The myths of beauty, age, and marriage: femvertising by masstige cosmetic brands in the Chinese market

Qiao, Fei; Wang, Ye

doi:10.1080/10350330.2019.1682279

Cited by 21 publications

(10 citation statements)

References 31 publications

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“…However, there is evidence that as long as the cosmetic product makes the users feel more attractive and presentable, they are more inclined toward using those products despite the presence of potentially toxic ingredients 8 . A literature study revealed that some extremist customers in the cosmetic industry are willing to endure minimal side effects as long as their appearance is enhanced, for example, enduring a tingling sensation in the lips when using a lipstick which temporarily enlarges the lips 9,10 …”

Section: Introductionmentioning

confidence: 99%

“…8 A literature study revealed that some extremist customers in the cosmetic industry are willing to endure minimal side effects as long as their appearance is enhanced, for example, enduring a tingling sensation in the lips when using a lipstick which temporarily enlarges the lips. 9,10 The general consensus is that perception and attitude in consumer behavior within the cosmetic industry is influenced by lifestyle factors such as religion, income, and age-related factors which often manifests in the interest in aesthetics and improving one's personal appearance. The perception and attitude of consumers toward cosmetic products is essential as it helps identifying areas in which information needs to be disseminated on the safe manufacturing and usage of cosmetics.…”

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confidence: 99%

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Perception and attitude of adults toward cosmetic products amid COVID‐19 pandemic in Malaysia

Mohammed

Blebil

Dujaili

et al. 2021

J of Cosmetic Dermatology

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The Pharmaceutical Affairs Act defines cosmetic products as any product which is applied to enhance the facial features or overall appearance of the user. 1 The usage of cosmetic is varied as per population background where young generation tends to use cosmetic for aesthetic purposes, while older generation tends to use cosmetic products to counteract the effects of aging. The beauty and health market in Malaysia are developing quickly. According to the Malaysia Department of Statistics, the aggregate spending in

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Section: Introductionmentioning

confidence: 99%

mentioning

confidence: 99%

Perception and attitude of adults toward cosmetic products amid COVID‐19 pandemic in Malaysia

Mohammed

Blebil

Dujaili

et al. 2021

J of Cosmetic Dermatology

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“…Furthermore, stereotypes figure into the very terminology associated with women, as naming has long been an important element of gender inequality in China (Watson 1986). With the rising consumer culture and obsession with youthful beauty (Qiao and Wang 2019), the generic term for “woman,” funü , has now become a term of ridicule, suggesting a stigmatized image of married women with children, especially that they are physically unattractive. While the derogatory term, “leftover women,” for unmarried women in their late 20s and beyond implies that marriage is the ultimate purpose for women, married women over 30 and with children are mocked as zhongnian funü (literally “middle‐aged women”).…”

Section: Motherhood and Gendered Anxietymentioning

confidence: 99%

“Middle‐aged Old Mothers” in China: Childrearing Anxiety, Humor, and the Narrative Self

Jing¹

2022

Ethos

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With the rise of hyper education in contemporary China, the phrase "middle-aged old mother" has become an important narrative identity for mothers over 30 in the urban middle class. Based on ethnographic and virtual fieldwork from 2018 to 2020, this paper weaves together interviews, observation, and social media data to examine mothers' moral experience of childrearing anxiety in Beijing. This article goes beyond the surface content of "middle-aged old mother" narratives and instead highlights the narrative context, style, intention, and effect. It aims to understand their first-person narratives of parenting characterized by heightened uncertainty, high stakes, self-reflexivity, and gender inequalities. The "middle-aged old mother" script provides a template for and becomes the "co-author" of Chinese mothers' auto-narratives: It blends self-mockery, personal story, and social critique in an environment of intensifying competition and moral quandaries. The term is a deliberate act of humor and an invitation for empathy. [motherhood, narrative, morality, education, and China] "Middle-aged old mother" narratives even gained traction in state media. For example, in January 2019, a Chinese Communist Party (CCP) mouthpiece magazine, Banyue Tan, published an article that was reprinted on the Chinese central government's news agency website,

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“…It reflects a motive in Chinese neoliberal feminism agenda that provokes revival of patriarchal values (Peng, 2019). Likewise, SK-II’s global campaign Marriage Market Takeover which featured Chinese “leftover women” have come alongside controversies: the visual signs in the documentary somehow focused on the stereotypical traditions of women’s value—beauty, age, and gender roles, which reinforced gender stereotypes (Qiao & Wang, 2019). Despite its efforts to promote a meaningful change in gender issues, the campaign actually reaffirms gender norms by rationalizing a neoliberal agenda that promotes consumption, self-care, and personal fulfillment (Wallis & Shen, 2018).…”

Section: Literature Reviewmentioning

confidence: 99%

“The Big Women”: A textual analysis of Chinese viewers’ perception toward femvertising vlogs

Duan

2020

Global Media and China

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Video blogging (vlogging), a type of short video that people produce by recording and editing their daily lives, has become an emerging form of digital cultural production on social media platforms in China. With the profound growth of video marketing on social platforms, brands have increasingly leveraged vloggers to promote female-targeted products. This phenomenon becomes especially paradoxical when marketers bring the narrative of female empowerment into the discourse. This case study employed textual analysis to understand how Chinese viewers make sense of Bobbi Brown’s “The Big Women” vlog endorsed by the female vlogger Zhuzi on Weibo. A typology of viewers’ response was generated: (1) reciprocity of self-disclosure; (2) perceived interconnectedness with the vlogger; and (3) perceived women empowerment and advertisement effectiveness. The findings of this article articulate a symbolic form of relationship between content creators, brands, and consumers that promotes women empowerment. This study argues, however, that this perception of women empowerment may obscure the implicit consumerism embedded in the femvertising contents, while promoting the myth of self-empowerment through consumption. The findings of the study shed light on the rise of (pseudo-)feminism ethos constructed by the consumer market in contemporary China and beyond.

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The myths of beauty, age, and marriage: femvertising by masstige cosmetic brands in the Chinese market

Cited by 21 publications

References 31 publications

Perception and attitude of adults toward cosmetic products amid COVID‐19 pandemic in Malaysia

Perception and attitude of adults toward cosmetic products amid COVID‐19 pandemic in Malaysia

“Middle‐aged Old Mothers” in China: Childrearing Anxiety, Humor, and the Narrative Self

“The Big Women”: A textual analysis of Chinese viewers’ perception toward femvertising vlogs

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