Female empowerment unveiled:
Investigating femvertising efforts from
a cultural branding lens
Authors: Emilia Andersson & Alice Nylund
Supervisor: Lena Hansson
Master’s thesis in Marketing and Consumption
Spring 2024
Graduate School, School of Business, Economics and Law, University of Gothenburg
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Abstract
This research investigates femvertising efforts from a cultural branding perspective. Using
the Barbie brand as a context, the study delves into how cultural branding is leveraged when
transforming brands historically associated with female stereotypes into symbols of
empowerment and how female consumers perceive such efforts. With a qualitative research
approach, a brand genealogy of Barbie provided a rich contextual backdrop while 12
semi-structured interviews captured the nuanced perspectives of young female consumers.
The findings reveal that young women are calling for inclusive and genuine representation,
seeking brand narratives that provide them with identity value. However, not all brands seem
to succeed in this endeavor. A brand's history can negatively impact its efforts, and the level
of authenticity is crucial. Additionally, from the insights of Barbie, we understand that it is
important to be responsive to cultural shifts, recognize contemporary values and reinvent the
brand myth accordingly. To conclude, the study challenges the notion of femvertising as a
standalone marketing tactic, positioning it as a component of a cultural branding strategy that
seeks to resonate with consumers on a deeper level.
Keywords: femvertising, advertising, female empowerment, female representation, cultural
branding, myths, identity value, Barbie
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Introduction
In the summer of 2023, the cultural landscape was struck by a pink bomb – the release of the
highly anticipated movie Barbie, which critics hailed as "the biggest movie of the year"
(Dockterman & Lang, 2023). The movie delivered empowering messages for women and
sparked a wave of cultural significance (Herman, 2023). The success of the Barbie movie
marked a watershed moment in the brand's history, signaling a transformative era in its
branding strategy (Miller, 2023). This strategic pivot by Mattel, aimed at realigning Barbie’s
image with feminist ideals, inclusion and empowerment (Zeisler, 2016), was noteworthy
given the challenges Barbie endured during the 2000s and early 2010s (Hains, 2021). During
this period, the brand faced increased competition, criticism of Barbie's body depiction, social
media scrutiny, and declining sales and interest in the brand (ibid). Mattel's efforts to
recalibrate Barbie's image were notably evident in the themes and messaging of the new
movie (Naylor, 2023). In light of Barbie’s cyclic history and recent transformation, one might
wonder: Why has Mattel’s shift towards inclusivity and empowerment resonated strongly
with audiences now? What factors have contributed to the success of this new branding
strategy in today's cultural landscape? And perhaps most importantly, what can Barbie's
evolution tell us about society's changing perceptions of beauty, femininity, and
empowerment?
Women have historically been subjected to certain depictions in advertising, leading to the
reinforcement of gender stereotypes (Eisend, 2010; Hsu, 2018), with Barbie's representation
also mirroring this discourse (Tiny Shoulders: Rethinking Barbie, 2018) by promoting
unattainable beauty standards (Zeisler, 2023). The concept of femvertising, coined during an
Advertising Week panel in 2014, entails the endeavor within advertising to empower women
and challenge gender stereotypes (Åkestam, Rosengren & Dahlen, 2017; Zeisler, 2016;
Sterbenk, Champlin, Windels & Shelton, 2021). Following decades of women’s movements,
the advertising industry seemed to have acknowledged that when women are not demeaned,
they are more inclined to purchase products (Zeisler, 2016). To contextualize, Michaelidou,
Siamagka, Hatzithomas and Chaput (2022) advance that the combination of the fourth wave
of feminism1 and the rise of social media has provided an efficacious environment for this
appeal to flourish. In addition, the rise of rapid-response feedback has compelled companies
to acknowledge customers' opinions (Zeisler, 2016).
In existing research, it becomes apparent that a consensus exists within femvertising literature
regarding its delineation and objectives, i.e. advertising that empowers women and challenges
gender stereotypes. Nevertheless, academic discussions persist regarding the dichotomy
between its potentially exploitative or empowering nature. On one hand, there is a research
stream criticizing femvertising, arguing that it “depoliticizes feminism and harms the feminist
1 The first wave of feminism, originating in the 1850s and the Suffragette movement, focused on advocating for women's
equal civil rights and the elimination of legal barriers. In the mid twentieth century, the second wave emerged, driven by
influential works such as Simone de Beauvoir's 'The Second Sex' and Betty Friedman's 'Feminine Mystique,' aiming for full
social and economic equality with men. Third wave feminism, starting in the 1990s, emphasized empowerment, diversity,
and validation of various gender expressions while challenging traditional gender norms and stereotypes. (Varghese &
Kumar, 2022)
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political agenda” (Varghese & Kumar, 2022, p. 443), hence becoming a commodity (Windels,
Champlin, Shelton, Sterbenk & Poteet, 2019) and contributing to the social issue (Champlin,
Sterbenk, Windels & Poteet, 2019). On the other hand, there is also an argument that
femvertising should be seen as part of a broader societal shift towards gender equality rather
than merely a marketing tactic (Åkestam et al., 2017). In practice, it has been noted that
consumers also experience skepticism towards the motives behind certain femvertising
efforts (Hainneville, Guèvremont & Robinot, 2021). Another view on the concept is the one
of Zeisler (2016), who argues that while femvertising might raise awareness and create a
platform to discuss women’s issues, the receiver of the communication message should also
be critical and recognize it as a marketing tactic rather than genuine activism.
Navigating within the academic tension of the different perspectives on femvertising, we look
at the problematic nature behind certain femvertising engagements and the historical context
of many brands employing such strategies. Despite their current endeavors to challenge
gender stereotypes and promote inclusivity, several of these brands have a legacy of
perpetuating and reinforcing stereotypical structures (Zeisler, 2016). This historical context
underscores the complexity and nuances inherent in femvertising campaigns. For this reason,
we intend to approach the research from a different perspective that can illuminate these
issues. While extant research within the realm of femvertising suggests the concept as
illustrative of brand activism (Michaelidou et al., 2022; Varghese & Kumar, 2022) and as a
part of CSR work (Champlin et al., 2019; Sterbenk et al., 2022), we intend to delve deeper by
examining femvertising efforts through a cultural branding perspective. By adopting a
cultural branding perspective, we can explore the intricate interplay between culture, brands,
and consumers and how they negotiate identities and cultural meanings in the context of
femvertising.
The cultural branding research highlights the notion that brands should align with prevailing
ideologies through cultural innovation and mythologies (Holt, 2004). Primarily, research
from Holt (2004) as well as Holt and Cameron (2010) have been instrumental in developing
the cultural branding framework. In turn, this framework has been extensively applied in
preceding studies to various contexts within different industries and domains, that can be
illuminated through cultural symbols, myths, and ideologies (e.g. Pineda, Sanz-Marcos &
Gordillo-Rodríguez, 2022; Dam & Kjeldgaard, 2022; Aversa et al., 2021). A commonly
studied notion in previous studies is identity myths (Holt, 2004; Holt & Cameron, 2010;
Thompson, 2005; Thompson & Tian, 2008; Pineda et al., 2020), showing that myths are
utilized by iconic brands to relieve anxieties, address the desires of consumers, and reflect the
cultural zeitgeist of a historical era, ultimately contributing to the construction of personal
and shared identities (Holt, 2004). Developed by Holt and Cameron (2010), the framework of
cultural innovation involves moving beyond traditional market norms while adapting to
societal disruptions and aligning brand narratives with prevailing cultural contexts to
maintain relevance. Yet, following previous research, we do not fully understand how identity
myths and cultural innovation are leveraged in femvertising to cohere with female
consumers’ identity construction.
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The transformation of the iconic brand Barbie, from a conventional female stereotype to a
contemporary symbol of empowerment and diversity (Anderson & Long, 2024), is the
context used for our study and for developing our theoretical argument. We argue that this
strategic shift is neither a political statement nor a brand activism attempt, as previous
research usually views femvertising efforts (Michaelidou et al., 2022, Champlin et al., 2019;
Varghese & Kumar, 2022; Sterbenk et al., 2022). Rather, we intend to investigate whether it
reflects Mattel's recognition of changing cultural paradigms by tapping into femvertising
strategies. This aligns with Holt's (2004) assertion that iconic brands embody the myths most
pertinent to their historical moment and cultural context. Reviewing femvertising efforts from
a cultural branding perspective, we can understand how it can function as a strategic
marketing component as well as the determinants of success. Therefore, the first research
question for this study is: How is cultural branding leveraged when transforming brands
historically associated with female stereotypes into symbols of empowerment?
Further, understanding consumers’ perspectives is crucial, particularly as cultural branding is
deeply intertwined with consumers' identity desires. Holt (2004) asserts that consumers are
pivotal in creating and sustaining brand narratives and meanings, underscoring the
importance of adopting a consumer-centric approach to investigating femvertising efforts
from a cultural branding perspective. Additionally, further strengthening this argument is that
academia increasingly emphasizes the necessity for research that delves into consumers'
perceptions and reactions toward femvertising (Hainneville, 2021; Michaelidou et al., 2022;
Windels et al., 2019). Given the prevailing emphasis on quantitative studies within
femvertising research (Åkestam et al., 2017; Michaelidou et al., 2022; Drake, 2017; Windels
et al., 2019), this appeal is warranted. Further, Otnes and Fischer (2022) argue that there is a
discrepancy between the conventional methodological choices made in femvertising research
and the nature of feminist research itself. While the majority of the femvertising literature
utilizes experimental methods, feminist research “advocates qualitative approaches, because
of the emphasis on empowering and empathizing with informants [...] and how these
perceptions impact their integration of brands into their lives” (Otnes & Fischer, 2022, p. 84).
Therefore, the study is based on qualitative methods since they are not only warranted but
essential for gaining a deeper understanding of the complex and nuanced experiences of
consumers within the context of femvertising. Therefore, the second research question for
this study is: How do female empowering marketing efforts align with the values and
identities of young female consumers?
The purpose of this research is to study femvertising efforts from a cultural branding
perspective. We seek to unravel the complex interplay between consumer perceptions, brand
communication strategies, and cultural narratives. More specifically, we employ the Barbie
context which serves as an epistemological window into how cultural branding is leveraged
when transforming brands historically associated with female stereotypes into symbols of
empowerment and how consumers perceive such efforts.
The outline for this study is to firstly present our theoretical framework which includes the
concept of femvertising and cultural branding theories as well as how they will be used as our
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analyzing tools to the empirical material. The methodology chapter outlines our qualitative
approach, research methods and ethical considerations. Our empirical material is then
presented and analyzed using the theoretical framework. Here, we perform an analysis of a
brand genealogy as well as identifying recurring themes from the interviews. Lastly, the
findings are discussed and the theoretical and managerial contributions are presented.
Theoretical framework
In this chapter, we delve into the theoretical framework that underpins our exploration of
femvertising efforts with the perspective of cultural branding. Firstly, we explore
femvertising to comprehend the concept and its significance. Secondly, two theoretical
aspects of cultural branding are described. Thirdly, we create a conceptual framework to
describe how we intend to analyze femvertising efforts.
Femvertising
In this section, we will delve into femvertising to understand the concept and grasp its
different research streams. Drawing from studies within advertising, brand management,
feminist media studies, and consumer behavior, this study delves into the multifaceted
dimensions of femvertising.
The concept of female empowering advertising
Femvertising can be conceptualized as “advertising that challenges traditional female
advertising stereotypes” (Åkestam et al., 2017, p. 796). While producing messages that
empower women, marketers also use this as a strategy to target women in order to sell
products (Åkestam et al., 2017; Champlin et al., 2019; Michaelidou et al., 2022; Windels et
al., 2019). When defining femvertising, we intend to follow Otnes and Fischer’s (2022)
argument that femvertising focuses on brand communication and advertising, compared to
feminist branding which has a broader scope regarding all touchpoints in the marketing
strategy. Using advertising that empowers women and positively portrays them can have
positive effects on the consumer's experience and the viewing of the self, but also regarding
increased brand equity and buying intentions (Åkestam et al., 2017; Sterbenk et al., 2021).
The scope of femvertising moves beyond the inclusiveness of body diversity, to also
challenge female stereotypes related to characteristics, gender roles, and representation of
women's professions (Åkestam et al., 2017). Moreover, femvertising integrates these
elements concurrently to comprehend a holistic view of the portrayal of women in advertising
(ibid). Further, according to Zeisler (2016), the term “empowertising” transcends the idea that
choice can be considered feminist if a self-labeled feminist endorses it so. It also relies
heavily on the personal self, shifting focus from objective value to the buyer’s personal
mythology, celebrating womanhood and the person’s sense of empowerment and identity
rather than on status or possessions. Following previous research, this study employs a
generic interpretation of the objectives and a descriptive notion of femvertising. Yet, we
acknowledge the scholarly discourse debating whether the concept has an exploitative or
empowering nature.
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Building upon the conceptualization of femvertising within marketing, it is essential to frame
its significance within the socio-cultural sphere. The fourth wave of feminism, characterized
by globalization, a need for social gender representation, and continued focus on individual
choice, elucidates the desire for personal empowerment for females (Zayer, Coleman, Hein,
Littlefield & Steinfield, 2018; Varghese & Kumar, 2022). However, research has
demonstrated that advertising continues, to this day, to depict certain misleading female
stereotypes that shape contemporary values, ideals, and behaviors, potentially fostering a
diminishment of women's self-esteem and self-development (Hsu, 2018; Åkestam et al.,
2017; Otnes & Fischer, 2022; Michaelidou et al., 2022). While a shift in advertising seems to
have occurred, with females being more frequently presented as active and sexually powerful
rather than passive objects depicted by a male gaze (Gill, 2007), gender stereotyping remains
dominant in advertising (Hainneville et al., 2021). Although stereotypes may serve as
practical generalizations in everyday life, they also result in overly simplistic perceptions
inaccurately assessing individuals belonging to a specific social group (Eisend et al., 2014).
For women, stereotyping of beauty ideals and role behavior can limit life opportunities,
leading to reduced self-esteem, restricted self-development, and career disadvantages
(Eisend, 2010). In recognizing the adverse impacts of stereotypical depictions, the necessity
for a significant shift towards genuine and inclusive representations of women emerges, yet
often a formidable endeavor.
Authentic femvertising
The ideal illustration of female empowering advertising appears to change over time (Zeisler,
2016). In addition, while having the ability to generate increased brand perceptions of
consumers and reduce reactance (Åkestam et al., 2017), skepticism and questioning of the
authenticity behind the messaging can occur (Hainneville et al., 2021). Hence, it is valuable
for brands to acknowledge some aspects when employing femvertising to avoid being
accused of what consumers perceive as “inauthentic femvertising” or “femwashing”
(Hainneville et al., 2021, p. 934). Authenticity, “a quest for the ‘real’ and ‘genuine’”
(Hartmann & Östberg, 2021, p. 882), is a socially constructed concept that is context and
goal-dependent (Beverland & Farrelly, 2010). Consequently, it can come into existence as a
result of the brand’s interaction with other market participants, including consumers
(Hartmann & Östberg, 2013).
Coming across as authentic seems to be a key factor when producing femvertising. In the
study of Hainneville et al. (2021), the researchers identify six dimensions that advertisers
should recognize when producing femvertising to avoid consumer perceptions of
femwashing. The first dimension emphasizes (1) transparency, characterized by brands that
are natural, truthful and sincere. In the second dimension, (2) consistency is key, reflecting
brands with a cohesive history, core values, and communication strategies. This inherently
entails that femvertising efforts lack credibility if the brand has a history of sexist actions or
communications, whereas a consistent history of supporting women's representation enhances
perceived brand authenticity. The third dimension is (3) identification, highlighting the
importance of consumers being able to recognize themselves. (4) Diversity is described as
female consumers wanting inclusion of all types of women in advertising, while also showing
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(5) respect. The last dimension is (6) challenging stereotypes, which refers to that brands
should avoid conforming to conventional gender roles and biases. These six dimensions are
holistically assessed by the consumers when they are forming their opinions on the
authenticity of the femvertising communication (ibid). Additionally, Hainneville et al. (2021)
suggest that the brand should apologize for previously depicting unrealistic beauty ideals.
Although these are six concrete practical guidelines for marketers to use when producing
femvertising (Hainneville et al., 2021), the complexity of succeeding with the concept may
still cause challenges. To exemplify, while it appears to be crucial for the authenticity aspect
that the brand is consistent regarding staying true to its values, identity, and beliefs, it also
needs to adapt and evolve with the culture to remain relevant, according to branding
(Beverland, 2005; Holt, 2004). Bridging the gap between this tension, cultural branding plays
a pivotal role in navigating through historic changes and cultural shifts (Heding, Knudtzen &
Bjerre, 2020).
Cultural branding
In the study’s chosen context, integrating cultural innovation into the theoretical framework
serves as an important lens for understanding a brand transformation, mirroring the process
described by Holt and Cameron (2010). This model will be used to analyze our empirical
material. The choice to focus on identity myths within the cultural branding framework stems
from a deliberate decision to adopt a consumer-centric perspective, as previously mentioned.
This approach aligns with the study’s purpose of investigating consumer perceptions of
femvertising efforts.
Cultural innovation
Navigating through historic changes and cultural shifts while maintaining relevance remains
one of the most significant challenges for brands (Heding et al., 2020). Holt and Cameron
(2010) have developed a model on cultural innovation to illustrate the necessity of
challenging cultural orthodoxy, which is defined as “the conventional cultural expression [...]
used by most incumbents as they compete to create customer value” (p. 196–197).
The first stage of cultural innovation involves (1) identifying conventional practices and the
prevailing cultural orthodoxy, encompassing widely accepted norms within a given category
(e.g., myths and ideologies) (Holt & Cameron, 2010). Over time, societal changes inevitably
disrupt consumers' ability to identify with these conventional myths and cultural codes. Such
shifts can be instigated by various factors such as technological advancements, alterations in
social structures, social movements, or the influence of mass media (ibid). Hence, the
subsequent stage (2) emphasizes identifying the social disruptions that challenge the
orthodoxy, consequently fostering a consumer demand for new ideologies. Brand stories need
to align with the prevailing historical context and are intended to smooth over these
disruptions by addressing current societal needs and identity desires. That is why the third
stage revolves around (3) delving into the identity projects of consumers (ibid). This involves
examining the emerging desire for new cultural expressions prompted by the disruption and
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identifying the emergent ideology that customers are attracted to. Consequently, brand
narratives can become deeply ingrained within the cultural fabric, permeating society on a
wide scale (ibid). Furthermore, as the fourth stage of the model, cultural innovation is often a
reinterpretation of existing cultural codes which is done by (4) tapping into existing
movements and subcultures (ibid). They are used as source materials for brands to identify
and address ideological opportunities. Stage five of the model involves (5) the incorporation
of specific tactical techniques developed through research and consulting, which serve as
enhancements to cultural strategy. Finally, cultural strategy has a distinctive nature compared
to conventional approaches seen in other marketing models (ibid). Conventional marketing
models assert that brands must remain consistent with their essence regardless of societal
changes, aiming to establish a strong association in consumers’ minds (Holt, 2004).
Nevertheless, a cultural strategy demands (6) a tailored response to unique opportunities
emerging within specific historical and societal contexts (Holt & Cameron, 2010).
Holt (2004) identifies numerous cases of brands that deviate from their original branding to
instead synchronize with societal dynamics and ideologies to continue generating identity
value. For example, Volkswagen’s mythological paradigm underwent a notable
transformation as it moved away from the prevailing American car ideal emphasizing size
and exclusiveness, i.e. the cultural orthodoxy. To market the compact Beetle, the brand
tapped into the emerging bohemian aesthetic that embodied the defiance against conformity
and commercialism (Holt, 2004). The Beetle was a success since Volkswagen's myth
provided a way for consumers seeking refuge from mainstream culture to immerse
themselves in the countercultural realm of the hippie movement (ibid). As Holt (2004)
illustrates, the relevance of myths eventually diminishes as cultural shifts occur, thereby
necessitating brands to abandon their previously successful narratives, while simultaneously
discovering new myths that better align with the broader social context and consumers.
Failure to reinvent myths poses a significant risk to the brand's relevance, potentially leading
to its decline or obsolescence (Holt, 2004). Hence, brand managers are not at liberty to
arbitrarily decide whether to factor external culture changes into their decision-making
processes; rather, the brand is intrinsically shaped by, and reciprocally shapes, the cultural
landscape (Dam & Kjeldgaard, 2022; Heding et al., 2020).
Despite culture’s significance, brand managers have often overlooked this facet, directing
their attention toward radical advancements in the technical and tangible attributes of the
brand’s products (Holt & Cameron, 2010). Nevertheless, cultural branding and innovation
represent unconventional strategies that can provide brands with a competitive advantage
(Pedeliento, 2018). Holt and Cameron (2010) contend that the reinvention of myths and the
reframing of cultural expressions associated with products are crucial for developing new
brands but also for revitalizing declining ones. Consequently, cultural innovation can result in
“intense customer loyalty and superior sales and profits, and garner loads of free media
coverage” (Holt, 2016, p. 46). In essence, cultural innovation involves deviating from
conventional industry practices within a given category as well as identifying and responding
to ideological opportunities arising from societal disruptions (Holt & Cameron, 2010), which
is the understanding we intend to adopt. Upon reviewing this chapter, it is evident that a
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fundamental aspect of success with cultural branding and innovation lies in discerning and
understanding the identity projects of consumers. Brands must grasp the underlying
motivations that attract consumers to be able to build the most compelling identity myth.
Identity myths
Holt (2004) posits that certain brands can reach iconic status by embodying ideologies,
values, and ideas that consumers integrate deeply into their daily lives. These brands utilize
narratives in advertisements, also called identity myths, to communicate these
representations, serving as a means for consumers to relieve anxieties and address desires
(Holt, 2004). Myths usually employ metaphors while also incorporating intricate plots to
author compelling stories that address cultural tensions (Holt, 2004; Thompson, 2004; Pineda
et al., 2020). As time progresses, perceptions and associations with a product accumulate,
imbuing brands with significance. Through this gradual process, a brand emerges, shaped by
the collective interpretations and experiences of consumers (Holt, 2004). Without myths and
stories, brands are rendered hollow and ineffective, which points to the importance of cultural
branding. Brands benefit from myth-making since it can create an enhanced brand image and
a competitive edge (Thompson, 2004).
Consumers demonstrate an inclination toward brands that transcend physical functionality.
They seek brands that represent certain ideals they aspire to incorporate into their own
identities, meaning that a brand’s myths have identity value (Holt, 2004). It is a dynamic
process of reshaping and imbuing symbolic meanings that are embedded in various artifacts
(e.g. products, advertisements, and brands) in an attempt to construct their identities and
lifestyle aspirations (Arnould & Thompson, 2005). This inherently entails that the
marketplace plays a vital role in offering consumers an extensive array of symbolic assets to
craft both personal and shared identities (ibid). From this vantage point, brands serve as
vessels of ideologies by embodying and adapting to the constantly evolving cultural
landscape, that achieve success only when it aligns with the collective identity projects of
consumers at a given time (Dam & Kjeldgaard, 2022; Heding et al., 2020). On a national
level, myths serve to address collective needs and anxieties, as individuals engage in the
formation of identities amidst shared historical events and societal transformations that
profoundly impact a broader collective (Holt & Cameron, 2010).
In line with previous research, we understand identity myths as embodying deeply ingrained
cultural narratives and symbols that play a pivotal role in shaping individuals' understanding
of their identity and place within society. These narratives intertwine with broader societal
values, serving as powerful tools for brands seeking to resonate with consumers on a deeper
level. More specifically, identity myths elucidate how identity construction processes are
intricately intertwined with consumer perceptions and desires, shedding light on why
consumers are attracted to certain brands.
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Conceptual framework
Navigating the academic discourse on femvertising efforts reveals a tension between its
potential for positive social change and its historical context. Despite efforts to challenge
gender norms, many brands have a legacy of reinforcing stereotypical structures through their
marketing practices (Zeisler, 2016). This historical context underscores the intricate nature of
femvertising campaigns, prompting the need for deeper exploration. To navigate this
complexity, we argue that Holt and Cameron’s (2010) as well as Holt’s (2004) research on
cultural innovation strategy and identity myths are relevant. They assert that brands should
tap into current myths that align with the broader social context while abandoning their
previous narratives. This is motivated by consumers’ attraction to brands that embody values
that align with their identities (Holt, 2004). Hence, this research will investigate if the
complexity found in femvertising literature can be understood and resolved with the ideas
within cultural branding.
In addition, we also notice a disagreement between the different theoretical frameworks.
Research on authentic femvertising emphasizes the importance of consistency in terms of
having a coherent brand history as staying true to the core values throughout different
marketing efforts (Hainneville, 2021). Meanwhile, cultural branding research advocates for
the need to evolve and adapt to stay relevant (Beverland, 2005; Holt, 2004). We seek to
investigate if it is possible to navigate this split through the use of cultural insights and
understanding the dynamic nature of cultural meanings, enabling brands to develop
femvertising campaigns that are both authentic and responsive to the changing social
landscape. By using a cultural branding lens when studying femvertising efforts, we can gain
a comprehensive understanding of how brands navigate the complexities of this marketing
tactic as well as the cultural landscapes to construct narratives that resonate with female
consumers' identities and values. Consequently, this conceptual framework describes the idea
of how we want to approach the empirical results and why it is necessary for the study to take
this perspective.
Methodology
To investigate femvertising efforts from a cultural branding perspective, methods of a
qualitative nature were employed. The context and phenomenon were scrutinized through a
comprehensive examination of brand genealogy, aimed at gaining a better understanding of
the historical and cultural background of Barbie. Additionally, to further deepen the insights,
interviews were conducted with young female consumers. The selection of these
methodological approaches is explained further below.
Research approach
To fulfill the purpose of the study and explore how consumer perceptions and brand
communication interact, a deep contextual understanding is warranted (Hudson & Ozanne,
1988). We conducted a historical genealogy of a brand with a shift toward female
empowering strategies while also delving into consumers’ perceptions. This underscores the
relevance of employing a qualitative methodology, which aims to develop comprehension
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and interpretation of the socially constructed reality (Eriksson & Kovalainen, 2008), rather
than achieving representativeness and generalizability (Crang & Cook, 2007). The
employment of both a historical genealogy and in-depth interviews in our research
methodology enabled a more holistic exploration of the phenomena under investigation by
approaching the research questions from different angles and perspectives. Further, the
historical analysis provided a rich contextual backdrop while utilizing interviews to capture
the nuanced perspectives of young female consumers. The combination ensured that our
interpretations closely reflect the nuanced realities of the context and phenomena being
studied.
Further, our study adopted an abductive approach, where an initial understanding of
femvertising and cultural branding was made based on previous research, to then develop
new findings and explanations, exploring the phenomena in a new case and context (Eriksson
& Kovalainen, 2016). Specifically, new findings occurred in the analysis of cultural branding
on femvertising efforts and the specific context of the Barbie brand. Moreover, our study
integrated aspects of Thompson's (1997) hermeneutical approach and interest in individuals'
personalized cultural frame of reference, acknowledging the interplay between consumers'
cultural backgrounds and the meanings they attribute to consumption experiences. By
adopting an interpretive epistemological position, we recognized that understanding reality is
constructed through the lens of people’s perceptions, cultural backgrounds, and worldviews
(Bell, Bryman & Harley, 2019). Through our research approach, we sought to generate new
insights and understanding that may not have been apparent from existing theoretical
frameworks alone.
The Swedish context of the Barbie brand
To fulfill the study’s purpose, we studied the Barbie brand, which encompasses both
femvertising efforts and cultural branding elements. The context of Barbie includes the
historical complexity of femvertising efforts, as it is a brand that has traditionally perpetuated
stereotypes while striving to subvert them in contemporary contexts (Anderson & Long,
2024). Additionally, it is considered an iconic brand that has recently garnered significant
attention with the launch of its movie, signaling a renewed brand image of inclusion,
diversity, and female empowerment (Herman, 2023). Besides being a current case of
femvertising endeavors, it is also an intriguing case highlighting the dynamic interplay
between marketing strategies and evolving societal norms. Exploring the brand from a
cultural branding perspective, we sought to unveil insights into the complexities of modern
consumer culture and the evolving landscape of female representation in marketing.
We incorporated the Barbie brand as our research context due to its significance in both
American and Swedish cultures. Although Barbie is an American brand, it has maintained a
significant presence in Sweden (Rådegård, 2023). Four years after the initial launch of the
Barbie doll, it was introduced in Sweden, promptly establishing it as one of Mattel's key
markets (ibid). The 2023 Barbie movie further underscored this connection, becoming the
most-watched movie in Swedish theaters that year and generating the highest revenue for
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Warner Bros in Sweden (Dyresjö, 2023). Additionally, the Swedish way of thinking, culture
and consumption patterns are heavily influenced by American culture (Alm, 2002), making
Barbie a relevant and relatable subject for our study within the Swedish context.
Research methods
Historical genealogy of the Barbie brand
Aligned with the overarching purpose of the study, and more specifically the first research
question of the study: How is cultural branding leveraged when transforming brands
historically associated with female stereotypes into symbols of empowerment?, we deemed it
relevant to undertake a historical genealogy of the Barbie brand. As conceptualized by Holt
(2004), a brand genealogy entails thoroughly examining its historical evolution, necessitating
scrutiny of its pivotal milestones and developmental trajectories (Testa, Cova & Cantone,
2017). Therefore, we chronologically tracked Barbie's cultural shifts, revealing how the brand
reflects societal changes over time. The method of genealogy can be applied in qualitative
research since it allows for a historical analysis of brands by reviewing the evolution through
secondary sources, including documents and reports (Bell et al., 2019), but also newspapers,
advertisements, and movies (Canniford & Karababa, 2013).
To reveal the genealogical threads of the Barbie brand from its initial launch to the present,
we gained a comprehensive overview by deliberately collecting pieces of information from a
range of distinct origins such as scholars, journalists, and commercial materials. We used
American sources for Barbie's genealogy and historical context, acknowledging its origins
and evolution within the American cultural landscape. The following material formed the
basis for the genealogy: the documentary Tiny Shoulders: Rethinking Barbie (2018), directed
by the filmmaker Andrea Blaugrund Nevins as well as the book Forever Barbie: The
Unauthorized Biography of a Real Doll (2004) written by the author and cultural critic Mary
Grace Lorde. Additionally, we referenced The Marketing of Children’s Toys: Critical
Perspectives on Children’s Consumer Culture (2021), edited by Rebecka Hains and Nancy
Jennings, from which we read multiple chapters. The chapters “The Politics of Barbie’s
Curvy New Body: Marketing Mattel’s Fashionistas Line” by Rebecca Hains, professor in
media and communication and expert in feminist media studies, as well as “Commodifying
Culture: Mattel’s and Disney’s Marketing Approaches to ‘Latinx’ Toys and Media” by Emily
Aguiló-Pérez, researcher in children’s cultures and girlhood studies. Relevant newspaper
articles included “How Barbie Took Over the World” (2023) by Eliana Dockterman and Cady
Lang, journalists focusing on culture, society, gender, and identity.
After gathering this array of secondary data sources, we meticulously examined them.
Through a thorough review and synthesis of these materials, we sought to uncover recurring
themes, significant events, and transformative moments in Barbie's evolution over time. This
iterative process allowed us to discern patterns and trends, facilitating the construction of a
comprehensive historical timeline of the brand's development. By systematically organizing
and contextualizing the gathered information, we elucidated key turning points and
milestones that shaped Barbie's cultural significance and resonance. Through this
11
methodological approach, we gained valuable insights into the brand's narrative arc and its
enduring impact on consumer culture. This timeline formed the basis for the material
analyzed using theories from cultural branding, as further described below.
In-depth interviews
Aligned with the overarching purpose of the study, and more specifically the second research
question of the study: How do female empowering marketing efforts align with the values and
identities of young female consumers?, it was of interest to explore the perceptions, feelings,
and experiences of female consumers. As posited by Bell et al. (2019), qualitative interviews
provide the opportunity to comprehend different contexts and conceptualizations through the
lens of others. More specifically, interviews with a semi-structured interview guide were
conducted to foster adaptability and flexibility to capture the interviewees’ perspectives and
sentiments truly (Thompson, 1997; Bell et al., 2019). This methodological choice offers a
dual benefit: it enabled us to address predetermined topics while also affording the
interviewees the space to delve into these subjects and contribute their insights (Arsel, 2017).
The selection of interview candidates followed purposive sampling principles, allowing us to
selectively and deliberately choose participants based on specific criteria to ensure depth and
relevance in the data collected (Crang & Cook, 2007). In our research, young females are
pivotal, particularly due to their heightened sensitivity towards the portrayal of gender roles
in advertising (Drake, 2017). This demographic, often targeted by femvertising efforts,
represents a conscientious and informed generation, especially attuned to contemporary role
depictions (ibid). We deliberately chose to interview Swedish women since they are known
for their awareness of the role of feminism, gender equality, and female empowerment
(Champlin et al., 2019). The initial selection of the first three interviewees was based on
convenience, drawing from our existing network of acquaintances (Bell et al., 2019).
Additionally, they were selected based on the criteria that they are females aware of women’s
representation and have seen the Barbie movie from 2023. Subsequently, a snowball
sampling method was employed to include other acquaintances of the initial interviewees
who also fit these criteria. While interviewing individuals known to us can foster a sense of
comfort and openness conducive to exploring personal perspectives and private experiences,
a downside is a heightened risk of potential manipulation in such situations (Kvale, 2006). It
should also be noted that all the interviewees are enrolled in or have completed a university
degree. Hence, we selected Swedish females aged between 20–30 (Appendix A), with the
anticipation that they would offer valuable insights, thereby enriching the study’s quality.
We strived to capture the nuanced insights into how the interviewees perceive femvertising
efforts and their interactions with Barbie as a cultural artifact. To effectively address these
topics, an interview guide was used to maintain consistency across interviews and ensure a
certain direction, while also accommodating additional questions as needed (Bell et al.,
2019). When preparing the guide, we formulated main topics that resonated well with the
research questions, ensuring alignment between our content and the core objectives of the
study, as suggested by Bell et al. (2019). The predefined topics were: women's representation,
gender stereotypes in media and marketing communication, and the experience of Barbie.
12
Additionally, we presented renowned femvertising ads targeted towards women to delve
deeper into their perceptions, as well as factors contributing to its success and (in)authenticity
(Appendix B). A picture of Barbie’s more recent, diverse dolls was presented along with a
highly acclaimed monologue from the Barbie movie (Appendix C), to evoke memories and
facilitate the communication of complex understandings (Bell et al., 2019).
We conducted a preliminary test interview to validate and ensure the effectiveness of our
interview guide and made efforts to refine certain aspects of it, before proceeding with
subsequent interviews. We opted to conduct the interviews in Swedish, the native language of
the interviewees, to let them express themselves freely and avoid linguistic mistakes. Thus,
the quotes referred to in the analysis of the study have been translated into English. Audio
recordings were used for all of the interviews to facilitate the transcription process, as they
better capture the emphasis and choice of certain words (Brinkmann & Kvale, 2018). Thus,
the transcriptions used in the analysis of the empirical material were based on the recordings.
We experienced that theoretical saturation was achieved after approximately 10 interviews.
However, we conducted a total of 12 interviews to ensure depth and richness of the data. At
this stage, the topics had been thoroughly explored and further data collection would not offer
substantial insights. The interviews ranged between 60–80 minutes and were conducted in
person to discern visual cues and sustain engagement, as suggested by Bell et al. (2019).
Analysis of empirical material
Once the brand genealogy timeline was constructed, we applied cultural branding theories to
analyze it, with a particular focus on Holt and Cameron's (2010) model of cultural
innovation. This model served as our primary tool to grasp our context and its resonance with
culture at a given point in time. We identified patterns in Barbie's history that corresponded to
the essence of each step in the model. Rather than repeatedly mentioning each stage, we
aimed to pinpoint a clear instance within the genealogy where each stage was exemplified,
thus avoiding repetitiveness. The purpose of the genealogy analysis was to gain a deeper
understanding of the brand’s complex history and provide the reader with a backdrop of the
context before delving into consumer perceptions.
Following the completion of interviews, transcription was conducted to facilitate thorough
analysis and iterative examination of responses. In this process, we employed “My Good
Tape”, an AI-based transcription program, to transcribe the interview content. Given the
interviews' minimum duration of one hour, this choice was made considering the
labor-intensive nature of manual transcription, as suggested by Bell et al. (2019).
Nonetheless, it is important to acknowledge the limitations of such programs. While offering
convenience, they often lack the precision and accuracy of human transcribers (Bell et al.,
2019). Therefore, once the program generated transcriptions were retrieved, we conducted a
thorough manual review to correct any inaccuracies and amend misheard words, ensuring a
high level of accuracy in our transcripts. Combining automated transcription with manual
review allowed us to streamline the transcription process while maintaining the integrity of
the data collected from the interviews.
13
Subsequently, a thematic analysis was made to find recurring topics, themes and codes in the
transcripts (Bell et al. 2019). The coding process was initiated by highlighting identified
themes with colors to easier see patterns in our empirical material. As the data were
deconstructed into smaller components and attributed to specific codes, we provided each
category with labels that would more generally capture the content of each theme. The
following three main themes were identified: identity value of female representation in
advertising, femvertising characteristics and Barbie. Within this process, several smaller
codes emerged, each contributing to the larger themes identified. For example, under the
theme of "femvertising characteristics," codes such as different examples of (un)successful
attempts at femvertising efforts as well as credibility were discerned.
Ethical considerations
Interviews raise ethical issues that need careful consideration (Brinkmann & Kvale, 2018). To
adhere to ethical conduct and maintain transparency, we initiated each interview by informing
the participants about their right to withdraw from the study. We also informed about the
study’s purpose, intended use, and interview structure, a practice referred to as “informed
consent” by Brinkmann and Kvale (2018). The interviewees were also informed about
anonymity through the use of pseudonyms, following Bell et al. (2019), to ensure
confidentiality. Concurrently, participants were asked for their explicit consent for the
recording of the interviews, to which all agreed to. Data management was also considered;
hence we informed the participants that the data would be exclusively utilized for our
research endeavors, with no intention for prolonged preservation or other purposes.
Quality of the study
The qualitative approach employed in the research, which involves desk research and
in-depth interviews, may draw criticism for potential subjectivity, tendency towards leading
questions, and the influence of the researchers' own worldviews and opinions (Bell et al.,
2019). However, with the study’s hermeneutical approach, we aimed to embrace subjectivity,
acknowledging participants' perspectives and interpretation of reality, to gain insights into the
lived experiences and the meanings of individuals (Thompson, 1997). Since we, as
qualitative researchers, serve as the primary instruments for data collection and deciding on
what we find interesting in the material, it would be difficult to replicate our study (ibid).
Although striving to provide transparency in describing the process of the study, we do not
claim that the result of the study is representative of the whole population, nor generalizable.
Instead, the study aimed to contribute with added theoretical and managerial insights and
understanding of a phenomenon in a new context. Hence, the study is theoretically
transferable, providing insight knowledge to other contexts.
A conceivable flaw with the study can be found in the translation of quotes from Swedish to
English, as nuances, idioms and proverbs may not seamlessly transfer (Bell et al., 2019). Yet,
the opportunity to let the interviewees express themselves freely carried more weight.
Moreover, given that the study heavily relied on the perceptions of interviewees, ensuring a
correct understanding became imperative. Hence, for all quoted interviewees, we presented
14
their statements and cross-checked with them to ensure our understanding was accurate,
which functions as a triangulation method to validate our interpretations (Crang & Cook,
2007).
Analysis
To fulfill the purpose of studying femvertising efforts from a cultural branding perspective,
we analyze Barbie’s genealogical threads and interpret female consumers’ perceptions of
such efforts.
Genealogy of the Barbie brand
To study how cultural branding is leveraged when transforming brands historically associated
with female stereotypes into symbols of empowerment, we study the Barbie context as it
serves as our epistemological window into this phenomenon. Understanding the present often
entails acknowledging the past, hence we want to gain a deeper understanding of the
historical evolution of Barbie and its context. In this part of the analysis, we conduct a
historical genealogy from when the brand was founded to the present day. We review the
evolution of the Barbie brand through the lens of Holt and Cameron’s (2010) cultural
innovation strategy model to illuminate the factors that navigated challenges and fostered its
success. Importantly, we acknowledge that it is not the brand itself who explicitly adheres to
this model, but rather our interpretative lens elucidates the broader cultural dynamics at play.
Reviewing the Barbie brand from a cultural innovation perspective
Mattel, founded in 1945 and initially a workshop selling picture frames, flourished during the
post-World War II baby boom by shifting its focus to toy production in 1948 (Hains, 2021).
When the co-founder Ruth Handler noticed her daughter and friends playing with adult paper
dolls in the 1950s, reflecting their future dreams through their play, she was determined to
create a three-dimensional, grown woman doll (Tiny Shoulders: Rethinking Barbie, 2018).
Despite encountering resistance from male counterparts within the company, Ruth Handler
managed to convince them to develop the doll she had in mind (Hains, 2021). The doll drew
inspiration from the German Bild-Lilli doll, an adult humorous item (ibid), and the postwar
feminine beauty standards of a narrow waist and slender hips (Lord, 2008).
In 1959, Mattel launched its grown woman dolls named Barbie, revolutionizing the doll
industry, which had previously been dominated by baby dolls geared toward teaching little
girls nurturing skills. From a cultural branding perspective, this can be understood as the
brand identifying the conventional practices within the toy industry, which is the first step of
Holt and Cameron’s (2010) cultural innovation model. It also involves the cultural orthodoxy
mainly consisting of the myth that females are the nurturing sex. Consequently, Mattel
created a new play where girls were allowed to project adult identities through their play
(Tiny Shoulders: Rethinking Barbie, 2018). Applying the second stage of the model, we can
interpret it as Mattel fostering a new consumer demand that reflected a social shift that
challenged the orthodoxy. Barbie debuted at the 1959 New York Toy Fair, initially facing
resistance due to her resemblance to the Bild-Lilli doll and concerns about her mature figure.
15
However, with strategic marketing and narratives focusing on teaching girls self-presentation
skills, Barbie eventually became a marketplace sensation (Hains, 2021). From this, we
understand that these stories resonated well with the consumers’ identity projects, i.e. the
third stage of the cultural innovation model (Holt & Cameron, 2010).
During the 1960s, Mattel expanded its brand line with additional dolls, serving as
accompanying accessories to Barbie. This included the launch of her boyfriend Ken in 1961,
her sister Skipper in 1965, and friends such as Christie in 1968 (Hains, 2021). The latter was
the first black doll introduced, however, later criticized for perpetuating a racially biased
white beauty standard (ibid). The sales of the Barbie brand declined for the first time in the
early 1970s (Tiny Shoulders: Rethinking Barbie, 2018), due to the rise of the second wave of
feminism (Footnote 1), as scholars questioned how dolls like Barbie reinforced gender norms
and unrealistic beauty standards, and negatively impacted girls’ self-esteem and body image
(Hains, 2021). It seems that the emergence of the second wave of feminism embodied a
significant shift in societal attitudes, thus creating a discrepancy between consumer values
and the conventional Barbie myth. Holt and Cameron (2010) claim that social movements
can instigate large societal tensions and thus affect consumers’ ability to identify with a
brand’s current myth. This development also corresponds with Holt’s (2004) argument that
failure to align with the broader social context and consumers could lead to a brand’s decline.
During the 1980s, Barbie mirrored the cultural shift towards consumerism as well as the
changing roles of women in society; aligning with the fourth step of the cultural innovation
model (Holt & Cameron, 2010). By sourcing material from these movements, Mattel further
addressed the ideological opportunity. Introduced amidst a backdrop of women increasingly
asserting themselves in positions of power and workplaces traditionally occupied by men,
Barbie dolls like “Great Shape Barbie” (1983), “Astronaut Barbie” (1985), “Day to Night
Barbie” (1985) and an advertising campaign in 1984 with slogans like "We Girls Can Do
Anything" captured the zeitgeist of the time (Tiny Shoulders: Rethinking Barbie, 2018; Lord,
2004). This era was characterized by a transition away from political activism towards a
focus on consumerism, reflected in Barbie's transition to activity-based outfits and themed
accessories (Lord, 2004). In a time where 'greed is good' and beauty ideals oscillated between
hyperfeminine aesthetics and moments of assertive masculinity and ambition, Barbie
managed to embody both (Tiny Shoulders: Rethinking Barbie, 2018). This together with the
implementation of segmentation strategies for Barbie dolls played a pivotal role in increasing
sales and expanding the brand's reach (Lord, 2004). Utilizing tactical techniques is part of
Holt and Cameron’s (2010) fifth stage of enhancing a cultural strategy.
Sales soared in the early part of the 1990s (Lord, 2004) and the release of the “Totally Hair”
Barbie in 1992 is the most sold Barbie to this day, with 10 million dolls sold worldwide
(Guinness World Record, n.d.). However, the decade was marked by contradictions,
reflecting a turbulent period of negotiation between traditional stereotypes and emerging
feminist ideals (Tiny Shoulders: Rethinking Barbie, 2018). With the third wave of feminism
(Footnote 1) came also a cultural and social backlash against feminist gains, a sentiment
mirrored by Barbie's narrative during the decade. Notably, in 1992, Teen Talk Barbie sparked
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controversy with preprogrammed phrases such as “Math class is tough” underestimating
teenage girls' intelligence and interests, drawing criticism from groups like the American
Association of University Women (Zeisler, 2016). Mattel's response in 1999 aimed to rebrand
Barbie as a “lifestyle brand for girls”, aligning with feminist ideals of strength and
empowerment (ibid). Amidst these challenges, attempts at diversification in the Barbie line
were made, reflecting broader societal efforts toward inclusivity, albeit often falling short of
addressing deeply ingrained issues of representation and stereotype perpetuation
(Aguiló-Pérez, 2021). The cultural innovation theory explains that an iconic brand not only
shapes the culture but is also shaped by it (Dam & Kjeldgaard, 2022; Heding et al., 2020).
Consequently, the decade of contradictions was reflected in the efforts of the Barbie brand.
The 2000s and beginning of 2010s were a tumultuous time for the Barbie brand. The
resurgence of criticism over Barbie’s body type, social media with direct consumer feedback,
and the introduction of alternative dolls like Lottie and Lammily, Disney princesses, and
Bratz highly impacted Barbie’s market share in a negative direction (Hains, 2021). 2010s first
half with legal battles, a controversial partnership with Sports Illustrated that sparked a
backlash, and increased discrepancies in how children perceived Barbie's impact on career
aspirations further compounded declining sales (ibid). Reviewing these years, characterized
by descending interest and criticism, with the cultural innovation perspective, points to
Mattel’s failure to respond to new cultural shifts and reinvent myths. Hence, the brand failed
since the societal ideological shifts preceded it. Acknowledging the necessity for change,
Mattel took action in 2015 by dismissing its CEO and implemented a new leadership team
(Hains, 2021).
The brand responded to its challenges by introducing “Fashionistas” in 2016, a line of dolls
featuring diverse body types, skin tones, and hairstyles. It is at this point in time a move
towards femvertising efforts by Mattel can be detected, due to larger female inclusiveness
regarding body diversity and other characteristics, which is a vital part of the femvertising
concept (Åkestam et al., 2017). From the cultural innovation lens, we can understand this as
identifying a new ideological tension. This strategic move marked a shift towards
representing diversity and social responsibility, aligning with evolving consumer needs and
values (Hains, 2021; Tiny Shoulders: Rethinking Barbie, 2018). The launch strategy focused
on garnering positive media coverage to persuade parents of the line's meaningful departure
from past offerings. The introduction of curvy Barbie gained significant attention, especially
through prominent media coverage like Time Magazine's exclusive report (Tiny Shoulders:
Rethinking Barbie, 2018). While the overall media coverage was positive towards the launch,
criticism still occurred from both progressive and conservative perspectives. Despite debates,
following the “Fashionistas” launch, Mattel managed to reverse the negative sales trend of
the previous decade and has further incorporated a focus on diversity and inclusivity (Hains,
2021). The initiative to redefine Barbie as a relatable and empowering role model, connecting
with a diverse generation of young girls, marks a shift in the identity and strategy of the brand
(Anderson & Long, 2024). This can be perceived as a reinvention of the brand’s myth and a
narrative that better reflects consumers' desired ideals and values, as Holt (2004) underlines.
The physical changes in the product line of dolls embody the new values and ideals that
17
Mattel wants to convey and therefore uses the products as what Holt and Cameron (2010)
describe as cultural expressions.
The decline in Mattel's global revenue, dropping from $6.5 billion to $4.5 billion between
2013 and 2018, prompted more strategic initiatives to raise interest and relevance of Barbie
again, including the collaboration for the "Barbie" movie with Heyday Films and Robbie’s
LuckyChap Entertainment (Miller, 2023). With Greta Gerwig directing and starring roles
such as Margot Robbie, Ryan Gosling, and America Ferrera, anticipation surged when the
movie premiered in theaters in June 2023 (Dockterman & Lang, 2023). Taking place in the
utopian realm of "Barbieland", feminism seems to have solved all issues and women hold key
roles as politicians, judges, and scientists, contrasting with men who mainly occupy
ambiguous positions like "beachgoers" (Naylor, 2023; Dockterman & Lang, 2023). This can
be connected to one of the aspects of femvertising, highlighting a representation of women's
professions and roles (Åkestam et al., 2017). Barbie's idealized existence is disrupted when
she and Ken embark on a journey into the real world, also becoming a journey of
self-discovery and intriguing developments (Dockterman & Lang, 2023). The film blends
satire, social commentary, female-empowering messages, and musical elements, with a
star-studded soundtrack (ibid). We note that by launching the movie, Mattel had the
opportunity to not only reinforce the new myth of diversity and inclusiveness but also to
shape its trajectory. The “Fashionistas” in 2016, combined with the launching of the movie
can be considered as femvertising efforts since it follows Åkestam et al.’s (2017) definition of
including body diversity and challenging female stereotypes related to gender roles.
Mattel capitalized on the film's buzz for cross-promotion, introducing Barbie dolls based on
the movie characters (Miller, 2023). These dolls quickly became best-sellers, with Margot
Robbie's Barbie versions selling out (ibid). The massive marketing campaign with
Barbie-themed products across various industries further propelled the frenzy around the
film's release (Dockterman & Lang, 2023). The success of the movie and associated
merchandise led to Barbie's highest net sales value since 2013, revitalizing the brand and
positively impacting Mattel's overall revenue (Miller, 2023). This success could be explained
by Holt (2016) that cultural innovation and the reinvention of myths can result in “intense
customer loyalty and superior sales and profits, and garner loads of free media coverage” (p.
46).
To conclude, reviewing the journey of Barbie, it can be noted that the doll has always
reflected the zeitgeist of her time, for better or for worse; a “pink plastic vessel for cultural
assumptions and expectations about women” (Zeisler, 2016, p. 28). Having examined
Barbie's historical journey from a cultural innovation lens, we have identified the emergence
of femvertising efforts embodied in a new identity myth of female diversity and inclusivity.
Nevertheless, there remains a gap in understanding how this new myth aligns with the values
and identities of young female consumers.
18
Analysis of female consumers’ perceptions
To answer how female empowering marketing efforts align with the values and identities of
young female consumers, we must first establish the significance they assign to female
representation in advertising. Secondly, understanding their values and identities can guide us
in their perceptions of contemporary cases of femvertising efforts, its characteristics, and
(in)authenticity. Additionally, we delve into the context of Barbie to specifically pinpoint how
their identities relate to a current femvertising effort.
Identity value of female representation in advertising
Imagine yourself watching a TV commercial or a YouTube ad and not seeing anyone that
looks like you. Throughout the interviews, there are recurring views that female
representation – showcasing women's presence, diversity, and contributions across all spheres
of society – is an important concept. There is a pattern of reasoning that representation can
positively impact individuals' self-image and sense of belonging when seeing women who
resemble them in various situations. Lisa believes this is particularly important for the
younger generation growing up, as it can potentially “reduce self-hatred over time”. These
lines of argument are also found in the research of Åkestam et al. (2017), claiming that a
representative portrayal of women can create a positive experience and view of the self.
Correspondingly, Ella says:
Seeing women, who look like yourself, thrive and be successful can strengthen one's
self-confidence and the ability to dream. It can make people believe that their voices are
valuable and acknowledged. I believe that this has started to happen more and more. But
of course, even more is needed. – Ella
While Ella argues why representation is important and empowering, the interviewees also
explain why the opposite, female stereotype depictions, are harmful. They express that a lack
of representation can lead to feelings of inadequacy and exclusion directly impacting people’s
well-being negatively. Common stereotypes in advertising that the interviewees acknowledge
are that females are usually portrayed “in domestic settings” and as “sensual”, “lighthearted”
and “conventionally attractive”. Men, on the other hand, are often depicted as “rugged”,
“tough” and “mysterious”. These stereotypical images in media and advertising are perceived
as unrealistic and uniform, leading women to believe that their opportunities are limited. This
reflects Eisend’s (2010) claim that stereotyping beauty ideals and role behavior for women
can limit life opportunities, causing lower self-esteem and restricted self-development. Alma
articulates this experience:
When I was younger, I felt that my body was abnormal. Even now not seeing my own
body being represented reinforces that feeling. – Alma
Further, Alma emphasizes the importance of representation to facilitate consumer
identification with the brand and to feel included. Interpretable from this, there is a demand
for advertising to highlight more authentic portrayals of women that are empowering and
identifiable. This aligns with the identification and diversity dimensions by Hainneville et al.
19
(2021). Also, we notice how this taps into the identity myth of communicating representation,
serving as means for female consumers to relieve anxieties and desires, as suggested by Holt
(2004). The myth of representation provides identity value, where interviewees desire a
connection to that narrative. In accordance with Holt (2004), consumers gravitate towards
brands embodying ideals they aim to integrate into their identities, implying that a brand's
narratives hold significance in shaping identity (Holt, 2004).
Delving deeper into the values and identities of young female consumers, we understand that
the importance of representation is rooted in the desire for individualized choice. More
specifically, the interviewees describe it as the freedom to choose and not be overly
influenced by conventional stereotypical depictions. Consider Maja’s statement:
We are tired of these outdated ideals of womanhood. This is not reality. We want to be
authentic. We want to be ourselves. We want to take up space. I believe that society
demands this. [...] I think we live in an individualistic era. I want to be myself. I want to
show who I am. Individuality is such an important expression. – Maja
These ideas align with research descriptions of the current socio-cultural sphere and the
fourth wave of feminism, highlighting the need for individual choice, social gender
representation (Zayer et al., 2018), and individual female agency in consumer culture and
advertising (Zeisler, 2016). An additional aspect of the fourth wave of feminism is the rise of
social media (Michaelidou et al., 2022), where consumers share opinions and information.
Julia witnesses a power shift in which social media platforms allow consumers to gain greater
influence over which images and narratives take place, as opposed to the historical
dominance of larger companies in shaping media narratives. Further, Stella claims that
companies that are aware of the ideals in society aim to be representative, which also is a
common perception among the other interviewees. At the same time, they also experience a
continued depiction of harmful stereotypes, aligning with previous research (Hainneville et
al., 2021; Åkestam et al., 2017). Stella demonstrates:
It is still a distorted ideal, and we women are so clearly affected by it. How difficult can it
be to include everyone? – Stella
This rhetorical question encapsulates the nature of today’s ideals and the failure to represent
the diversity of women's experiences. To contextualize, Jennifer points out that when
browsing platforms like TikTok and observing viral videos, girls often conform to
unattainable beauty ideals. She notes that while there is some variation, the overall depiction
remains homogeneous, indicating that the standards have not disappeared. This further attests
to that despite some shifts in advertising portrayals, gender stereotyping remains dominant,
which also Michaelidou et al. (2022), Åkestam et al. (2017) as well as Otnes and Fischer
(2022) acknowledge. Hence, it is interpretable that this is still an ongoing process, signifying
that there are further steps yet to be taken. In contrast, while we note a common pattern of
interviewees emphasizing the importance of female representation, it does not seem as if all
femvertising efforts are perceived as positive or effective.
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Femvertising characteristics
Ahead of the next part of our analysis, we will delve into interviewees' perceptions of what
they experience as successful and unsuccessful attempts at femvertising. When the
interviewees are asked to freely discuss examples of what they perceive as empowering
female advertising efforts, the Swedish fashion chain Lindex is frequently mentioned. This
prompts an interest in exploring the underlying reasons for this consistent pattern. What is it
about Lindex that consistently captures their attention? By delving into why Lindex stands
out to the interviewees as an embodiment of empowerment, we seek to uncover deeper
insights into the elements and strategies that resonate with these consumers.
There seems to be a common understanding that Lindex uses models with a diverse range of
body types, skin tones, and abilities, deviating from the normative representation of women
within the fashion industry. In a subsequent stage of the interviews, we present a video
commercial by Lindex from 2022 (Appendix B), specifically marketing lingerie. The
interviewees appreciate and relate to the brand’s expression. By crafting narratives that
resonate with consumer values and aspirations, brands like Lindex can cultivate positive
perceptions and an enhanced brand image (Thompson, 2004). For example, when Ella
watches the ad she has a smile on her face saying: “I feel welcomed here, I feel seen”. Lindex
seems to convey a myth of diversity and inclusion that resonates with the values of the
interviewee. In alignment with Dam and Kjeldgaard (2022), we understand that consumers
are attracted to brands that have similar values as themselves, meaning that brands are
symbols of cultural ideologies that consumers actively use in their identity process. Further, a
common theme found in what it is that they like about the commercial was the depiction of
different body types in a daily setting, with a happy, yet realistic tone. Consider the following
statement from Frida:
It did not feel too pretentious, you know? Maybe that's what's been bothering me before.
It was just so cute and quite real. I mean, we all need a good bra. And it felt like they got
it right. – Frida
Further, when Jennifer delves into the experience of Lindex and the commercial we present,
she expresses her belief that the brand is great because its advertising reflects real life. She
finds the scenes from everyday life, including women with diverse body types, having a
natural body language relatable and empowering. She appreciates that unlike other brands,
which often concentrate solely on sexy lingerie featuring push-up bras and lace, Lindex offers
a diverse range of options, catering to various preferences and moods. This aligns with the
initial stage of the cultural innovation model as outlined by Holt and Cameron (2010), that
refers to deviating from the cultural orthodoxy of an industry. Lindex's approach reflects an
acknowledgment of evolving cultural dynamics, positioning the brand as innovative within its
category by challenging established norms and offering more inclusive options for
consumers. Furthermore, Jennifer appreciates this inclusive approach, finding it liberating
and supportive of diverse body types and emotions, ultimately boosting comfort,
self-expression, and self-esteem. She adds that she finds it authentic that Lindex maintains
consistency in its representation throughout different advertisements as well as the models
21
being represented on the website. These thoughts reflect a contemporary consumer
appreciation for brands that authentically represent diverse women in their marketing efforts.
This aligns with the six dimensions from Hainneville et al. (2021) regarding authentic
femvertising, which emphasize the importance of transparency, consistency, identification,
diversity, respect, and challenging stereotypes.
In contrast, upon viewing a commercial featuring femvertising efforts by the lingerie brand
Victoria’s Secret from 2022 (Appendix B), the interviewees perceive it as “ridiculous” and
“terribly inauthentic”. How can two brands, showcasing underwear in a representative
manner in the same year, be perceived so differently? Frida believes that it is too late for
Victoria's Secret to make these efforts now and that they should “just close down the
business”, while Stella feels that the company intentionally implanted insecurities in her
mind. She finds it difficult to break away from these perceptions, not because she believes the
company has genuinely changed, but because she sees their attempts to adapt as merely a
survival strategy. Stella laughs at the idea of the company having truly changed since she
believes that the company's foundation is built on extreme beauty ideals. It is challenging to
forget or overlook its history, as it remains deeply rooted within her. The interviewees’ beliefs
align with the notion proposed by Hainneville et al. (2021) that consistency is paramount for
brand authenticity, encompassing a cohesive history. This suggests that femvertising efforts
may face credibility challenges if a brand has a history of sexist actions or communications.
Moreover, the interviewees seem to perceive that they have been genuinely harmed by what
Victoria's Secret has communicated historically. Consider Maja’s statement:
These ideals are sick. They have made us sick. I wonder how many eating disorders they
have caused in girls? – Maja
Jennifer debates that Victoria's Secret resisted change for a long time. Despite societal shifts
towards diversity and representation, Victoria's Secret continued “building their empire on
thin women, promotion of extreme dieting and skewed ideals” and it “only acknowledged
change when they realized the business was at risk”. This highlights the brand’s struggle to
successfully reinvent its myth while its previous narratives no longer resonate with
contemporary consumers. This concept is fundamental to Holt (2004), who argues that the
essence of cultural branding lies in the ability to skillfully reshape myths when previous
narratives lose their appeal with consumer sentiments. The old myth that is based on extreme
and “impossible to reach” beauty ideals and values is strongly associated with the brand
itself, hindering Victoria’s Secret from offering new myths to stay relevant. Julia suggests
when a symbol, e.g. Victoria's Secret's name and logo, is strongly associated with certain
values and ideas, it is challenging to disassociate them through a brief commercial alone.
Holt's (2004) assertion that a brand is imbued with associations and meanings over time
sheds light on why Victoria's Secret has struggled to adapt to the cultural shifts. Moreover, as
Victoria's Secret grapples with reinventing its brand myth, the challenge of reaching
authenticity also stands since it is partly formed through the interactions between a brand and
its consumers (Hartmann & Östberg, 2013).
22
Moving on, while several interviewees can clearly discern what they consider as successful or
unsuccessful attempts at female empowering advertising efforts, Mimmi does not see it as
“black and white”. Although advocating for representation and acknowledging the influence
of media depictions on individuals, her self-perception remains unaltered. She also points out
that she is fully aware that femvertising is a technique to sell products. This can be
understood by Zeisler (2016) who highlights that consumers should recognize femvertising
efforts as a marketing tactic rather than genuine activism. Lisa further adds that just because a
brand labels itself as empowering does not mean it is perceived that way by the audience. She
mentions a contemporary discussion surrounding female sexual agency, emphasizing a
narrative that underscores women reclaiming ownership of their sexuality rather than being
objectified. She exemplifies this by commenting on a makeup advertisement for lipstick,
which depicts a girl wearing lipstick, sensually drinking milk that spills out of her mouth and
runs down her body. Lisa tells us that the makeup brand claims that it has a female agency
and thus is sexually empowering. However, she disagrees with this interpretation and
expresses the following sentiment:
That is bullshit. It is capitalizing on women's sexuality. Those who do it are following in
the footsteps of the patriarchy and essentially serving that agenda while slapping on a
label of feminism. – Lisa
She elaborates that just because something is communicated from the female gaze, does not
necessarily make it empowering for women. Her examination of the lipstick advertisement
reveals how empowerment can be manipulated into a commodity, overshadowing genuine
interests with profit-driven motives, also aligning with Windels et al. (2019).
There is a clear pattern where interviewees simply ask for narratives that portray women as
they are and as realistic as possible. According to the interviewees, there is no necessity for
exaggeration or large statements; instead, they advocate for portraying women naturally,
subtly, and without overt commentary. In addition, there is a common theme of seeking
advertisements picturing recognition and relatability. For example, Alma claims:
I believe that women should be acknowledged for their strengths and capabilities without
them [brands] using gender as an excuse or limiting us with stereotypes. We women are
amazing, just portray us as we are. – Alma
These lines of thoughts found in the interviews align with an aspect in the theoretical
descriptions of femvertising by Åkestam et al. (2017) and Hainneville et al. (2021), which
seeks to empower women through genuine, sincere and inclusive representations. Analyzing
the needs and values of young female consumers can further serve as a compass in our
endeavor to deepen our understanding of our chosen context of Barbie and its recent
femvertising efforts.
23
Barbie – a successful femvertising effort case?
What can Barbie's evolution tell us about society's changing perceptions of beauty,
femininity, and empowerment? Throughout the interviews, it is clear that the interviewees
have played with Barbie dolls as children and appreciated the possibilities that came with
playing with them. Reflecting on her childhood play, Frida highlights the fact that she could
“escape reality” and “experience new things”. Others refer to the doll as “iconic”, “nostalgic”
and “popular”. Nevertheless, the interviewees are also aware of the problematic images and
stereotypic ideals Barbie has embodied for a long time. Frida emphasizes the complexity of
the relationship between a brand and the contemporary culture:
I have understood that skewed ideals occurred in connection with Barbie. But we are all
just human beings and of course, we follow society and what is in fashion. When Barbie
was at its peak you were supposed to be super skinny. That is just how it was. Perhaps the
brand has developed this or continued building on this, but it could also be a reflection of
society. It is difficult to know what came first, whether it was the chicken or the egg.
– Frida
This quote illustrates an understanding that Barbie's influence on distorted ideals is
intertwined with broader societal norms and cultural shifts. As Dam and Kjeldgaard (2022)
suggest, brands are not isolated entities; instead, they are deeply embedded within the cultural
landscape, both reflecting and influencing societal values. Frida’s line of thought is a
recurring theme found in the interviewees’ reasoning surrounding Barbie’s body image. It
appears that the interviewees acknowledge the possible subconscious influence of Barbie's
skewed beauty ideals but suggest that other factors likely exerted a greater impact. More
specifically, Alex claims that Barbie's body image has not “affected her at all” and Lisa
argues that while Barbie may have contributed, the broader societal perception plays a more
significant role. Therefore, it can be argued that Barbie is not solely responsible for shaping
these beauty ideals, but rather one piece of a larger cultural narrative.
When showing Mattel’s previous attempts (Appendix C) to create a more inclusive brand
image by altering the appearance of the physical dolls, e.g. skin tones and sizes, the
interviewees express varying attitudes. Several interviewees provide insights into the need to
present the right images to children to foster acceptance and a realistic view. However, they
question the degree to which Mattel addressed the underlying values associated with the
product and thus the actual impact and influence. More specifically, Julia emphasizes that
while altering the physical appearance of the dolls was a step in the right direction, it did not
adequately address the deeper cultural values and narratives associated with the brand. In her
view, simply changing the appearance of the product without addressing the underlying
values was insufficient to create a meaningful shift in brand perception. The focus on radical
advancements in the technical and tangible attributes of the brand's products, as highlighted
by Holt and Cameron (2010), resonates with this reasoning. It suggests that while efforts may
be made to alter the physical aspects of the product, e.g. its appearance or features, the deeper
cultural values and perceptions surrounding the brand may remain unchanged. This
24
disconnect between product innovation and cultural resonance may hinder the brand's ability
to truly evolve and connect with consumers on a deeper level.
However, the launch of the Barbie movie in 2023 has made some of the interviewees change
their perceptions of the brand as a whole. They believe that the movie effectively captures the
essence of womanhood in contemporary society, demonstrating that even a seemingly
flawless figure like Barbie has her imperfections, including anxiety and body insecurities.
Jennifer describes why she liked the movie so much: “It was probably the recognition factor
from both childhood and life, you know.” Following Holt's (2004) concept of brand myths
with identity value, the interviewees experience with the Barbie movie exemplifies how
consumers seek brands that align with their ideals and aspirations. The renewed portrayal of
Barbie in the movie allows consumers like Jennifer to relate to the brand on a deeper level,
recognizing aspects of themselves within the brand's narrative. In addition, it also aligns with
the transparency, identification, and diversity dimensions from Hainneville et al. (2021),
where consumers experience a higher degree of authenticity in femvertising efforts when they
can recognize themselves.
Another topic many of the interviewees address is that they appreciate the movie's integration
of serious femvertising messages and statements within its cheerful, glittery atmosphere,
alongside sarcasm and humor. Additionally, a recurring theme emerges among the
interviewees, as they value the movie's ability to poke fun at the doll itself and the
management of Mattel. For example, Frida underlines that Mattel is depicted as
male-dominated and the enemy. Ella reflects upon the success behind the Barbie movie:
I believe that people like Barbie more now than before because the image has
changed. Now, the brand shows flaws in the previous perfect image by, for
example, poking fun at both the doll and the company. It made an impression on
the audience that the company wants to change, which is demonstrated excellently
through the film. Just think, a company gets about two hours of advertising time
worldwide, which perhaps was needed to convince the audience of their change.
How many companies get that chance? Here, the audience actively goes to the
cinemas whereas they just want to skip the ads that pop up on YouTube. It is
marketing at the highest level and perhaps something that has not been done
before, and that's why I think this succeeded so well. – Ella
The quote underscores the brand's efforts to challenge stereotypes and showcase diversity,
consistent with the authenticity dimensions outlined by Hainneville et al. (2021). Moreover, it
signifies that the brand is showing transparency by explicitly acknowledging and apologizing
for past missteps. Furthermore, as Ella suggests, the decision to produce a movie that
embodies the brand’s transformation represents a novel and innovative strategy she has never
witnessed before. By moving away from the cultural orthodoxy combined with using
unconventional strategies to convey reinvented myths, a brand can revitalize itself and gain a
competitive advantage (Pedeliento, 2018; Holt & Cameron, 2010).
25
Lastly, throughout the interviews, the interviewees highlight many different aspects they
believe have contributed to the wide interest in the Barbie movie. Firstly, several famous
actors, such as Margot Robbie and Ryan Gosling, starred in the movie which created a buzz
and interest around it. Secondly, songs written by famous artists, particularly for the movie,
were all over social media before the premiere. Further, Maja, among others, mentions the
hype of the movie on social media platforms, such as Instagram and TikTok. She describes
that it became a social event to attend the movie, with people proudly sharing their
experiences on social media, further amplifying the buzz and encouraging others to join in.
Thirdly, Maja asserts that Barbie is universally recognized. It is a hugely famous name that
has been ingrained in the collective consciousness since childhood, fostering a nostalgic bond
and interest.
To summarize, the 2023 movie portrays Barbie more authentically, challenging stereotypes
and showcasing identification and diversity. Initiating a shift in strategy through physical
changes to reflect diversity and subsequently weaving a cohesive narrative with a movie into
the fabric propelled by celebrity engagement and social media buzz, highlights Barbie's
successful brand transformation with femvertising efforts. Overall, Barbie's evolution
underscores the importance of cultural resonance and authenticity in shaping positive
consumer perceptions.
Discussion and contributions
The research aimed to study femvertising efforts from a cultural branding perspective. To
fulfill the aim, we researched how cultural branding is leveraged when transforming brands
historically associated with female stereotypes into symbols of empowerment and how
female consumers perceive such efforts. This chapter summarizes and discusses the findings
of the study. Subsequently, theoretical and managerial contributions are elaborated. Lastly,
limitations are presented and future research is suggested.
Concluding discussion
One of the study’s findings is that contemporary young female consumers experience that
conventional ways of portraying women trap them in harmful beauty ideals and an excluding
environment. Hence, they seek a sanctuary from this dominant depiction of women in the
opposite myth of diversity and representation. This insight potentially elucidates the
popularity of femvertising efforts among contemporary female consumers. When depicting
diverse women in a natural, genuine, and consistent way, without making it a commentary
statement, the efforts cohere with the values of female consumers. Consumers seek these
brand narratives to provide them with identity value, enabling their incorporation into
consumers’ own identity construction processes. Brands like Lindex, which authentically
depict diverse body types and emotions, are celebrated for their ability to align with
consumer values and aspirations, fostering a sense of inclusion and empowerment.
We observe that Lindex approaches the concept of female empowerment with a
comprehensive perspective, considering various dimensions holistically. Rather than simply
26
deploying occasional femvertising efforts, it appears that the brand is strategically inclined
towards crafting a cohesive marketing approach centered around female empowerment. This
suggests a deeper commitment to the cause, recognizing that sustained success hinges on
more than just sporadic messaging – it necessitates a holistic integration of empowerment
ideals throughout their entire marketing strategy. However, all femvertising efforts are not
positively perceived. Strong associations with a brand that contradicts femvertising’s purpose,
hinder a brand's ability to offer new and resonant narratives. Moreover, the challenge of
achieving authenticity is compounded by the brand's historical interactions with consumers
and entrenched associations, highlighting the previously identified tension of being consistent
and adapting to cultural norms. Brands like Victoria’s Secret encounter a discrepancy
between past actions and current messaging, highlighting the difficulty of reconciling brand
consistency with evolving cultural norms. So, how do such brands overcome this obstacle?
The changed perceptions of the Barbie brand point to the possibility of using cultural
branding tools, primarily myth-making, to transform brands historically associated with
female stereotypes into symbols of empowerment. It was not only the physical product that
changed in response to a societal shift, but the brand also ensured that the values associated
with the products evolved accordingly. As previously mentioned, femvertising efforts align
with the values of today’s young female consumers since they actively seek diverse and
natural depictions of women. Barbie has managed to recognize contemporary values and
create a brand ideology that resonates deeply with consumers. From a cultural branding
standpoint, we recognize that the brand has effectively cultivated an identity myth centered
around inclusivity and female empowerment. This finding in combination with the
genealogy, functioning as a backdrop, entails that brands constantly need to keep an ear to the
societal and cultural pulse and adapt accordingly, allowing brands to lead rather than follow
or be pushed by changing trends.
Additionally, by adopting innovative ways to communicate Barbie’s new femvertising
message, and finding synergies in popular culture, the brand has successfully navigated
through the noise, successfully reaching the audience with a cohering myth. Ultimately,
Barbie's ability to adapt and evolve its brand image serves as a valuable lesson for brands
facing similar challenges. By embracing the principles of cultural branding, particularly
cultural innovation and alignment of values with shifting societal norms, brands can
overcome historical associations and establish themselves as symbols of empowerment and
authenticity in the eyes of consumers.
The synergy between female consumer values and a brand’s marketing efforts underscores
the strategic importance of myth-making and cultural innovation. It suggests that while
femvertising can serve as a tool for resonance with consumers, the real and most efficient
instrument may lie in cultural branding itself. Brands must recognize femvertising as one
aspect of a broader cultural branding strategy, ensuring alignment with evolving societal
values and aspirations.
27
Theoretical contributions
Firstly, by examining femvertising efforts through a cultural branding lens, this study
contributes with theoretical insights to existing research by reframing femvertising within the
broader context of cultural branding. While the research takes off with a femvertising effort
case, broadening the scope to encompass the broader cultural context and historical factors
allowed an expansion of the analysis. More specifically, we extend the understanding of
cultural branding by delving into a contemporary case, yet, with historical roots. While
existing research within femvertising primarily focuses on how it functions as a tool of brand
activism (Michaelidou et al., 2022, Champlin et al., 2019; Varghese & Kumar, 2022;
Sterbenk et al., 2022), this study delves deeper into how femvertising can be understood as a
cultural branding strategy to create resonance with contemporary consumers. By emphasizing
the strategic importance of myth-making and cultural innovation in aligning brand messaging
with female consumer values, it challenges the notion of femvertising as a standalone
marketing tactic. Instead, it positions femvertising as an integral component of a
comprehensive cultural branding strategy that seeks to resonate with consumers on a deeper
level. Although providing insights for both femvertising research and cultural branding
theory, we argue that female empowering efforts constitute a component of a larger cultural
branding strategy. Hence, this study applies an additional perspective to previous literature, in
particular the research of Holt (2004) as well as Holt and Cameron (2010).
Secondly, by delving into the cultural context surrounding femvertising, we uncover layers of
meaning and significance that contribute to a richer and deeper understanding. Complexities
found in literature regarding femvertising, such as commodified feminism and inconsistent
history of a brand, seems to be conquered when identifying emerging shifts and creating
relatable, identifiable and natural narratives. By highlighting the role of cultural narratives
and identity myths in shaping consumer perceptions and brand resonances, we underscore the
significance of cultural factors in understanding advertising effectiveness. Moreover, by
applying a cultural branding lens we understand how consumers negotiate their identities and
cultural meanings in the context of femvertising.
Thirdly, this study contributes to the femvertising literature by adopting a qualitative research
approach, which is widely requested in previous femvertising research. While existing studies
often rely on quantitative and experimental methods to analyze femvertising (Åkestam et al.,
2017; Michaelidou et al., 2022; Drake 2017; Windels et al., 2019), this research offers a
qualitative exploration of femvertising efforts from a consumer perspective. By delving into
the nuanced experiences, perceptions, and attitudes of contemporary young female
consumers, the study provides a deeper understanding of how femvertising resonates with its
target audience. Consequently, this research contributes to insights that have previously been
overlooked in existing literature. Incorporating a genealogical approach and conducting
interviews allow us to obtain a holistic understanding of the phenomenon within its context
from consumers' experiences. This combined approach enables us to uncover new findings
about underlying motivations, cultural influences, and societal norms that shape consumers'
responses to femvertising efforts.
28
Managerial contributions
The findings of this study hold significant managerial implications for brands seeking to
engage with female consumers effectively. By uncovering the values, preferences, and
expectations of young female consumers in relation to femvertising efforts, this research
offers valuable insights for brand managers and marketers. Understanding the contemporary
desire for authenticity, inclusivity and genuine representation in advertising, can guide brands
in crafting more resonant and compelling femvertising campaigns. The research also
emphasizes the strategic importance of myth-making and cultural innovation in brand
transformation and when entering the femvertising sphere. It underscores the need for brands
to move beyond superficial representations of empowerment and instead engage in authentic
cultural storytelling that reflects evolving societal values and aspirations. By adopting this
approach, brands can cultivate meaningful connections with consumers and differentiate
themselves in a crowded marketplace.
Through the case of Barbie's evolution, our study demonstrates how specific cultural
branding tools can be used to understand the transformation of brands historically associated
with stereotypes into symbols of empowerment. This underscores the significance of aligning
brand narratives with prevailing cultural contexts and values to maintain relevance and
resonance with consumers. By elucidating these strategic mechanisms, the research
contributes to advancing our understanding of brand transformation and cultural adaptation in
response to societal shifts. As the discussion highlights, marketers and brand managers
should constantly stay attuned to societal and cultural shifts and adjust accordingly. This
enables brands to take the lead, rather than simply reacting to or being influenced by
changing trends and shifting consumer values.
Further valuable managerial insights from the study of the Barbie case is the novel
approaches to audience targeting and engagement. Beyond crafting a compelling narrative of
female empowerment that mostly aligned with the audience's identity values, Barbie
represents innovative methods of conveying them appropriately. In contrast to the cultural
orthodoxy, the brand leverages synergies in popular culture and social media, infusing
nostalgia into its messaging and elevating storytelling by producing a feature film that
audiences choose to engage with. Through this strategic approach, Barbie effectively cuts
through the noise and successfully resonates with its audience by presenting a cohesive myth.
This finding highlights the importance of adaptability and creativity in modern brand
management, showcasing how brands can thrive by embracing new avenues of
communication while showcasing a narrative that aligns with evolving societal values and
aspirations. It underscores that effective engagement is not only about myth-making and the
values one communicates, but also about being innovative in how it is done.
Future research
While this study focuses on young women, future research could potentially extend its scope
to include interviews with older females to examine potential generational differences in
perceptions of femvertising efforts. Alternatively, a comparative analysis between different
29
age groups could provide valuable insights into how attitudes towards female empowerment
in advertising evolve across generations.
During our collection of empirical material, we found that there also seems to exist a media
portrayal of harmful stereotypes for men, suggesting a potential interest in exploring
advertising from a male empowerment perspective. Therefore, future research could
investigate how men perceive and respond to advertising efforts aimed at challenging
traditional gender roles and stereotypes.
Given that this study was conducted with Swedish participants with a Western context, there
is potential for future research to explore femvertising in other countries and cultures.
Investigating how cultural values and norms influence perceptions of female empowerment
in advertising across diverse cultural contexts could provide valuable comparative insights.
This could involve conducting similar studies in non-Western countries or regions where
gender roles and representations differ significantly from those in Western societies.
Acknowledgements
We would like to thank our supervisor Lena Hansson for her valuable feedback and guidance
throughout the thesis process. Also, we would like to express our gratitude to our
interviewees and opponents for their meaningful contributions.
30
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Appendices
Appendix A: Informant description
Pseudonym Gender Age Occupation
Alex Female 21 Student
Alma Female 26 Account Manager
Ella Female 26 Management Consultant
Frida Female 27 Student
Irma Female 25 Recruiter
Jennifer Female 24 Project Manager
Julia Female 30 Nurse
Lisa Female 28 Doctor
Maja Female 25 Student
Maria Female 24 Student
Mimmi Female 29 Student
Stella Female 26 Student
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Appendix B: Examples shown during the interviews
Nike
Title: Dream Crazier
Year: 2018
Available at: https://www.youtube.com/watch?v=zWfX5jeF6k4 [2024-04-22]
SEB
Title: The Statistics
Year: 2021
Available at: https://www.youtube.com/watch?v=sqSU6Epv9rs [2024-04-22]
Lindex
Title: Lindex Your Invisible Support
Year: 2022
Available at: https://www.youtube.com/watch?v=IWwsy-z0nwU&t=1s [2024-04-22]
37
Försvarsmakten
Title: Många har många frågor
Year: 2020
Available at: https://www.youtube.com/watch?v=_jjRdGKyBbI [2024-04-22]
Victoria’s Secret
Title: Think You Know Us?
Year: 2022
Available at: https://www.youtube.com/watch?v=2PAO--FaPss [2024-04-22]
38
Appendix C: Barbie’s femvertising efforts
Barbie
Title: Barbie Fashionistas
Year: 2016
Available at
https://www.wsj.com/articles/tiny-shoulders-rethinking-barbie-review-a-brand-tries-to-doll-u
p-its-image-1524777620 [2024-04-22]
The Barbie movie
Title: America Ferrera's Iconic Barbie Speech
Year: 2023
Available at: https://www.youtube.com/watch?v=CBqlDWHkdHk&t=2s [2024-04-22]
39