When an aptly named German chocolate brand “Super Dickmann’s” posted this image of Meghan Markle, some people got upset while others laughed at their sensitivity.
The German employee in charge of the corporate Facebook account was likely not aware that the comparison between African women and chocolate is imbued with historical misogynoir. Misogynoir, a term coined by black feminist Moya Bailey (Anyangwe, 2015), is double discrimination faced by black women where bias is both race and gender-based (Verve Team, 2018).
While women have long been seen as buyers, preparers and religious devotees of chocolate, the earliest depictions associated with chocolate were those of infants such as cupids or angels (Martin, 2020). Later, chocolate became associated with an idealized image of white womanhood, as society women became an important consumer demographic. An 1874 New York Times issue announced that wealthy women were the biggest purchasers of an “elaborate style of French candies.” New ads featured elegant white women and were meant to appeal to both the tastes of upper-class consumers and the aspirations of lower-class ones (Robertson, 2010).
Such ads put white consumers at the forefront and minimized chocolate’s roots in West African agriculture. Romanticized images of white agricultural workers such as of this milkmaid carrying pails attempted to further erase chocolates’ African origins (Robertson, 2010).
These fictionalized images associated the labor required to produce chocolate with “wholesome whiteness” in the minds of consumers (Robertson, 2010). Notably, a 1930 Cadbury ad that does feature African women, shows them as faceless silhouettes balancing baskets brimming with cocoa pods on their heads (Robertson, 2010). While white women associated with chocolate were bestowed with good taste and wholesomeness, black women were dehumanized and fetishized through racist depictions.
In 1947 a new character “Honeybunch” was created to advertise Rowntree’s Cocoa (Robertson, 2010). Honeybunch looked infantile – barefoot and with bows in her hair. In this ad, she is dehumanized through the juxtaposition of her “imagined” character to “real” white people in the ad (Robertson, 2010).
A 1950 ad goes further to depict Honeybunch as a spring bouncing out of tin of cocoa – an example of a common trope of Africans drawn as actual cocoa (Robertson, 2010) This association of a person with an edible object further solidifies the idea that black people are false commodities (Polanyi, 2001). According to Polanyi, labor is one of those fictitious commodities to which the market mechanisms should not apply (2001). According to Polanyi, not only labor but also the laborer can become commodities for sale if the commodity function of labor is prioritized (2001). Commodity function of labor is the low labor cost for the sake of lower prices, and in the case of chocolate, low labor costs help support higher remuneration for cocoa processors and chocolate producers instead of African workers. This problem persists into modernity: according to the Cocoa Barometer, cocoa farmer households earn merely 37% of living income in Côte d’Ivoire, the leader in cocoa bean production supplying 40% of world’s cocoa (2018).
Blackness is also objectified and commodified through the association between black skin and chocolate – a trope that still pervades today. Food-related descriptions have long been used to describe dark skin. While light foundation shades are often called “nude” or “fair,” darker shades are often named after commodities such as cocoa or coffee. This further solidifies the toxic idea that white womanhood is the default, and objectifies black womanhood through comparisons with edible objects.
Even black women of the same status as the white women in chocolate ads are not immune to dehumanizing fetishization. In 1976, a magazine editor described supermodel Iman as “a white woman dipped in chocolate,” (Oliver, 2015). The editor’s baffling comment is akin to Charlie’s question about whether the Oompa Loompas, which were distinctly African in the original book, are made out of chocolate (Robertson, 2010).
The fact that class cannot protect black women from misogynoir sheds critical light on “respectability politics,” an ideology that emphasizes the need for black people to gain respect and “uplift the race” by correcting ‘undesirable” characteristics and embodying desirable ones (Harris, 2014). Racist treatment of Iman despite her social prominence parallels the way companies such as Rowntree or Cadbury used depictions of black girls and women like Honeybunch for their “distinct difference” while dehumanizing them.
Pat McGrath, one of the most prominent makeup artists of the century, also had a cocoa related story that shed light on how designers who hire black models failed to provide them with equal supplies. McGrath often had to use cocoa powder on set because she wasn’t provided with darker makeup shades (Prinzivalli, 2019).
A group of black women has found a way to use the association between dark skin and chocolate for their benefit, creating a food-inspired makeup brand “Beauty Bakerie,” which counts cocoa-flavored powder among its products.
And what about Pat McGrath who had to use food instead of makeup? Her beauty empire is now worth almost a billion dollars – and her dark foundation colors are named Medium Deep and Deep instead of cocoa and chocolate (Mpinja, 2018).
It was early February and Catharine Sweeney and Elaine Hsieh, co-owners of EH Chocolatier, were busy working on their Valentine’s Day orders. Sheet trays and whisks clanked against the steel countertops at a steady rhythm. February is one of the busiest time of the year for a chocolatier. Catharine and Elaine anticipated forty to fifty orders for Valentine’s Day; a modest amount for their three-year-old business, but enough to keep EH Chocolatier very busy. Catharine and Elaine make all of their chocolates by hand, as well as overseeing the packaging and shipping. As Valentine’s Day approached, they were hit with a New England curveball: winter storm Nemo, which would become the fifth largest snowfall in Boston history, was forecast to hit the weekend before Valentine’s Day. All around Boston the news warned of shutting down roads, airports, and subways. Authorities urged residents to prepare for a heavy downfall and warned of potential power outages. Nemo could wreck their biggest sale day and reputation.
However, EH Chocolatier had no idea of the real storm coming. On Tuesday, February 12th, Elaine was surprised to see EH Chocolatier featured in The New York Times day’s “Best in the Box” article. Their salted caramels had been recognized as a top ten best chocolate caramel just in time for Valentine’s Day. Catharine and Elaine said that they did not get their hopes up initially, since EH Chocolatier had previous exposure in major publications like Food and Wine. But at 9:05 AM Elaine’s email sounded off like an alarm, “bing, bing, bing, bing, bing”–the sound of hundreds of online chocolate orders pouring into her inbox. “It was kind of like an Oprah moment,” Elaine says recalling the experience. “We literally got five hundred orders in thirty-six hours.”
Most entrepreneurs could only dream of the success EH Chocolatier experienced with their first New York Times feature. However, waking up in the morning with five hundred orders of handmade chocolates is a daunting task. The article said chocolates could be ordered by Valentine’s Day–giving the team at EH Chocolatier merely four days to accomplish ten times their expected workload. And then there was Nemo. “Oh my God, I don’t think we can handle this,” recalls Elaine of the experience. “But we did it.” With the help of friends and family, EH Chocolatier was able to successfully mail their chocolate orders in time for Valentine’s Day. Since The New York Times feature, Elaine and Catharine say that business has picked up at a steady pace.
Despite the publicity, the economic odds were against two mothers starting a business at the tail-end of a recession. “Micro-Chocolatiers” face tough competition from large manufacturers like Godiva or Lindt, who have extensive shipping networks and long shelf-life products. While EH Chocolatier still has room to grow as a business, there are benefits to staying small. “I think where we stand out is that its fresh,” Catharine says in our interview. “We make very small batches. . . . [T]he flavors [in chocolate] dissipate over time and will dry out a little bit. When you eat them and they’ve been made that week, theres no comparison to eating something that you’ve purchased from a large chocolate manufacturer who has [a shelf life of] maybe six months.”
Not only are EH Chocolatier’s confections fresh, but they offer creative flavor combinations. Inspiration for new chocolate flavors is not limited by the world of dessert. “A lot of it comes from our joy of savory eating,” Catharine says. “I have a friend that’s Thai and she cooks for me all the time. . . . [Y]ou start thinking; I wonder if I can pair these flavors with chocolate? [T]hats where our lemongrass Thai chili bonbon came from.” Beyond chocolate, EH Chocolatier also offers a passion fruit caramel made with passion fruit puree combined with white chocolate.
The heart of EH Chocolatier that keeps the core of the business strong is the bond between Catharine and Elaine. “We knew of and heard of all those horror stories of friends starting businesses together,” says Elaine in the interview. “Catharine and I realized that it wouldn’t really be worth doing business together if we wouldn’t be friends afterwards.” “Because our strengths are very different it really is a match made in heaven,” Catharine says looking to Elaine as they share the kind of unrestrained belly-laugh that can only be had between close friends.
“We’re very ying yang,” says Elaine, who is dressed in a white linen shirt and brushed silver jewelry, with her straight black hair neatly parted down the side. Catharine sits by her side wearing a cherry red sweater with matching red rectangular glasses and red dangle bead earrings. “We are both equal in terms of developing new recipes and creating new ideas and we each sort of come at it from different bends and different palates. We’re equal in terms of strengths,” says Elaine.
Perhaps this strength is ultimately what enables a entrepreneurs to persevere through the difficult initial phases of a new business. After all, a business is fundamentally about relationships between people, whether it’s buyer or seller. The challenges of winter storm Nemo and an unexpected bump in orders due to the Times article showed the EH Chocolatier has the right business model–and people for success.
Catharine and Elaine are helping to define what it means to be a female entrepreneur. In businesses highly dominated by men, women often forced to repress their femininity in order to be taken seriously. Desirable leadership traits are usually associated with male stereotypes of being aggressive, dominant, and individualistic. Women often feel pressure to be a “woman in a man’s world” and are not given the freedom to be a “woman in a woman’s” world because society has often categorized female-dominated industries as being less important, less deserving of respect, less difficult, and less desireable. As two mothers and entrepreneurs in the chocolate industry, an industry that has long been the domain of women, Catharine and Elaine reflect what it means to be a strong, female leader who fully leans into being a “woman in a woman’s” world.
It is important to see female leadership in the chocolate industry for a few reasons. The story of how chocolate rose to global prominence has largely taken place in the unwritten history of women. For example, many believe European colonists were responsible for innovating on cacao recipes taken from the Mesoamericans and transformed to fit European tastes. For example, Spanish Doctor and Military surgeon Antonio Lavedan wrote in 1796 in Tratado de los usos, abusos, propiedades y virtudes del tabaco, cafe, te y chocolate:
“When the Spanish and Portuguese arrived in the Americas, the inhabitants there made a cacao liquor which was diluted in hot water seasoned with pepper and other spices . . . all these ingredients gave this mixture a brutish quality and a very savage taste . . . The Spanish, more industrious than the Savages, procured to correct the bad flavor of this liquor, adding to this cacao paste different fragrances of the East and many spices of this country [Spain]. Of all these ingredients we have maintained only the sugar, vanilla, and cinnamon” (Lavedan, Antonio).
This Eurocentric view is fundamentally flawed but has persisted because historians have routinely overlooked the history of people of color and women. When the Spanish and Portuguese arrived in Mesoamerica, they employed the encomienda system and forced women to perform housework and prepare food. As a result, Mesoamerican women introduced European settlers to the different ways of preparing cacao and rather than the Europeans modifying chocolate to fit their different cultural tastes, Europeans developed a cultural taste for Indian chocolate (Marcy Norton, 2006). Historians have often ignored the role of gender in shaping history and as a result, many people fail to realize that Mesoamerican women are largely responsible for introducing chocolate to the world out of obscurity.
For example, many people believe Europeans were the first to sweeten chocolate, however Mesoamericans had been sweetening chocolate for a while.
Martin, Carla. “Colonial Mesoamerican Cacao Beverage Recipe Ingredients,” Chocolate Expansion, Chocolate, Culture and the Politics of Food. Lecture. Spring Academic Year, 2017.
Source: Martin, Carla. “Colonial European Chocolate Recipe Ingredients,” Chocolate Expansion, Chocolate, Culture and the Politics of Food. Lecture. Spring Academic Year, 2017.
As chocolate made its way through Spain, Italy, France, and Britain, recipes were passed down between women from kitchen to kitchen. This played a formative role in discovering new uses for chocolate but scholars and historians have traditionally ignored studying and documenting this because chocolate has long been considered a “women’s” domain. As a result, the early evolution of chocolate throughout Europe is poorly documented and relatively unknown.
As the industry surrounding chocolate developed in the early 1900s, women were excluded participation in the development of chocolate as a business and it wasn’t until 1970s that Mar’s Chocolate hired a woman named Lone Clark to Vice President of HR, an unprecedented move at the time but still a testament to the newness of welcoming women into ownership of an industry that they by and large laid the foundations to.
Furthermore, chocolate has long been a tool for those in power to set the agenda on the wants and desires of women. Advertising is largely dominated by men and has historically had a lack of diversity of women in senior level positions. As a result, the messages connecting women to chocolate have focused on reinforcing highly gendered, heteronormative stereotypes of femininity. It is yet another way men have defined what constitutes women’s spaces and what it means to be a woman.
Catharine and Elaine’s success as chocolatiers represents women taking ownership of “women’s” domains, and paying homage to the unacknowledged labor of women who introduced the world to chocolate.
Hsieh, Elaine, Catharine, Sweeney. Personal Interview about EH Chocolatiers. Conducted March, 2015.
Lavedan, Antonio. “Tratado de los usos, abusos, propiedades y virtudes del tabaco, café, té y chocolate : extractado de los mejores autores que han tratado de esta materia, á fin de que su uso no perjudique á la salud, antes bien pueda servir de alivio y curación de muchos males.” Madrid : En la Imprenta Real, 1796.
Warmth, indulgence, luxury – chocolate evokes many images as a sinfully sweet treat. Commodifying these fantasies is profitable because consumers long to be associated “with the romantic construction of chocolate” despite the fact that “systematic exploitation” and manipulative advertisements usually lurk behind chocolate (Robertson 5). In this modern age of cosmetic beauty standards and visually driven social media, the euphoric emotions associated with edible cacao products has spread to a form of non-edible chocolate consumption: chocolate infused makeup. Since chocolate products allow consumers to “express our own sense of identity” while offering ways “to say things about ourselves, our families, [and] our social world,” I situate the marketing of chocolate based makeup products in the same trajectory as the gendered, classed, and raced advertisements of edible chocolate (Robertson 19). This entails comparing a chocolate cosmetic line (Too Faced) from Sephora, a leading beauty retailer chain, to a chocolate bar sold at department stores containing Sephora outlets in order to capture the differences and similarities found when advertising chocolate and chocolate makeup. While both chocolate makeup and edible chocolate advertisements separate Westerners from chocolate’s problematic origins and perpetuate gendered, elitist Western beauty standards, the racism present in the presentation of chocolate infused makeup is more noticeable because it is an object applied to the skin rather than ingested within the body.
Cocoa Cosmetics at Sephora
Sephora is a beauty and fragrance chain founded in France in 1970 (the first U.S. store opened in 1998) under the international luxury goods conglomerate LVMH Moët Hennessy Louis Vuitton. Sephora offers an array of makeup, perfume, skin care, beauty tools, and body pampering items from different brands, including its own original Sephora line, in large stores complete with mirrors, makeup counters, and tester products to try on for free. Sephora believes that “every stroke, swipe and dab reveals possibility” and the company shares their “client’s love for the confidence that our products … bring to their life every day” (Sephora.com). The store oozes sophistication and style with extensive displays and its connection to the parent company’s elite Louis Vuitton brand. In 2006, J.C. Penney, a large American department store chain, began an exclusive agreement to feature Sephora outlet stores inside many of its locations in order to attract spendthrift younger crowds. In addition to home goods, clothes, and accessories, J.C. Penney also sells an assortment of Lindt chocolates including Lindor truffles, Cioccolata, and Hello chocolate. I will use an advertisement from Lindt Dark Chocolate Excellence, the main type of traditional chocolate candy bar sold in J.C. Penney according to their online inventory, as a lens for critiquing the marketing of chocolate-infused makeup.
The aisle of Sephora stores in Hawaii (left) and Minnesota (right) stocked with Too Faced products (the only cosmetics brand Sephora sells that contains cacao). These images are indicative of Sephora stores everywhere; they capture Sephora’s extravagance and its impeccably clean, classy makeup displays.
With “about 706 stores in the United States” (both outlets inside J.C. Penney and stand-alone stores) attracting consumers hoping toalign themselves with a certain image, Sephora has stores in every inhabitable continent except for one – Africa (Forbes.com). Despite selling chocolate cosmetics through Too Faced, Sephora – one of the world’s most popular makeup retailers – has no stores in the continent that produces 70% of the world’s chocolate (Wessel 2016). Consumers of chocolate infused makeup are divorced from the bean’s origins yet, in the case of makeup and edible chocolate, buy cacao to be associated with its symbolic meanings.
Separating Fact From Fiction
The majority of chocolate sold in America is from bulk cacao of the sturdy Forastero variety produced in Cote d’Ivoire, Ghana, Nigeria, and Cameroon. Since lesser developed areas in the global south have an abundance of unskilled labor, they rely on exporting primary products to the global market. Because colonization, slavery, and forced migration disrupted social connections, destroyed culture, and decimated the population, developing countries lack the infrastructure and capital needed to compete with developed places. Neoliberal policies of privatized industries, few regulations, and free trade instead divert international trade profits away from chocolate producing countries, which affects the modern-day chocolate industry. Commodities such as cacao are subject to extreme fluctuations in price because “price evolution is less and less dictated by changes in … supply and demand” and more determined by others in the supply chain (Sylla 40). Market volatility means that cacao farmers are mired in intergenerational debt, since relatives often work on family-owned western African cacao plantations to lower costs. However, consumers are far removed from the instability and inequality facing cacao farmers. Companies use advertisements that reinforce local cultural norms to sell chocolate so that they can entice consumers who want to satisfy and promote certain social standards. Doing so is a long-established tradition; once “chocolate became available for the working classes [in] the nineteenth century, … women were charged with providing wholesome cocoa for respectable consumption within the family,” as intimated by chocolate advertisements (Robertson 20). In a feminization of chocolate consumption, doting housewives and loving mothers provided their families with nutritious chocolate milk or sweetened their children’s day with chocolate candies. Chocolate marketing eventually progressed from idealizing familial love to idealizing heterosexual courtship by the mid-twentieth century through a focus on “light-hearted but respectable” stories of “young white couples” with female characters that were “irrational narcissistic consumers … seduced by the chocolate themselves” (Robertson 31, 33-34).
A commercial from 2016 for Lindt Dark Chocolate, which is sold in the same department store (J.C. Penney) that contains Sephora outlets selling chocolate makeup.
In a modern-day example, the commercial for Lindt Excellence dark chocolate (sold at J.C. Penney), hints at chocolate induced female “orgasmic pleasure” (Robertson 35). A woman’s silky voice encourages consumers to “experience the ultimate pleasure with Lindt,” as the chocolate is “luxurious” and “so intense.” She truly is seduced by cacao. These types of advertisements, where women feel “orgasmic pleasure” after eating chocolate, ultimately suggest “how women should project their heterosexual yearnings and fantasies onto chocolate consumption” (35). The dripping chocolate, the chocolatier caressing cacao beans, and the passionate fire add to this sexualized setting while the main character lustfully sniffs a chocolate piece. These sexual, romantic insinuations increase chocolate’s profitability as the fruit growing on cacao plantations in the global south has become fictionalized into a commodity that promises happiness and sensuality in the global north.
Chocolate Bar Palettes
Promises of happiness and feminine sensuality found in modern-day chocolate advertisements have been easily transferred to non-edible chocolate products. Through chocolate, women are encouraged to “project their heterosexual yearnings;” through makeup, women can project related fantasies involved in heterosexual courtship, such as female beauty, wealth, and seductiveness, onto cosmetic products that will allow them to be recognized as such (Robertson 35). In cacao-based makeup, chocolate, an edible item that promises pleasure, becomes a part of the user’s appearance in way that commodifies the body as a physical manifestation of chocolate’s symbolism. Chocolate makeup thereby transfers notions of female sensuality, sweetness, and lusciousness to the body, a reality that cacao cosmetic advertisements subtly emphasize.
Sephora sells a range of chocolate related facial cosmetics through two makeup brands (Bobbi Brown and Too Faced), though only the Too Faced chocolate makeup line lists cacao as an ingredient in the product. Beyond powdered bronzer and foundation, Too Faced offers a range of popular eyeshadow palettes that will be the focus of this analysis because they are packaged to look like traditional chocolate bars. For $49.00, consumers can buy Too Faced’s most reviewed, top rated eyeshadow collection that is “formulated using real cocoa powder” (Sephora).
Marketed as a “A sweetly tempting array of 16 matte and shimmer shadows,” the Chocolate Bar Eye Palette is shaped, named, scented (with Theobroma cacao fruit powder), and colored (on the outside) like chocolate to attract consumers who want to embody chocolate’s sexy sweetness (Sephora.com).
The shadow palette comes in a “playful chocolate bar tin,” complete with colors like “gilded ganache,” “black forrest truffle,” “triple fudge,” “haute chocolate,” and “white chocolate,” which evoke chocolate-related feelings of sumptuousness and opulence (Sephora.com). Subtle details, like pink cursive on the outside, cue consumers to the feminized image they are taking part of by using the product, but the wording and visuals are not as overtly sexual as the edible chocolate bar commercial. Edible chocolate like Lindt has been stripped of its physical reality, allowing non-edible products to draw from the sensual fantasy chocolate stirs. Too Faced also offers a Semi Sweet Chocolate Bar with slightly lighter colors and a Chocolate Bon Bons Palette with heart-shaped bright and neutral colors for the same steep price, as well as a smaller White Chocolate Chip Palette with metallic shadows for $26.00.
The three additional types of cocoa powder infused eyeshadow palettes sold at Sephora through Too Faced. All are shaped like chocolate bars and have colors written under each eyeshadow that are named for chocolate-related products.
Norton’s Tasting Empire mentions Bourdieu’s theory that “social subjects classified by their classifications distinguish themselves by the distinctions they make” in a way that is in “accord with social hierarchies” (Norton 663). Those reaching for Too Faced’s cocoa cosmetics are choosing to be recognized as tasteful consumers with a fondness for chocolate and all of its figurative images. The product’s high price and link with Sephora, a high-end makeup retailer, implies an elite status shared by those who use the Chocolate Bar palettes. Lindt chocolate uses similar, but more noticeable tactics beyond price and image to clue consumers in on their chocolate’s elite qualities. The chocolate is from the “Excellence” line and has the “richest flavors” from the “finest cocoa” according to the commercial’s narrator. The chocolate bar is a “thin masterpiece,” and Lindt prides itself on being known as a “Master Swiss Chocolatier since 1845.” These descriptions, plus the logo’s embossed gold, make the chocolate deluxe and top-tier, enticing consumers who seek to embed themselves in a particular class. Consumers play an active role in their product selection, using both chocolate makeup and edible chocolate as a “cultural mode” to express themselves or to “acquire social meaning” (Robertson 19). People aspire to be associated with chocolate whose presentation represents their values.
Race and Chocolate Advertisements
Besides attracting consumers with a promise of beauty and lavishness, the Chocolate Bar line sells racialized femininity and wealth, much like traditional chocolate bars.
This makeup tutorial uses the Chocolate Bar and Semi-Sweet Chocolate Bar Palette from Too Faced to create a completed look on a white woman who embodies Western standards of beauty and class.
Similar to the woman in the Lindt commercial, the women featured in the makeup tutorials for Too Faced’s collection are white and well-dressed, positioning shoppers “in relation to that product as gendered, classed and raced beings” (Robertson 19). Racism has permeated advertising for edible chocolate throughout history. Though falling prices and diverse products theoretically brought chocolate into the hands of the masses during the 1800s, only certain people were shown as deserving access to the goods. Wholesome, “sugary-sweet white boys and girls” in white families were the idealized consumers who grew “stronger through drinking cocoa;” blacks were often stereotyped in advertisements, depicted as cartoons, “supervis[ed]” by whites, or displayed as a combination of all three trends to support socially constructed racial hierarchies (Robertson 39).
In order to “reinforc[e] dominant contemporary ideologies,” chocolate “adverts created a world of white consumers in which the black producers of cocoa beans and the black consumers of chocolate were at best pushed to the margins, if not excluded completely” (54). Though Robertson is referring to the connection between Chocolate, Women, and Empire with respect to Rowntree and Cadbury, these prominent chocolate companies (founded in 1862 and 1824, respectively) successfully influenced other companies’ cocoa ads. Similar to Lindt’s chocolate advertisements, Too Faced’s Chocolate Bar Palettes also pander to white consumers, but in a more significant and noticeable way. Those with darker skin tones, for example, must guess how the shades show up on their skin, for the fair-skinned woman in the makeup tutorial is the stand-in for Too Faced’s average consumer. Reviews for the palettes are overall very high, but filtering the thousands of reviews by skin type reveals dissatisfaction from women of color. In reviews for the Semi Sweet Chocolate Bar Palette, many mention that “a few of the colors are too close for distinction on my deep dark skin” and “they tend to blend together into a muddy mess on my lids” (Sephora.com). Ironically, once a user “tried the [colors] that were lacking over a white base … then [she] was able to see them” better (Sephora.com). A comprehensive review of the Chocolate Bar Eye Palette from a female user with a dark skin tone claims:
This is an adorable palette. Pretty colors and it actually smells like chocolate. However, what’s disappointing is that it’s only suitable for lighter skin tones. The colors were pretty on my fair-skined best friend but I found that on me, they were just dull. For you girls with darker skin tones, 90% of the shadows in this palette will just look chalky when applied. Not at all a high end look (Sephora.com).
The eyeshadow pigments were not vibrant enough to be seen properly on darker skinned women, but on lighter women the colors look wonderful.
Reviews for the Semi Sweet Chocolate Bar palette when filtered by users with “fair,” “light,” “medium,” and “olive” skin tones are more glowing: “the eye shadows are pigmented, creamy and blend like a dream” raves a fair-skinned woman (Sephora.com). A paper glamour guide comes with the Bon Bons Palette to show consumers possible looks they can create with the shadows, but each eye makeup example comes from the face of a light woman. Despite the fact that the colors in these eyeshadow palettes contain cacao and are named after cacao products, women with brown skin tones are disregarded in the advertisement and testing of this product the way chocolate’s true origins are disregarded by the fictionalized symbolism of chocolate (and chocolate-based makeup). This exclusion mirrors the way female cacao farmers and black women who enjoy chocolate are purposefully left out of chocolate ads.
Too Faced’s Chocolate Bar Palettes and Lindt Excellence Dark Chocolate both use similar racialized, gendered, and classist advertising strategies that fictionalize chocolate’s reality and continue the separation between cacao producer and cacao consumer. Though the two items analyzed are sold in J.C. Penney department stores, they have different uses. Lindt Excellence’s commercial focuses on the physical pleasure chocolate brings, while Too Faced’s chocolate line plays into aesthetic beauty standards that exclude people with dark skin. Edible and non-edible chocolate products alike market values that consumers identify with and want to promote.
“Chocolate Bar Eye Shadow Collection.” Eyes/Eye Shadow Palettes. Too Faced, n.d. Web. 17 Apr. 2017.
Loeb, Walter. “Sephora: Department Stores Cannot Stop Its Global Growth.” Retail. Forbes, 18 Apr. 2013. Web. 15 Apr. 2017.
Norton, Marcy. “Tasting Empire: Chocolate and the European Internalization of Mesoamerican Aesthetics.” The American Historical Review 111.3 (2006): 660-91. Oxford Journal. Web.
Robertson, Emma. Chocolate, Women and Empire: A Social and Cultural History. Manchester: Manchester U Press, 2013. Print.
Wessel, Marius, and P.M. Foluke Quist-Wessel. “Cocoa Production in West Africa, a Review and Analysis of Recent Developments.” NJAS – Wageningen Journal of Life Sciences 74-75 (2015): 1-7. ScienceDirect. Web. 15 Apr. 2017.
Valentine’s Day has not always been associated with love, red hearts, bouquets of roses and a box of chocolates. In fact, the first celebrations of Valentine’s day, which date all the way back to Roman times, were not linked to romance at all (Butler). The initial appearance of gift-exchange occurred during the Medieval Period, when knights would lavish roses upon maidens to express their “courtly love” (Butler). This gift giving practice continued to grow in the following centuries (Henderson). However, the exchange of chocolate and candies was not yet in practice since sugar was still regarded as a highly precious commodity (Butler, Henderson). By the Victorian Era, commercialization of the holiday had begun (Henderson), and the practice of exchanging elaborate and highly decorated gifts had become routine (Butler) .
Richard Cadbury and the Heart-Shaped Box
Richard Cadbury was one of the first entrepreneurs to fully take advantage of the love-crazed commercialized frenzy (Butler). Through industrialization and technological advancements, Cadbury had discovered a cheaper way to produce what was referred to as “eating chocolate” (Butler). Cadbury, being the commercial genius that he was, began to design elaborate heart-shaped boxes filled with chocolates to distribute during Valentine’s Day (Henderson). The boxes were extremely successful that even to this day, Victorian Era Cadbury boxes, such as the one featured below, still exist, are wildly popular, and “are treasured family heirlooms and valuable items prized by collectors” (Butler).
Valentine’s Day is compelling in the ways it reflects changes in Western society regarding the introduction of exchanging sugar and chocolates and a movement towards industrialization and commercialization. Currently, however, it is also most indicative of the ways in which society hasn’t changed, according to the continued gender-biased and heteronormative nature of the holiday.
Advertisements Across Time
Looking among different chocolate advertisements celebrating Valentine’s Day, common themes emerge based on assumed gender roles and heteronormativity that remain constant throughout time and across companies.
Since Cadbury is the founder of the heart-shaped box of chocolates, I thought it only appropriate to look at the content of their advertisements over time.
This vintage Cadbury advertisement really speaks to the roots of heteronormativity associated with Valentine’s Day. The ad is centered around the simple fact that she loves him, he loves her. The assumptions of heteronormativity are all too clear.
This Cadbury Valentine’s Day Commercial from 2017 shares many of the same sentiments as the vintage ad. He loves her. She loves him. And they both love Cadbury chocolate. Although only hands are featured in this commercial, the hands are clearly gender specific. The woman’s hand is feminine, with pink painted nails and of course, hers is the hand that is receiving the chocolate. While there is some playful teasing and banter throughout the commercial, at the very end it is made clear that it is the man who is giving the chocolates by his hand signing the card with a simple “be mine”.
Cadbury, however, is not the only company that has perpetuated gender stereotypes and promoted heteronormativity. The comparison between these two ads from 1943 and 2013 shows that while some aspects of their marketing technique have been updated, fundamental concepts surrounding gender roles and heteronormativity remain the same.
This Whitman’s ad is from 1943 and demonstrates the evident gender biases of that time. The ad implies that all women care very much about being recognized on Valentine’s Day and that men are expected to actually forget Valentine’s Day because they care so little about this particular holiday and receiving a gift. There is also the reoccurring theme that a man is able to win over a woman’s affections by giving her chocolate. In my opinion, this concept somewhat objectifies a woman and implies that her love may be bought with a simple box of chocolates.
This 2013 Whitman’s Valentine’s Day Commercial does not really show many differences from the printed ad from the 1940s. The language may be updated and the message appeals to a more modern man, who is interested in sports (football), but in the end, the message remains relatively the same that, “men, don’t be the forgetful, careless tough guys that you usually are; go out and buy your caring, sensitive ladies some chocolate… that’s all they truly want on Valentines Day”. Not only is this an extremely gender-biased message, it is also a message of heteronormativity. The ad directly addresses men and directs them to buy something for their special woman.
Many other chocolate brands, including Godiva and Ferrara Rocher, have released recent Valentine’s Day ads that continue to reveal how gender bias and heteronormativity are still very much ingrained into American society.
There are some advertisements, like this Dove commercial, that actually change up the narrative a little bit. However, while it does not subscribe to heteronormativity, it also does not actively combat it. Furthermore, while the ad dispenses of some of the assumed gender roles, such as the man always being the giver of chocolate, it still plays into others. It was particularly notable to me that the recipients of the chocolate were all still women. While commercials like this do perhaps show more progress, I do not believe they are up to standards with the claim to dispense of gender stereotypes and support LGBTQ communities. I struggled to find advertisements that included gay couples or advertisements in which a female romantically and earnestly gave a box of chocolates to a man, who is ready to decadently indulge. I really think that this lack of representation on Valentine’s Day may speak to a larger problem that we, as a society, may not be as progressive as we think we are.
Realities of Valentine’s Day Chocolate Exchange
These issues of perpetuated gender stereotypes and heteronormativity are not just depicted in the advertisements we see, but are also being played out in real life through the Valentine’s Day chocolate exchange. In 2006, an article entitled “pulse point’ revealed that “while 75 percent of chocolate purchases are made by women all year long, during the days and minutes before Valentine’s Day, 75 percent of the chocolate purchases are made by men. Over $ I billion of chocolate is purchased for Valentine’s Day” (p. 9). Furthermore, a study conducted by Otnes, Cele, Ruth and Milbourne revealed that men are not necessarily buying these chocolates because they want to. Many men expressed an intense pressure to buy chocolates for their significant other and actually stated that on average, they experience much more pleasure from gift-receiving than gift giving. The practices of modern day chocolate exchange during Valentine’s Day still reinforce gender roles that men must be the givers and women must be the receivers and gender bias that women care much more about the gift giving than men. Furthermore Otnes, Cele Ruth and Milbourne discuss the novelty of their study, in that it looks at the opinions and attitudes of men on Valentine’s Day rather than women, who historically and stereotypically claim the holiday; however, I could find no study on LGBTQ groups and their opinions and attitudes towards the holiday. Throughout this exploration, it has become very evident to me that the LGBTQ groups are vastly underrepresented during this holiday. While it is concerning that Valentine’s Day chocolate exchange does not seem to represent the progressive and open-minded society we feel we are a part of, perhaps the holiday is actually an indication that our society as a whole is not as updated and progressive as we ought to be.
Butler, Stephanie. “Celebrating Valentine’s Day With a Box of Chocolates.” History.com. A&E Television Networks, 08 Feb. 2013. Web. 10 Mar. 2017.
Henderson, Amy. “How Chocolate and Valentine’s Day Mated for Life.” Smithsonian.com. Smithsonian Institution, 12 Feb. 2015. Web. 10 Mar. 2017.
Otnes, Cele, Julie A. Ruth, and Constance C. Milbourne. “The pleasure and pain of being close: men’s mixed feelings about participation in Valentine’s Day gift exchange.” NA-Advances in Consumer Research Volume 21 (1994).
“Pulse Points.” Journal of Property Management, vol. 71, no. 1, jan/feb2006, p. 9. EBSCOhost, ezp-prod1.hul.harvard.edu/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=bth&AN=19533678&site=ehost-live&scope=site.
Block, Tara. “Valentine’s Day.” POPSUGAR Love & Sex. N.p., 07 Apr. 2013. Web. 10 Mar. 2017. www.popsugar.com/love/photo-gallery/21966615/image/21966645/Valentine-Day
Prejudice, stereotyping, and discrimination on the basis of sex run rampant in advertisements we see today (Martin). This trend is apparent especially in the marketing of chocolate products. Since the early days of chocolates history the consumption of chocolate in the west has been feminised and this feminisation of chocolate has made its way into chocolate advertisements (Robertson, 20). There are many trends in which gender is represented in chocolate advertisements such as the fetishisation of women as housewives and mothers, the gendered discourse of class, the narratives of heterosexual romance, and the depiction of women as irrational narcissistic consumers, to name a few that are discussed in Chocolate, women and empireby Emma Robertson. Lucy Kosimar conducted research on gendered advertising and found that “advertising is an insidious propaganda machine for a male supremacist society. It spews out images of women as sex mates, housekeepers, mothers and menial workers — images that perhaps reflect the true status of most women in society, but which also make it increasingly difficult for women to break out of the sexist stereotypes that imprison them,” which is in line with our discussion in lecture and what we see in chocolate advertising today (Komisar, 304). The advertisement that Anne Maguire and I chose to use for this assignment exhibits the gendered advertising trends that we have learned about in lectures and readings that I mentioned above.
The advertisement we chose is a print ad for Kit Kat, a chocolate product of Hershey in the United States (pictured above) and Nestle globally (Grasso). This global ad was produced in Italy according to our source. With the slogans “one-minute break” and “have a break,” this ad alludes to taking a quick break during a busy day to indulge in a satisfying Kit Kat. The use of the word “break” also relates to how you break a bar off the Kit Kat when you consume it. Although the slogans work well with the ad, the framing of the model in this ad is quite problematic. The woman in the ad is in workwear attire sitting in a chair as an invisible desk where she seems to be working on an invisible computer. If you look closely you’ll see on the left side of the ad in very small print that the ad is inspired by the “One Minute Sculptures” of Erwin Wurm. Written small on the side, casual readers might not see the blurb or understand the reference and they might question why this woman is at an invisible desk. Furthermore, the work that this woman is doing at her desk is very secretarial, which makes the ad even more problematic as this type of work is very stereotypical for women in the workplace. The woman in this kit kat ad is not portrayed as a strong business woman doing worthwhile work, instead she is portrayed as doing menial work at her invisible desk. This is similar to our discussion in class about the problematic depiction of bodies not brains (Youtube). In the Kit Kat ad the woman is dressed in a suggestive manner. Although she is wearing professional attire, what gained Anne’s and my attention is the slit on her skirt. The model has a very long slit up the front of her skirt. Although most professional business attire skirts are straight pencil skirts without slits, the woman here has a skirt with a long slit up the front of her skirt exposing most of her legs. Why do we need to see so much skin, this is an ad for chocolate isn’t it?!
The intended audience of this ad is women who have a quick break at work. The goal of this ad it to target these women- with this ad Nestle is hoping that this audience will consider having a Kit Kat during their one minute breaks at work. However, if business women are their intended audience, why would Nestle advertise an over sexualized woman who is not being shown as a dominant female force in the workplace? In re-creating this ad, Anne and I hoped to confront these objections.
In class we discussed the problematic depiction of bodies not brains in chocolate advertisements. In our ad Anne and I wanted to focus on the brains, not the body, of the woman in the ad. We also wanted to make sure to represent her as a determined, smart, and successful business woman. In our ad, pictured above, you can see that we replaced the invisible work environment with a real work environment. Our subject can be viewed as either exiting or entering a meeting room and is dressed more appropriately than the subject in the original ad. No longer do we see a skirt with an exaggerated slit up the front, now we see a woman dressed with minimal skin showing. We chose to add a message to the ad: “two perfect presentations down, two to go. Have a break, you earned it”. This message helps the ad call on the brains of the woman pictured and not her body. Instead of asking working women to take a break from doing their work at the computer to have a Kit Kat like the original ad asked, our ad is asking women to enjoy a quick Kit Kat break during a busy day filled with meetings and presentation. We better target the intended audience in our ad because we depict the working woman in a more favorable light in which she comes off as smart and important. It is surprising that this advertisement, just like so many other chocolate advertisements out there, use such negative depiction of women in their ads given the importance of women in the chocolate industry as consumers. In my opinion, the original ad is discriminatory against women and paints the company in an unfavorable light.
Grasso, Giuseppe. One-minute Break. Digital image. Kit Kat, n.d. Web.
Komisar, Lucy. The New Feminism. London: F. Watts, 1971. Print.
Martin, Carla. “Lecture 9: Race, Ethnicity, Gender, and Class in Chocolate Advertisements.” AFAM 119X. CGIS South, Tsai Auditorium S010, Cambridge. Lecture.
Robertson, Emma. Chocolate, Women and Empire: A Social and Cultural History. Manchester: Manchester UP, 2009. 1-131. Print.