This ad points out that luxury need not cost a fortune, as the McLaughlin is “a real car at a right price.” Although the text suggests overlooking fads and fancies in favour of reliability, the accompanying image tells a different story with a chauffeur driving formally dressed women. While the text suggests a modest price, the imagery and style presented in the visual component suggests anything but modest living.
“Real Car at the Right Price,” McLaughlin Advertisement, Canadian Magazine Advertiser, September 1913. (CSTM, De Bondt Collection, 913 14)
This ad boasts that the new Imperial 80 can hit “luxurious” speeds of 80 miles per hour. The illustration shows two well dressed women parking the car in front of a building with vaguely Islamic architecture. The shape of the windows suggests the scene is perhaps set in a country such as Turkey or Morocco. The advertisers are associating their fast new car with a lifestyle that includes “exotic” travel. Here, “luxury” is represented as the freedom to explore the world, look stylish, and drive fast.
“Chrysler Imperial 80,” Chrysler Advertisement, Home and Garden, May 1927. (CSTM, De Bondt Collection, HG527)
The image in this ad seeks to equate the Packard with the luxury of a Venetian Gondola. The viewer is invited to imagine herself as an Italian aristocrat gliding comfortably through a Renaissance city. The lush colours and fancifully dressed characters point to a romantic European past, synonymous with luxury. The new features of the car itself are secondary to the imagined experience of royal comfort and sumptous living.
“Luxurious Transportation,” The Literary Digest, November 16, 1929. (CSTM, De Bondt Collection)
This ad focuses on the Big Six’s idealized driver, who refers to his car with feminine pronouns and boasts about his exploits, breaking the speed limit and taking the car on unfinished roads. The Big Six is sold as a fun and impressive car for those with disposable income, leisure time and a devil-may-care attitude. Interestingly, the car is given a small black and white treatment while the driver is rendered in colour. It seems that the attitude of the wealthy young driver is of greater importance than the car itself.
“You Bet It's a Real Big Six,” Pontiac Advertisement, The Canadian Magazine, July 1929. (CSTM, De Bondt collection)
Though low in price, the Plymouth Six does not have that “Low-priced Look.” The people in the ad are well dressed, have a servant loading their luggage into the car, and are standing in front of a large home. The image implies that the owners of the Plymouth are wealthy enough to have bought any car, but they still chose the low-priced Plymouth. In this way, the ad coyly tries to disassociate Plymouth from the stigma of being a discount brand.
“America Wanted a Low Price Car,” Plymouth Advertisement, Family Magazine, February 1933. (CSTM, De Bondt Collection, F233)
Status conscious, upwardly mobile young professionals are the target of this ad. The inset image features two men, one noticeably older than the other. The older man pays a compliment to the young up-and-comer saying: “I see you drive a Chrysler!” Chrysler ownership is thus associated with good taste, sound decision making, and impressing one’s peers, co-workers, and (more importantly) superiors. The ad implies that being seen in a Chrysler will earmark a young man for professional and social promotion.
“I see you drive a Chrysler!” Chrysler Advertisement, New World, May 1947. (CSTM, De Bondt Collection, NW547)
Style and class get you noticed. While this ad features women’s jewellery (turning the “V” logo into a neckline), the text addresses a male buyer, explaining that the stylish Cadillac will speak volumes about the taste and success of the man behind the wheel. This combination suggests that while some male buyers will purchase a car based on factors besides appearance, a Cadillac catches the eye of men and women who appreciate luxury and style.
“More Eloquent than Words," Cadillac Advertisement, New York Times/New Yorker Magazine, October 25, 1952. (CSTM, De Bondt Collection, NY251052)
Power, prestige, and pinstripes ride shotgun in this Cadillac ad, which sells status and success as identified by the image of a group of businessmen. The image portrays a group of older white men huddled around a table, presumably discussing business affairs. The image and accompanying text suggest that the owner of this particular vehicle may in turn be privy to this meeting of successful men.
“Meeting of Cadillac Owners,” Cadilliac Advertisement, New York Times/New Yorker Magazine, March 19, 1955. (CSTM, De Bondt Collection, NY19355)
The imagery in the top half of this ad does not feature any reference to the car itself, but rather a formally dressed couple playfully situated in a flirtatious and romantic scene. The text points out that a Cadillac is not only a car for special occasions. Rather, it makes every journey more comfortable, as well as being the subject of “admiring glances on every hand.” The class, status, and romance of the lifestyle advertised here suggest that more than a luxury car is for sale – a luxurious life is for sale as well.
“Take the Cadillac Tonight,” Cadillac Advertisement, New York Times/ New Yorker Magazine, April 16, 1955. (CSTM, De Bondt Collection, NY16455)
It’s what’s under the hood that counts. While this car may be seen as “ugly,” its owner has been turned off of stylish cars. Not only has the luxury car been rejected, but so too has the style of advertising associated with it. This ad subverts perceptions of what makes a glamorous, luxury car – and what makes a luxury car ad. Notice how cars are gendered here – he uses language associated with romantic relationships to describe his relationship with his car.
“Never Fall for a Pretty Face," Volkswagen Advertisement, New York Times/New Yorker Magazine, October 15, 1973. (CSTM, De Bondt Collection, NY151073). Used with permission of Volkswagen Group of America Inc.
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Selling Luxury
The following car advertisements sell much more than just a car - they sell an identity and a lifestyle. In the marketing of lifestyle and identity, luxury and style play a big role. These ads sell both the luxury of owning one of these cars and the status and privileged lifestyle that goes along with it.
Some of these ads target upper-class consumers by selling a lifestyle that is both affordable and luxurious. Other ads are geared towards the average consumer, presenting style and luxury as something to be resisted while making fun of this lifestyle. Both invoke different ideas and values related to social class.
It is important to note that some ideas concerning luxury and class change throughout the 20th century. Some concepts and trends are repeated - appearing decades apart. Some ideas about luxury are consistent over time and never disappear. Pay attention to both the visuals and the text; how do they differ? Also, keep in mind questions of race, gender, and class, noting how ideas of luxury and the promotion of a luxurious lifestyle appear in these ads.
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