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Sidney Harper
English 101
Professor Alicia Bolton
October 6, 2014
Professing Perfection: The Adverse Effects of Advertisements
In today's society, females are constantly bombarded with this idea of perfection.
Rationally, we know this characteristic is biologically impossible, but media introduces the idea
that it is attainable. This false testament gives us hope. This false testament decreases our selfesteem and forces us to ceaselessly strive for something that cannot be obtained. From a young
age, we are taught that we are unacceptable. We are taught that if we spend money, go through
routines, and persistently hate ourselves, that someday, maybe, we might achieve the impossible.
In Killing Us Softly 4, Jean Kilbourne discusses the topic of perfection as it is featured in
advertisements. She argues that companies cater to the idea that we can buy perfection. In three
recent ads form Dior, EOS, and Maybelline, Kilbourne's argument about perfection is reinforced.
An ad for Dior that appears in Marie Clare exemplifies unattainable perfection. The ad is
for their new Dior Star Foundation makeup. Featured in the ad is an extremely airbrushed
headshot of Natalie Portman. The ad spreads across two pages, but one page is comprised of
only the actress's face. Void of flyaways, wrinkles, or pores, her skin is strikingly beautiful. She
is surrounded by white feathers which places her in an environment of airy perfection. Also
noticed is the perfect symmetry of her facial features. Science has proven that this is virtually
impossible, but with computer enhancements (and Dior makeup) this level of biological
impossibility can be achieved. On the second page, the makeup bottles are displayed in three
different shades. Under the bottles, text reads, "a weightless perfecting foundation." Dior is

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trying to sell more than makeup; they are trying to sell perfection. This ad is claiming that not
only are we not perfect, but that we will be able to achieve perfection with this product. This ad
is an example of Kilbourne's argument that advertisers are trying to portray unattainable
perfection.
In another ad by EOS, featured in Self Magazine, perfection is the main attraction. The
ad shows the upper-body of a woman and stops right at the beginning of her nose. The audience
cannot see her eyes nor her right hand. Her left hand is holding the product being advertised up
to her perfectly shaped and colored lips. Her lips are slightly open, revealing perfectly aligned
white teeth. Her fingernails are long, shiny, and unnaturally colorless. Her skin is flawless and
pore less. In other words, this woman, or one-fourth of this woman, is completely perfect. In the
bottom right corner, text reads "get noticed with visibly softer lips." This message is
subliminally implying that we do not get noticed, but with EOS lip balm, we will also, like the
model in the ad, be able to discover this perfection. This ad is another example of Kilbourne's
statement about perfection in advertisements.
The final example of Kilbourne's argument is supplied by an ad by Maybelline that is
featured in Elle Magazine. It is an ad for their latest mascara. Like the two ads discussed before,
this ad is also a close-up of a face. We can see from the top of the eyebrows to below the bottom
lip of the featured model. Also like the above ads, the model is lacking any form of imperfection.
Pore less, wrinkleless, and flawless, she gazes at the reader with perfectly fanned-out eyelashes.
"Maybe she's born with it. Maybe it's Maybelline" is the popular makeup brand's slogan. This
slogan appears across the bottom of the ad. It not-so-subtly implies that we are , of course, not
born with anything as perfect as what their makeup can provide. Shockingly though, this ad is
imperfect because it states its imperfection. Text above the logo reads "SIMULATION OF

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PRODUCT RESULTS ON THE LASHES ENHANCED BY LASH INSERTS." So, in other
words, this is an advertisement for mascara, but the model is wearing fake eyelashes. As the
audience, we are told that her lashes have been enhanced, but what about her skin? What about
her eyes, nose, lips, teeth, and eyebrows? While Maybelline is admitting to the false lashes, they
are still trying to convey the impression that their product will make us perfect. This ad promises
perfection and becomes another example that reinstates Kilbourne's argument that companies use
ads to sell unattainable perfection.
In Killing Us Softly 4, Jeane Kilbourne discusses how our generation is highly influenced
by media and advertisements. We are exposed to them so often that they affect what we buy,
what we do, and even how we see ourselves. We are vulnerable and susceptible to whatever
message the advertiser wants to convey on a daily basis. The goal of many of these
advertisements is to portray perfection. Especially in advertisements geared towards females,
this perfection is blatantly false; however, when bombarded by this image, it becomes a goal. It
becomes a necessity for happiness to girls everywhere. The standard for beauty has become a
biologically impossible, computer-generated image, but we strive for it every day. Self Magazine,
Elle Magazine, and Marie Clare Magazine all ran recent issues that included ads that confirmed
Jeane Kilbournes argument. Contributed by Dior, EOS, and Maybelline, these ads, geared
towards women, displayed airbrushed images slightly resembling women. The purpose: to sell
perfection. We have become a society obsessed with perfection and advertisers know this. They
will do anything to sell their product, but when, as a society, do we decide that the cost has
become too high?

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Works Cited
Killing Us Softly 4. Dir. Sut Jhally. Perf. Jean Kilbourne. Media Education Foundation, 2010. Film.
Maybelline, Advertisement. Elle. (September 2014): 23. Print.
EOS, Advertisement. Self. (October 2014): 36. Print.
Dior, Advertisement. Marie Clare (October 2014): 47. Print.