Warned she will face a backlash over the sexualisation of young girls, Jordan snaps back: "That's why I like to do it. For all you haters out there."

Jordan to launch kiddies makeup range

Tuesday 16 March 2010

If you watch What Katie Did Next, you may have heard Jordan refer to her “haters” numerous times.

Well, especially for these so-called haters, Katie Price wants to launch a kids’ makeup range with her daughter Princess as the face of it.

After being told that there will be a lot of reaction to her plans because she could be seen as sexualising young girls, she retorted: "That's why I like to do it. For all you haters out there."

The Price explained what products her range would contain: "Edible lipstick, little case with wipes to take your make-up off. You can get a nice case for make-up wipe, lipsticks, blushers and mascara and nail varnishes."

And she pitched a business reason for starting up the kiddies cosmetics range: "Obviously the story would be she nicks my make-up all the time.

"It's not safe for her to use a lady's mascara."

Meanwhile Peter Andre is less than impressed with his ex-wife’s business project.

A pal said: “Peter's concerns are genuine. He really doesn't think it is right to see a child wearing make-up.

"He's hoping that it's some sort of joke - or that she sees sense and doesn't ahead with it."

You might remember Pete’s fury at seeing Princess made up to look like a glamour model a few weeks ago.

But little Princess is happier than her daddy about her mum’s business plan and apparently nodded when asked if she wanted her own makeup.

By Anisa Kadri

Banned Advertising

Banking on titillation: the use of sex in advertising.

Publication: Video Age International
Date: Saturday, May 1 2004

"Sex sells" is one of the most trite maxims in the advertising world. But the academics whose essays appear in Tom Reichert and Jacqueline Lambiase's anthology, Sex and Advertising: Perspectives on the Erotic Appeal (Lawrence Erlbaum Associates, pp. 294), delve into the seductive world of advertising and present fresh and interesting takes on the hackneyed mantra.

The editors of the book are to be commended for assembling a group of top thinkers in the field of communications.

The first gem contained within the pages of the anthology is a chapter entitled "What is Sex in Advertising? Perspectives from Consumer Behavior and Social Science Research," written by Tom Reichert. The chapter serves as a perfect introduction to the book by defining the different categories of erotic appeal--Nudity/Dress, Sexual Behavior, Physical Attractiveness, Sexual Referents (allusions and references to sex) and Sexual Embeds (subliminal sexual messages)--and explaining the main motivation behind using salacious images to sell products: to grab consumers' attention and make them associate a particular product with being more sexy and, in effect, having more sex.

In his essay entitled "Historical and Psychological Perspectives of the Erotic Appeal in Advertising," Juliann Sivulka explained that sex has been used as a means to attract attention and promote consumerism since the beginning of time.

Though the anthology is actually separated into four sections--Research Approaches, Consumer Responses, Cultural Impact and Interpretation and Contexts and Audiences--it is essentially divided into two parts: practical advice for the advertising professional--which is comprised of statistics, study conclusions and technical tips--and socio-cultural theories, which should be enthralling to a wider demographic, beyond advertising execs.

One chapter that could act as a tool for any advertising exec is entitled "The Effects of Sexual Appeals on Physiological, Cognitive, Emotional and Attitudinal Responses for Product and Alcohol Billboard Advertising." The essay documents studies conducted to determine the effectiveness of the insertion of sexuality into various ads (e.g., ads that feature alcohol and cigarettes). The results explain which demographics are likely to respond positively to carnal commercials, and which products, when combined with sexual imagery, elicit an arousal response.

The section of the anthology devoted to socio-cultural explorations of sex in advertising includes two particularly captivating essays. In "Advertising and Disconnection," which explores the role of sex in modern societies, Jean Kilbourne argues that, though inundated with sexual imagery in advertising and across all media, the average person has become completely disconnected from the act of sex. Kilbourne explains that the kind of sex typically portrayed in today's ads is passionless and inane, featuring models that seem bored out of their minds communicating the misconception that sex is a waste of time. She quotes a frightening statistic in which one in four women between the ages of 18 and 29 report being disinterested in sex. Kilbourne blames overtly carnal advertising for being guilty of the same sin as pornography--of making sexuality disconnected.

Another fascinating article, entitled "Subliminal Sexuality: The Fountainhead for America's Obsession," deals with the controversial subject of subliminal or embedded messages in advertising. Author Wilson Bryan Key throws a series of punches at a field unwilling to accept the existence of subliminal sexual messages in advertising. Though he makes many an interesting argument about the prevalence of these embeds and advertisers' desire to include them, his argument would be made stronger if there weren't quite so many typos and factual errors in the essay. For instance, Key used sensual cartoon character Jessica Rabbit as an archetypal example of subliminal sexuality but referred to the movie she appears in incorrectly as Who Killed Roger Rabbit, rather than its real name, Who Framed Roger Rabbit? But it's unfair to blame Key entirely for such oversights, as the responsibility for fact checking and copy editing lies with the editors. Unfortunately, there are lapses in copy-editing throughout the book, which is distracting.

However, the strength of Key's argument is in his detailed analysis of actual advertisements--something that he shares with many of the authors. They often dissect common advertising images (one that comes to mind is the Famous Absolut Kurant ad, featuring a garter clip in the shape of a vodka bottle) and manage to draw attention to certain aspects that the average consumer might miss.

The essays deal closely with the issue of gender representation in advertising, including the recent emergence of advertising aimed at and featuring gays and lesbians, in an essay entitled "Masculinism(s) and the Male Image: What Does it Mean To Be a Man?" Barbara Stern attributes the increasing popularity of the "macho" man (the muscular, rugged-type guy) in advertising to the emergence of feminism, gay rights and African-American rights, among other things. She also marks the end of the "penis taboo," i.e., the inclusion of the penis in advertising, as a significant development in society's mass representation of masculinity.

Another quality that the book appropriately boasts is its comprehensive coverage of almost every advertising medium, with essays that cover sexuality in print, billboard, TV and even an entire chapter devoted to the relatively-new and under-studied field of Web advertising.

In the preface, Reichert and Lambiase explain that "In our minds, it was time for a book devoted to reviewing and advancing understanding of the interpretations, functions and effects of sex in advertising." By compiling a fascinating anthology that appeals to both advertising execs and interested readers alike, the editors have achieved each of these goals.

Advertising Media A to Z

(McGraw Hill, pp. 337), by Jim Surmanek, serves as a perfect companion to Sex in Advertising. The book, though a dictionary of terms, also serves as an encyclopedia, since Surmanek included the history behind certain terms along with their definitions. The guide is an excellent resource for the non-advertising professional confused by some of the advertising terms used in the anthology, as well as for the well-versed advertising exec who may need to brush up or catch up with the fast-moving ad lingo.

The book is comprehensive and organized in such a way that a desired definition is merely a few page-flips away. Acronyms are listed alphabetically by the oft-used acronym itself as well as by the expanded spelling, making it easy to find anything you are looking for. A list of media formulas directly follows the alphabetized guide, providing plain-English explanations media advertising execs may often use but not fully understand, such as cost per point, rating and turnover point.

Surmaneck is a former ad executive who worked for agencies such as J. Walter Thompson, Ogilvy & Mather and McCann-Erickson.

The book covers some 2,000, terms including those used for Internet advertising and 31 formulas. It also counts a good number of new terms, such as "attentiveness" and "recency," which replaced the old phrase "effective frequency."

American Apparel Ads

Diesel adverts

History of Advertising regulating

History of ad regulation

1961 onwards - Protecting consumers, testing claims

When commercial TV started broadcasting in 1955, the advertisements were controlled by legislation. This was the first time that advertisements – and the claims they made - were subject to any form of formal regulation. When commercial radio was launched in 1973, they too were subject to statutory control.

In 1961, the Advertising Association, following discussions with other industry associations, agreed that it was important that advertisements were welcomed and trusted by consumers in non-broadcast media too.

As a result, the industry (agencies, media and advertisers) came together to form the Committee of Advertising Practice (CAP) and produced the first edition of the British Code of Advertising Practice. The industry’s actions meant that an official report on Consumer Protection by the Molony Committee, published that same year, rejected the case for an American-style Federal Trade Commission to regulate advertising by statute:

"We are satisfied that the wider problem of advertising ought to be, and can be, tackled by effectively applied voluntary controls. We stress, however, that our conclusion depends on the satisfactory working of the new scheme, and in particular on the continued quality and independence of the Authority at its pinnacle.”

Molony Committee

In 1962, CAP established the ASA as the independent adjudicator under the newly created Code. The Authority was set up to supervise the working of the new self-regulatory system in the public interest.

1974 onwards - Introduction of the levy

In 1973, the Minister for Consumer Protection, Shirley Williams, criticised the system for not being well-known enough.

In response, the industry set up the Advertising Standards Board of Finance (Asbof) in 1974 to provide sufficient and secure funding for the system through a levy of 0.1% on advertising space costs.

Because the ASA is not responsible for collecting the levy itself, its independence is assured. The levy also provides enough funding for the ASA to promote itself to the public.

1988 onwards - Legal backstop

In 1988, the introduction of the Control of Misleading Advertisements Regulations provided the ASA with legal backing from the Office of Fair Trading (OFT). These regulations enabled the ASA, for the first time, to refer advertisers who made persistent misleading claims and refused to co-operate with the self-regulatory system to the OFT for legal action.

The ASA still has the ability to refer advertisers to the OFT for unfair or misleading advertising, but today we would refer under theConsumer Protection from Unfair Trading Regulations 2008 and the Business Protection from Misleading Marketing Regulations 2008, which replaced the Control of Misleading Advertisements Regulations 1988.

Referral to the OFT remains a last resort and is rarely needed: the overwhelming majority of advertisers work within the system.

2004 onwards - Becoming the one-stop shop

In 2004, after more than forty years of successful self-regulation of non-broadcast ads, the ASA/CAP system assumed responsibility for TV and radio ads.

The newly-formed communications regulator, Ofcom, took the decision, in a move supported by Parliament, to contract-out responsibility for broadcast (TV and radio) advertising to the ASA system in a co-regulatory partnership. The co-regulatory agreement created for the first time in the UK a single regulator for advertising – a one-stop shop for advertising complaints.

To create the one-stop shop, broadcast equivalents of the non-broadcast institutions (ASA/ CAP/ Asbof) were established. A new industry committee, the Broadcast Committee of Advertising Practice, was created to write and maintain the Broadcast Advertising Codes. The Broadcast Advertising Standards Board of Finance (Basbof) was established to collect the 0.1% levy on broadcast advertising space costs and an ASA (Broadcast) was launched to administer the Codes.

Although there are various constituent parts, the system runs as a single advertising regulator. This is particularly important for members of the public who want a complaints system that’s easy to navigate.

From under 100 complaints in its first year of operation, the ASA now receives around 26,000 complaints a year. This is mainly due to the fact that the one-stop shop ASA is well known; has a much broader remit and it is easier to complain.

Regulation today - Advertising under control

More than 45 years on and advertising in the UK overwhelmingly complies with the Codes. Our compliance surveys regularly reveal that more than 97% of ads are in line with the Advertising Codes.

The vast majority of TV and radio ads are pre-cleared before they go on air. There is also lots of free help and guidance available to non-broadcast advertisers publishing the many millions of non-broadcast ads in the UK each year in the form of the Copy Adviceteam who offer free, independent and expert advice on how to avoid failing foul of the rules.

And because the industry is committed to making self-regulation effective, advertisements that break the Codes can be withdrawn swiftly without needing to resort to legal action. A range of sanctions can be brought to bear. For example, advertisers who continue to flout the rules can be denied access to advertising media space.

Today’s self-regulatory system has come a long way since 1962, winning the confidence of consumers, industry and government along the way.

2010 onwards - What next for advertising self-regulation?

Over the years, the advertising self-regulatory system has responded to changes in society and media. The system is continuing to develop based on the enduring principles that ads should not mislead, harm or offend.

A major challenge for the system is to maintain standards in fast-developing new media as effectively as in established media.

Video-on-demand

The ASA hopes to enter into a new co-regulatory partnership with Ofcom to regulate advertisements accompanying video-on-demand services. This measure has to undergo public consultation (closed in October 2009) and Parliamentary approval. However, if it passes, we should begin formal regulation in 2010.

Digital Media

In 1995, the ninth edition of the Codes extended the ASA’s remit to include advertisements in ‘non-broadcast electronic media’ and the self-regulation of UK internet advertising began. The Code applies to advertising in paid-for space, such as display advertising and paid search, as well as commercial e-mails and sales promotions on websites.

However, our 2008 Annual Report revealed that complaints about online ads grew by 24.6% year-on-year to 3,571. However, 65% of these complaints fell outside our current remit because they related to claims on companies’ own websites, rather than advertisements.

This regulatory gap led the advertising industry to consider how to extend advertising self-regulation to marketing claims online. Discussions are at an advanced stage, with a recent industry announcement suggesting that the ASA could start regulating marketing claims online in the second half of 2010.

Conclusion

Few of those present at the first meeting of the fledgling Authority in 1962 could have predicted the changes ahead. Today, over 30 million press ads alone are published in the UK each year. Consumers are savvy and enthusiastic recipients of advertising, who enjoy its entertainment value and make use of the information it provides.

The flexibility of the system to respond to changes in society and technology means self-regulation continues to be the best and most effective way to secure high standards in advertising – both for business and consumers.

Timeline

1950s

1954
The Television Act establishes commercial television and sets up the Independent Television Authority (ITA) as the regulator.

1955
Independent television begins, in the London area, with a live transmission from the Guildhall.

The first commercial for Gibbs SR toothpaste is screened

1960s

1961
The Council of the Advertising Association decides to establish a self-regulatory system for non-broadcast advertising.

The Committee of Advertising Practice (CAP) is established

The first edition of the CAP Code is published

The ASA incorporated under the Companies Act 1948 (22 August)

1962
The ASA holds its inaugural meeting (24 September)

1964
Spot checks begin on ads for slimming diets, hair treatments, knitting and sewing machines, vitamins, cigarettes, beauty treatments, gin, cocktails, vodka and health food drinks.

1965
Guidance is given to the travel industry to make sure that holidaymakers do not suffer inconvenience, disappointment or financial loss as a result of advertisements.

Cigarette advertising is banned on television (cigars and loose tobacco can continue to be advertised until the early 1990s)

1966
Restrictions on advertising pregnancy testing kits are lifted and the ASA advises publishers they can use their discretion subject to safety conditions.

1968
Trade Descriptions Act gains Royal Assent. Government expresses its hope that the self regulatory system would continue to operate alongside the statutory system.

1970s

1970
A CAP working group looks at how to distinguish ads from editorial. New ruling and guidance issued: ads must be clearly and immediately recognisable as such

1972
The ITA becomes the Independent Broadcasting Authority (IBA)

1973
ASA publishes summaries of its rulings for the first time – but only persistent offenders are named

Commercial radio launches in the UK (LBC begins broadcasting in October 1973)

1974
British Code of Sales Promotion published by CAP.

Secretary of State for Prices and Consumer Protection, Shirley Williams, criticises the ASA for not being sufficiently well-known by the public.

1975
The Advertising Standards Board of Finance Ltd (ASBOF) is set up to operate the levy arrangements.

The ASA launches its first advertising campaign to inform the public, industry and government of its existence and role and to invite them to refer specific complaints.

New Codes for alcoholic drink and cigarette advertising introduced, along with pre-vetting for the latter

1978
Director of Fair Trading, Gordon Borrie, calls for speedier response times and more effective compliance action in his report on the ASA.

1980s

1981
Adjudications into competitive complaints are published.

BCC (Broadcasting Complaints Commission) established

BARB (British Audience Research Bureau) created

1982
Research into women’s attitudes to ads finds that women most dislike images of sexual suggestiveness and stereotypes in advertising.

1984
Misleading Advertisements Directive adopted, although this doesn’t become law until 1988. Self-regulation is the ‘established means’ of implementing the directive.

1987
The Hungerford shooting leads to amendments of the Codes to include new rules on violence and anti-social behaviour.

1988
The Control of Misleading Advertisement Regulations add a legal backstop to the self-regulatory sanctions.

1989
The first referral to the Office of Fair Trading results in an injunction to prevent misleading slimming claims for Speedslim.

1990s

1990
ASA agrees to oversee new sections of the Codes that apply to list and database management.
The Broadcasting Act sets up the Independent Television Commission (ITC)

1991

The ASA co-founds the European Advertising Standards Alliance with 11 other countries.

Complaints top 10,000 for the first time.

1995
Advertisements on the Internet come under the Codes.

1998
The Commission for Racial Equality becomes the first advertiser to be subject to poster pre-vetting.

1999
The 10th edition of the Codes removes party political advertising from the Codes’ remit (in order to comply with the new Human Rights Act 1998).

2000s

2000
Yves St. Laurent’s Opium ad featuring model Sophie Dahl attracts more complaints than any other ad for five years.

2001
ASA adjudications are published weekly on the Internet.

2003
The Tobacco Advertising and Promotion Act 2002 came into force, prohibiting the advertising and promotion of tobacco products. It does not, however, cover ads for rolling papers or filters and it does permit certain tobacco advertising at point of sale.

The 11th edition of the Code comes into force, renamed The British Code of Advertising, Sales Promotion and Direct Marketing or the CAP Code.

2004
The new broadcast regulator Ofcom contracts-out the regulation of broadcast advertising regulation to the advertising self-regulatory system. The ASA becomes the one-stop shop for advertising complaints.

2005
Kentucky Fried Chicken’s TV ad that showed people singing with their mouths full becomes the most complained-about ad ever. The ASA did not uphold the 1,671 complaints that the ad could encourage bad manners amongst children.

The TV and non-broadcast alcohol rules are significantly tightened in response to public concern about irresponsible drinking.

2007
New rules are introduced into all the Advertising Codes to regulate the advertising of foods and soft drinks to children.
The Gambling Act 2005 comes into force. New rules are introduced for gambling advertisers.

CAP and BCAP commence the first ever concurrent review of all the Advertising Codes.

2008
The Control of Misleading Advertisements Regulations (and many other pieces of consumer protection legislation such as the Trades Descriptions Act 1968) are repealed and replaced with the Consumer Protection from Unfair Trading Regulations and the Business Protection from Misleading Marketing Regulations. The ASA’s role as the ‘established means’ remains unchanged.

2009
The Christian Party’s ‘There definitely is a God. So join the Christian Party and enjoy your life’ became the most complained-about non-broadcast ad ever, attracting 1,204 complaints. The ad was a riposte to the British Humanist Association’s ‘There is probably no god, now stop worrying and enjoy your life’, which attracted 391 complaints.

More ASA regulations

What we cover (Remit)

We deal with most types of ads but not all. If we can’t deal with your complaint ourselves, we will try to help you contact the right body.

And the types of ads we deal with include:

• Magazine and newspaper advertisements
• Radio and TV commercials (not programmes or programme sponsorship)
• Television Shopping Channels
• Posters on legitimate poster sites (not fly posters)
• Leaflets and brochures
• Cinema commercials
• Direct mail (advertising sent through the post and addressed to you personally)
• Door drops and circulars (advertising posted through the letter box without your name on)
• Advertisements on the Internet, including banner and display ads and paid-for (sponsored) search (not claims on companies’ own websites)
• Commercial e-mail and SMS text message ads
• Ads on CD ROMs, DVD and video, and faxes
• We regulate sales promotions, such as special offers, prize draws and competitions wherever they appear.

Advertising Codes

The Advertising Codes lay down rules for advertisers, agencies and media owners to follow. The Advertising Standards Codes are separated out into codes for TV, radio and all other types of ads (‘non-broadcast advertising’). There are also rules for Teletext ads, interactive ads and the scheduling of television ads.

Who writes the rules?

The ASA is not responsible for writing the rules. The Codes are written by the advertising industry through the Committee of Advertising Practice (CAP) and the Broadcast Committee of Advertising Practice (BCAP). The members of these committees comprise the main industry bodies representing advertisers, agencies and media owners (including individual broadcasters).

BCAP is responsible for writing and maintaining the TV and Radio Advertising Standards Codes.

CAP is responsible for the rulebook for non-broadcast advertisements, sales promotions and direct marketing. Non-broadcast means ads in media such as cinema, press, posters and online.

What do the rules say?

The Codes contain wide-ranging rules designed to ensure that advertising does not mislead, harm or offend. Ads must also be socially responsible and prepared in line with the principles of fair competition. These broad principles apply regardless of the product being advertised.

In addition, the Codes contain specific rules for certain products and marketing techniques. These include rules for alcoholic drinks, health and beauty claims, children, medicines, financial products, environmental claims, gambling, direct marketing and prize promotions. These rules add an extra layer of consumer protection on top of consumer protection law and aim to ensure that UK advertising is responsible.

The ASA administers the rules in the spirit as well as the letter, making it almost impossible for advertisers to find loopholes or ‘get off on a technicality’. This common sense approach takes into account the nature of the product being advertised, the media used, and the audience being targeted.

Direct links to the Advertising Codes

Non-broadcast

British Code of Advertising, Sales Promotion and Direct Marketing (CAP Code)

Broadcast

TV and Radio Advertising Standards Codes (BCAP Codes)