How does the design of Lancôme’s Hypnôse mascara seduce the female consumer by indicating feminine ideals?

1. 1
Introduction
to
design
studies
–
final
paper
Done
by:
Sarah
lee
Shan
Yun
Research
Question:
How
does
the
design
of
Lancôme’s
Hypnôse
mascara
seduce
the
female
consumer
by
indicating
feminine
ideals?
(Fig.
1)
Lancôme
01
Hypnôse
Mascara,
photograph,
accessed
31
Mar
2015.
<http://web.raxbeauty.com/image/data/product/Lancome/100877007002.jpg>

2. 2
Introduction
Founded
in
1935
by
Armand
Petitjean
in
France,
Lancôme
is
an
80-­‐year-­‐old
cosmetics
brand
that
epitomizes
luxe
beauty.
It
was
acquired
by
French
beauty
conglomerate
L’Oréal
in
1964
and
is
currently
housed
under
its
luxury
products
division,
L’Oréal
Luxe.1
Lancôme
boasts
an
impressive
collection
of
mascara
products
that
have
attracted
viral
attention
by
the
beauty
community.
In
2011,
Lancôme
partnered
with
popular
beauty
vlogger
Michelle
Phan,
garnering
over
30,000
viewers
to
their
YouTube
channel,
featuring
Lancôme’s
Hypnôse
Doll
Lashes
mascara2.
The
Hypnôse
line
consists
of
three
different
products:
Hypnôse
Star,
Hypnôse
Doll
Lashes
and
the
classic
Hypnôse
priced
between
US$27-­‐$29
a
tube
(see
fig.
2).
Available
worldwide
in
most
major
department
and
drug
stores,
L’Oréal
prides
itself
on
its
global
reach
and
wide
product
range,
which
it
says
caters
to
the
“great
diversity
of
beauty”3
in
the
world.
Given
the
brand’s
immense
influence
on
the
industry,
what
are
the
ramifications
of
the
product’s
implicit
messaging
on
the
minds
of
female
consumers?
The
mascara
as
a
designed
product
holds
more
truth
about
the
idealized
woman
than
meets
the
eye.
Its
shape,
form
and
function
contain
many
indications
that
persuade
the
consumer
to
make
the
purchase.
In
essence,
this
essay
will
outline
how
the
design
of
Lancôme’s
Hypnôse
mascara
seduces
the
female
consumer
by
indicating
feminine
ideals.
1
"Lancôme:
Makeup,
Perfume,
Cosmetics,
Beauty
Care."
L'Oréal
Group.
January
1,
2013.
Accessed
March
31,
2015.
http://www.loreal.com/brands/loreal-­‐luxe/lancome.aspx.
2
“Michelle
Phan
creates
The
Romantic
look
with
Lancôme
Doll
Lashes,”
YouTube
video,
3:39,
posted
by
"Lancome
USA,"
September
12,
2011,
https://www.youtube.com/watch?v=SPskOED1cnk
3
“L’Oréal’s
model
of
innovation:
strong
research"
L'Oréal
Group.
January
1,
2013.
Accessed
March
31,
2015.
http://www.loreal.com/research-­‐innovation/our-­‐innovation-­‐model.aspx

3. 3
Formal
analysis
Upon
first
glance,
the
mascara
tube
is
streamlined,
slightly
hourglass
but
not
voluptuous.
The
wand
of
the
mascara
separates
from
the
tube
and
into
a
thin
brush
held
by
the
user
by
a
curved
cap.
Its
bristles
are
sparse,
ideal
for
creative
“buildable
volume”
and
“custom
lash
results”4.
Its
POWERFULL™
brush
is
a
specially
designed
feature
that
contains
1000
sensory
bristles
that
promise
“perfect
lash
separation
without
clumping”5.
Its
smooth
black
surface
hides
any
stains
or
evidence
of
the
mascara
liquid,
acting
as
an
almost
elegant
and
flattering
flask.
The
mascara,
however,
is
known
for
its
superior
formula
-­‐
made
of
a
special
SoftSculpt™
base
which
is
a
fluid
texture
containing
soft,
emollient
waxes
and
an
exclusive
PC/PA
polymer
system6.
The
liquid
is
described
as
thin
and
wet
in
order
to
facilitate
layered
application.
The
plastic
tube
contains
10ml
of
product,
a
little
less
than
the
13ml
provided
by
other
popular
drugstore
mascaras.
Sealed
with
a
gold-­‐rimmed
cap,
the
product
is
also
stamped
with
Lancôme’s
signature
singular
rose
logo
and
capitalized
brand
name
“LANCÔME”
with
the
subtext
“PARIS”.
4
“Hypnôse
-­‐
mascara
by
Lancôme"
L'Oréal
Group.
January
1,
2013.
Accessed
March
31,
2015.
http://www.lancome-­‐
usa.com/Hypnose/990516,default,pd.html?dwvar_990516_color=Deep%20Black&cgid=makeup-­‐
mascara#start=11
5
Ibid.
6
Ibid.
(Fig.
3)
Lancôme
Hypnôse
Mascara,
photograph,
accessed
31
Mar
2015.
<http://www.sephora.com/produc
timages/sku/s764183-­‐main-­‐
Lhero.jpg>

4. 4
The
mascara
and
the
female
identity
Pierre
Bourdieu
used
the
term
“key
cultural
intermediaries”
to
describe
designers
in
19847.
They
differ
from
artists
in
that
they
have
a
purpose
to
create
attractive
“artifacts”
that
sell
in
the
market8.
Products
have
to
perform,
and
that
requires
them
to
carry
relevant
cultural
meaning
as
an
embodiment
of
the
consumer’s
identity.
If
the
preceding
statement
is
so,
what
can
be
said
of
Lancôme’s
Hypnôse
mascara
and
its
ideal
user?
Contrary
to
the
product’s
global
market
reach,
Lancôme
as
a
brand
has
important
origins
in
France.
Its
founder,
Armand
Petitjean,
is
described
as
a
“visionary
and
lover
of
French
elegance
and
women”9.
The
Eurocentric
beauty
ideal
still
holds
true
in
the
DNA
of
the
brand,
in
both
its
product
design
and
marketing
strategies.
The
mascara’s
tube
is
slim,
slender
but
curvy,
mirroring
the
popularized
body
type
of
the
elegant
French
woman.
The
subtext
“PARIS”
stamped
in
gold
at
the
bottom
of
the
logo
indicates
a
familiar
francophilia
associated
with
the
luxury
fashion
industry
–
as
opposed
to
many
of
the
brands
in
L’Oréal’s
consumer
products
division,
including
Maybelline
and
Garnier10,
which
cater
to
a
broader,
more
diverse
market
of
consumers.
The
global
popularity
of
Lancôme’s
Hypnôse
mascara,
especially
in
China11,
is
an
irony
in
itself,
speaking
to
deeper
issues
regarding
global
currents
and
cultural
shifts
in
beauty
ideals.
7
"The
Sony
Walkman."
In
Design
Studies:
A
Reader,
edited
by
Hazel
Clark,
by
Paul
Du
Gay,
S.
Hall,
L.
Janes,
and
H.
Mackay,
349.
English
ed.
Oxford:
Berg,
2009.
8
Ibid.
9
"Lancôme:
Makeup,
Perfume,
Cosmetics,
Beauty
Care."
L'Oréal
Group.
January
1,
2013.
Accessed
March
31,
2015.
http://www.loreal.com/brands/loreal-­‐luxe/lancome.aspx.
10
"All
the
L’Oréal
brands.”
L'Oréal
Group.
January
1,
2013.
Accessed
March
31,
2015.
http://www.loreal.com/brands/brands-­‐homepage.aspx
11
"L'Oréal
Company
Profile
-­‐
SWOT
Analysis.
Lancôme
for
Global
Market
Growth
in
Premium
Cosmetics
sec."
Passport,
Euromonitor,
45.
December
1,
2012.
http://www.euromonitor.com/medialibrary/PDF/LOreal-­‐Company-­‐Profile-­‐SWOT-­‐Analysis.pdf

5. 5
According
to
Cheryl
Buckley,
it
is
important
to
analyze
the
role
of
women
as
consumers
in
the
discussion
of
women
and
design12.
The
inherent
stereotype
that
women
are
the
consumers
in
a
society13
holds
true
in
the
beauty
industry
–
most
if
not
all
cosmetic
products
on
a
drug
store
shelf
caters
to
that
of
female
buyers.
Companies
exploit
women’s
obsession
with
being
beautiful,
targeting
innate
biological
yearnings
to
be
attractive
to
the
opposite
sex.
Long
lashes
evoke
the
power
of
the
gaze
and
ideas
of
seduction
through
eye
contact
–
an
association
that
marketers
often
utilize
in
advertisements
and
marketing
campaigns
(see
fig.
4
for
an
example
of
a
print
advertisement
for
Lancôme’s
Hypnôse
mascara
featuring
model
Daria
Werbowy).
The
gaze,
in
this
context,
is
empowering
and
heightened,
demanding
the
attention
of
the
onlooker.
The
irony
holds
that
most
viewers
of
the
advertorial
are
women
themselves,
leaving
the
seductive
tension
between
the
female
consumer
and
the
idealized
image
presented
before
them.
In
a
2012
video
campaign
for
Lancôme’s
Hypnôse
Star
mascara
featuring
Daria
Werbowy,
the
famous
cartoon
character
Betty
Boop
says,
“all
stars
have
a
secret,
just
say
it
with
the
eyes”14.
In
it,
Betty
convinces
Werbowy,
who
plays
a
struggling
actress,
that
by
using
Lancôme’s
Hypnôse
mascara
her
eyes
will
captivate
the
audience
and
she
will
become
a
great
success.
These
links
between
beauty
and
success
are
not
new.
Often
times,
advertisers
create
messages
and
associations
surrounding
beauty
products
and
female
empowerment.
As
the
social
and
economic
positions
of
women
have
12
Margolin,
Victor,
and
Cheryl
Buckley.
"Made
in
Patriarchy:
Toward
a
Feminist
Analysis
of
Women
and
Design."
In
Design
Discourse:
History,
Theory,
Criticism,
255.
Chicago:
University
of
Chicago
Press,
1989.
13
Ibid.
14
Joann
Sfar,
“Lancome's
Betty
Boop
Hypnose
Star
Mascara,”
YouTube
video,
1:50,
posted
by
"Sephora,"
July
12,
2012,
https://www.youtube.com/watch?v=rhtIBTEJfxU.

6. 6
changed,
more
and
more
women
are
participating
in
the
consumption
of
luxury
products
with
the
intention
of
self-­‐prescribing
“success
indicators”
–
premium
skincare
and
beauty
products
being
one
of
them.
Consumers
are
prey
to
the
idea
that
by
spending
on
quality
beauty
products,
more
beauty,
attention
and
success
will
be
achieved
by
the
individual,
and
thus
there
is
more
value
in
the
its
proposed
retail
price.
The
mascara
as
the
perfect
marketable
commodity
One
of
the
very
first
marketed
mascaras
was
made
of
coal
dust
and
Vaseline
(see
fig.
5).
The
young
entrepreneur
T.
L.
Williams
was
inspired
by
his
sister,
Maybel,
to
create
a
cake
product,
packed
in
a
paper
box
with
a
tiny
applicator
brush
used
to
apply
the
black
powder
on
to
the
lashes15.
Now
known
as
Maybelline,
the
brand’s
immense
notability
for
its
mascara
products
still
holds
true
today.
It
was
not
long
before
the
first
cream
mascaras
were
developed,
packaged
in
functional
plastic
applicator
tubes
that
could
be
designed
and
redesigned.
The
French
philosopher
Roland
Barthes
said,
“Plastic
is
the
very
idea
of
its
infinite
transformation.”16
The
impact
of
the
synthetic
polymer
on
everyday
commodities
was
unsurprisingly
important
after
its
invention
in
1907.
Goods
could
be
made
cheaply
and
quickly,
but
could
be
pliable
and
moldable
to
any
configuration
the
designer
seemed
fit.
As
a
result,
the
mascara
became
one
of
the
most
perfectly
marketable
beauty
products,
15
Baki,
Gabriella,
and
Kenneth
S.
Alexander.
"Chapter
4:
Color
Cosmetics."
In
Introduction
to
Cosmetic
Formulation
and
Technology.
Hoboken,
New
Jersey:
John
Wiley
&
Sons,
2015.
16
Barthes,
Roland,
and
Annette
Lavers.
"Plastic."
In
Mythologies.
New
York:
Hill
and
Wang,
1972.

7. 7
transformable
to
embody
an
aesthetic
unique
to
the
brand17
–
in
the
case
of
Lancôme’s
Hypnôse
mascara,
a
slender
curvaceous
embodiment
of
French
elegance.
It
is
also
critical
to
note
the
ability
of
manufacturers
to
stamp
prominent
logos
on
such
commodities,
leading
to
even
more
brand
presence
in
the
minds
of
consumers.
In
the
case
of
Lancôme,
its
singular
golden
rose
has
become
ubiquitous
in
the
world
of
beauty
due
to
consistent
logo
placements
over
the
decades
spanning
the
brand’s
inception.
Yet
there
is
an
element
of
contradiction
between
the
mascara’s
cheap
plastic
material
and
its
premium
price.
According
to
marketing
studies,
women
are
more
willing
to
pay
higher
prices
for
the
favorite
mascaras
compared
to
other
beauty
products
like
foundations,
lipsticks
and
blushes18.
An
investigation
into
the
source
of
this
added
value
and
perceived
quality
would
therefore
be
appropriate.
The
multitude
array
of
wand
shapes
and
sizes
in
the
market
today
is
evidence
that
consumers
recognize
value
in
functionality.
Often
times,
more
absurdly
designed
products
can
attract
the
attention
of
buyers
by
standing
out
in
the
crowd
of
identical
cylindrical
mascaras
(see
fig.
6
of
Givenchy’s
Phenomen’Eyes
mascara).
The
design
of
Lancôme’s
Hypnôse
mascara,
however,
is
distinctive
due
to
its
small,
slim
nature,
which
is
an
irony
in
itself
given
the
lack
of
value
with
its
small
volume
and
minimalist
wand.
The
mascara
also
derives
a
good
part
of
its
value
from
its
trademark
formulation.
L’Oreal,
as
one
of
most
competitive
beauty
firms,
prides
itself
on
its
17
Mazzalovo,
Gerald.
Brand
Aesthetics.
Houndmills,
Basingstoke:
Palgrave
Macmillan,
2012.
18
Bourgeois,
Jean-­‐Yves.
"The
Crazy
Market
of
Mascaras."
Premium
Beauty
News.
September
30,
2008.
Accessed
April
21,
2015.
http://www.premiumbeautynews.com/en/The-­‐crazy-­‐market-­‐of-­‐
mascaras,254.

8. 8
“Research
and
Innovation
model”
(see
fig.
7)
and
its
investments
in
scientific
advancements
of
its
products’
chemistries.
An
article
in
the
New
York
Times
revealed
that
L’Oreal
filed
300
new
patents
in
2002
for
its
cosmetic
and
hair
innovations19.
The
Hypnôse
mascara’s
SoftSculpt™
Formula
is
described
as
‘exclusive’20
to
consumers
in
its
product
page
boasting
a
unique
polymer
formula.
Even
without
this
product
knowledge,
consumers
evidently
identify
with
the
idea
of
quality
through
self-­‐testing
and
recurring
use,
leading
to
re-­‐purchases
and
added
brand
value.
The
mascara
and
the
created
fantasy:
links
to
fashion
and
lifestyle
The
links
between
beauty
and
the
fashion
industry
are
no
secret.
The
relationships
between
the
two,
in
fact,
are
so
strong
that
they
have
become
inseparable
industries,
sharing
commonplace
during
trade
shows
and
major
fashion
events.
Lancôme
has
partnered
and
collaborated
with
many
famous
fashion
designers,
including
Proenza
Schouler
and
Alber
Elbaz
of
Lanvin.
Many
supermodels
have
emerged
by
landing
major
beauty
campaigns,
earning
millions
of
dollars
per
contract21.
Along
with
Daria
Werbowy
(see
fig.
4),
Lancôme
has
also
featured
actresses
Emma
Stone
and
Kate
Winslet
in
their
campaigns,
creating
a
universe
of
19
Riordan,
Teresa.
"Patents;
A
Reinvention
of
Mascara
Goes
for
Even
Thicker
Lashes.
Also,
There's
a
New
Twist
on
an
Old
Cream."
The
New
York
Times,
January
20,
2003,
Business
sec.
Accessed
April
21,
2015.
http://www.nytimes.com/2003/01/20/business/patents-­‐reinvention-­‐mascara-­‐goes-­‐for-­‐
even-­‐thicker-­‐lashes-­‐also-­‐there-­‐s-­‐new-­‐twist.html.
20
“Hypnôse
-­‐
mascara
by
Lancôme"
L'Oréal
Group.
January
1,
2013.
Accessed
March
31,
2015.
http://www.lancome-­‐
usa.com/Hypnose/990516,default,pd.html?dwvar_990516_color=Deep%20Black&cgid=makeup-­‐
mascara#start=11
21
Marsh,
Julia.
"$3
Million
Catwalk
Catfight:
Model-­‐poach
Suit."
New
York
Post,
January
16,
2013.
Accessed
April
21,
2015.
http://nypost.com/2013/01/16/3-­‐million-­‐catwalk-­‐catfight-­‐model-­‐poach-­‐
suit/.

9. 9
fantasy
around
the
brand.
According
to
Niaomi
Klein,
“Products
are
made
in
the
factory,
but
brands
are
made
in
the
mind.”22
These
endorsements
of
high-­‐profile
individuals
simply
re-­‐iterate
to
consumers
the
associations
with
the
brand
and
a
luxurious
lifestyle,
something
that
the
fashion
industry
is
well
known
for
doing.
They
represent
an
unattainable
fantasy,
what
Italian
designer
Diego
Della
Valle
calls
the
“piccolo
sogno”23
or
the
little
dream.
The
Hypnôse
campaign
not
only
brings
about
associations
with
brand
and
luxury,
it
also
emphasizes
an
unattainable
physical
beauty
ideal.
This
is
a
great
irony
in
itself,
as
the
campaign
aims
to
sell
a
beauty
product
–
a
good
that
one
purchases
to
attain
physical
beauty.
It
is
almost
as
if
the
subject
is
taunting
its
audience,
daring
one
to
try
to
achieve
the
same
standard
of
perfection.
The
only
obvious
answer
to
the
challenge
presented
is
to
replicate
the
model’s
physical
appearance
by
buying
the
featured
beauty
product.
Consciously,
the
viewer
knows
that
buying
a
mascara
is
not
going
to
make
one
a
supermodel
overnight,
but
subconsciously,
the
consumer
is
persuaded
over
and
over
again
that
this
sentiment
is
true.
The
imagined
consumer
for
Lancôme
is
therefore,
not
the
representative
model
shown
in
the
advertisement
or
the
stereotyped
European
beauty
that
inspires
the
product’s
shape,
but
the
woman
who
aspires
to
attain
that
ideal
–
which
explains
the
paradox
of
the
brand’s
global
popularity
especially
in
non-­‐European
markets.
22
"No
Logo."
In
Design
Studies:
A
Reader,
edited
by
Hazel
Clark,
by
Naomi
Klein,
201.
English
ed.
Oxford:
Berg,
2009.
23
Seabrook,
John.
"Shoe
Dreams."
The
New
Yorker
80,
no.
11
(2004):
62-­‐69.

10. 10
Conclusion
In
conclusion,
the
design
of
Lancôme’s
Hypnôse
mascara
seduces
the
female
consumer
by
indicating
societal
ideals
in
a
number
of
ways.
Firstly,
it
does
so
by
embodying
a
Eurocentric
ideal
evidenced
by
the
product’s
shape,
color
and
brand
history.
It
exploits
the
female
tendencies
to
be
attractive,
prompting
women
to
participate
in
consumption
to
attain
that
said
ideal.
It
exploits
the
existing
sentiment
around
women
and
success
to
further
seduce
the
consumer
into
paying
for
its
premium
price
by
positioning
itself
as
a
luxury
product.
It
convinces
the
consumer
of
its
value
by
containing
high
quality
ingredients
and
by
being
functionally
well
designed.
Lastly,
it
seduces
the
consumer
by
symbolizing
an
unattainable
yet
aspirational
lifestyle.

11. 11
Appendix
(Fig.
2)
Lancôme
Hypnôse
Mascara
line,
screenshot,
accessed
31
Mar
2015.
<http://www.lancome-­‐usa.com/Hypnose/990516,default,pd.html>

12. 12
(Fig.
4)
Mert
Alas,
Marcus
Piggott,
Lancôme
Hypnôse
advertisement
featuring
Daria
Werbowy.
2014,
print
advertisement,
accessed
31
Mar
2015.
<http://www.cincinnatiartmuseum.stores.yahoo.net/frduwhboy.html>
(Fig.
5)
First
Maybelline
pressed
cake
mascara,
2012,
photograph,
accessed
21
Apr
2015
<http://ak-­‐hdl.buzzfed.com/static/enhanced/web03/2012/8/10/11/enhanced-­‐
buzz-­‐16979-­‐1344611286-­‐4.jpg>

13. 13
(Fig.
6)
Givenchy
Phenomen’Eyes
mascara
ball
shaped
wand,
2011,
photograph,
accessed
21
Apr
2015
<http://www.makeupgeek.com/wp-­‐content/uploads/givenchy-­‐02.jpg>
(Fig.
7)
L’Oreal’s
Research
and
Innovation
website
page,
screenshot,
accessed
21
Apr
2015
<http://www.loreal.com/research-­‐innovation/our-­‐innovation-­‐model.aspx>

14. 14
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articles
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journals
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documents
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15. 15
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"Shoe
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The
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11
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16. 16
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Sfar,
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Betty
Boop
Hypnose
Star
Mascara,”
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posted
by
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12,
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https://www.youtube.com/watch?v=rhtIBTEJfxU.
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Phan
creates
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Romantic
look
with
Lancôme
Doll
Lashes,”
YouTube
video,
3:39,
posted
by
"Lancome
USA,"
September
12,
2011,
https://www.youtube.com/watch?v=SPskOED1cnk