At the same time, however, there is a strong element of parody in these images of a seemingly confident masculinity, suggesting another interpretation of the sailor icon-namely, that of object of male desire. For instance, in the first advertisement, the rugged masculinity of the two sailors is undermined by the obvious staginess of their poses, which bear all the hallmarks of being carefully choreographed for the camera. Their smooth, airbrushed faces, which carry a hint of makeup, also serve to undercut their apparent virility. From this perspective, the snarling tiger tattoo on the bicep of the sailor on the left appears as a comic exaggeration of masculinity, while the heart shaped tattoo emblazoned on the arm of the other sailor hints at something other than heterosexual love. In the second advertisement, the supposed masculinity of the sailor is undermined by the placement of the tattoos appearing on his chest and upper arms, which are arranged in such a way that they resemble decorative lacework.
The exposure of his decorated upper body and the slight tilt of his head also "feminizes" him, making him into an erotic object of display. In this context, the tattoo on his upper arm showing the embrace of a heterosexual couple appears as a fake and sentimentalized icon of a bygone era, at odds with the type of desire he is arousing. A similar game of double entendre is evident in a number of advertisements for Calvin Klein jeans that feature young, tattooed men, three of which I shall focus on here. In these advertisements, the association of jeans with tattooed men serves, at one level, to remind us of the original significance of jeans as working men's garb, designed to be tough and durable. The tattoos, which are prominently displayed on the men's upper arms, are reminiscent of the style of working class tattoos, featuring motifs such as semi-naked women and fearsome monsters. This symbolism of a tough and rugged masculinity is further reinforced in two instances by the nature of the setting within which the model is placed-in one case, an industrialized landscape with power pylons in the background, and in the other, a bodybuilding studio. Further indications of a tough masculinity are the well-muscled bodies of the models and the occasional scar, suggestive of a rough lifestyle. At the same time, however, there are other elements in these advertisements that contradict these bold assertions of masculinity.
Firstly, the poses of the male models are reminiscent of those of the reclining female nude, and in each case, the upper body is naked and prominently on display. Furthermore, the gazes of the models are either self-absorbed or sultry, rather than confrontational. This has the effect of converting these models into objects of desire, though for whom is indeterminate. In these examples, then, the men appear to be offering themselves to the audience for its delectation rather than exerting authority over it. This presents a marked contrast with traditional advertisements for men's fashion in the past, where the model was usually presented in a more active pose. The eroticization of the male bodies in these advertisements is further underlined in one case where the model is reclining on a bed with rumpled sheets. Viewed in this light, their tattoos, rather than symbolizing a traditional, working class masculinity, serve to sensualize their bodies. A hint of makeup (eye shadow and lipstick), in one instance, reinforces this reading of body art as aesthetic enhancement. While these advertisements involve a play with traditional signifiers of masculinity, making use of old style, working class men's tattoos, other advertisements reference the newer style of "neotribal" tattoos that have been custom designed. The appeal here is to the man who does not adhere to convention but demonstrates his "coolness" by not wearing a standardized "flash" tattoo. Two examples of this are an advertisement for Pepe jeans and another for Jean-Paul Gaultier fashions, both of which appeared in 1995. In the advertisement for Pepe jeans, what is depicted is not the product itself, but the back view of the head of a male model, which has been shaved to reveal a distinctive custom designed tattoo incorporating tribal and Oriental references, and heavily pierced ears.
This image is accompanied by prominent text that reads "Always carry your ID," followed by the brand name-"Pepe jeans, London." While we normally recognize a person by their facial features, here, it is the distinctive nature of the tattoo that serves as a mark of individual identity. The suggestion here is that just as the tattoo serves to distinguish the individual as someone who stands apart from the crowd, so, too, do Pepe jeans. The association of the product logo with the tattoo serves to confer on both, the connotations of individual distinctiveness and nonconformity. This is underlined by the fact that the logo takes the form of personalized handwritten script rather than standardized typography. The transgressive connotations of the tattoo are also exploited in this advertisement through the placement of a notice warning children to beware of suspicious looking characters next to the picture of the tattooed model. This juxtaposition implies that the tattooed model could be such a person of which children should be wary. In the advertisement for Jean-Paul Gaultier, there is, once again, a close association between the tattoo and the brand name logo. Even more overtly than with the advertisement for Pepe jeans, it is the brand-name that is being marketed rather than a particular product. What is placed center stage is the designer label rather than the items that carry this label. The tattoos here, which are of neotribal design, feature prominently on the shaved head and the front of the neck of the male model on the left. As his face is partially obscured by discs carrying the logo "JPG Paris," the implication is that it is the tattoos and the designer label, rather than the features of his face, that signal his individual identity. This advertisement is designed to appeal to the "new" man, that is, the man who no longer identifies with old-fashioned patriarchal conceptions of masculinity, but sees himself as "enlightened." Whether gay or heterosexual, he sees himself as a nonconformist who rejects an overtly butch form of masculinity.
This is implied by the refined artistry of the tattoos that suggests a man of discernment and taste-the sort of man who can appreciate the sophistication of the Jean-Paul Gaultier label. At the same time, there is a hint of the transgressive suggested by the boldness of the tattoos, which are highly visible. The message here seems to be that the fashions of Jean-Paul Gaultier are not for the fainthearted but for the man who is prepared to take risks-to explore new forms of masculinity that transcend the bounds of the traditional patriarchal male.
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1. The meaning of tattoos is changeable
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