- Updated: 03/10/2024
- Published: 09/09/2024
- 35 minutes read
Do women stereotypes still shape automotive ads?
- Updated: 03/10/2024
- Published: 09/09/2024
- 35 minutes read
Do Women Stereotypes Still Exist in Automotive Ads?
Change is the only constant in fast-moving advertising, but change has always been slow in the case of women featured in automobile ads. For decades, even though women have spearheaded revolutionary advancements in car driving, they have too often been cast merely as passengers in car ads, depicted as decorative figures rather than equals to men. But that is beside the point, since women today are the ones behind the wheel and, for the most part, are an influential factor in car purchase decisions. In this blog, we will cover the changes over time in how automotive ads depict women.
The Early Days
The early years of the 20th century brought ads that appealed to men by making a woman an accessory that came with the car. One such ad by Pontiac pictured a female as a passenger next to the male driver, further stressing male power and status.
The portrayal of women did change over the decades, but it remained traditional most of the time. During the 1950s, the automotive advertisements targeted families but still featured women performing domestic chores.
A 1956 Chevrolet Bel Air advertisement depicts a smiling woman with flowers and groceries beside her car to show how the car was actually used as a utility for housewives. The car was her assistant, not her freedom.
One of the most indicative advertisements by Pontiac in the 1980s would be their “Spread Your Legs” commercial, which had a sweet-talking phrase to invite women inside the car. Meant to raise excitement, it raised controversy over the objectification of women, showing how bold ad makers could be in that era, as well as social behavior on the representation of gender through the media.
Not every ad from this period fell into the trap of stereotyping women. Some broke free and empowered women, celebrating their strength, intelligence, and independence in ways that still resonate today.
Between the late 1910s and early 1920s, women experienced greater degrees of freedom in transportation and travel. The success of the Ford Motor Company’s Model T facilitated women’s onset of 1920s car ownership. This automobile empowered them to leave their houses and get behind the wheel. Promotional materials created by Ford at that time featured a mother-daughter pair posing next to a 1926 Ford Model T exhibiting an all-steel frame as well as suggesting that this is a perfect feminine car.
This Ford ad catches that attitude wonderfully, showing the Model T as the perfect companion for women prepared to see the world on their own conditions. They are not just driving; by turning the wheels, they are making their future paths, enjoying the exciting liberty that every mile brings.
Another example is from the 1930s, which changed the portrayal of women, as advertisements showed them more elegantly and sophisticatedly. For instance, Chrysler would employ women who presented an uncanny resemblance to Hollywood divas as brand ambassadors in their advertisements.
A 1939 Chrysler advertisement depicting a woman next to the title “Boston girl tells it to the engineers’’ underlines how Chrysler equated themselves with ‘modern’ cars and modernity. They also suggested that women were becoming more involved in the car-buying process and had a say in the features and design of the vehicles they purchased.
Another example is the 1951 Nash Ad “Yours for a Merry, Merry Christmas”.
It undermines gender stereotypes by presenting women as independent buyers instead of housewives. This advertisement, which promotes a car as a perfect Christmas gift, recognizes the females’ role in family purchases. It also integrates the automobile with these moments of happy family time tied to the festive season. It shows how to do marketing aimed at freedom-loving women and what they did after World War II by portraying new consumers interested in contemporary choices. This advert addresses social transformation and changes in the family structure by referencing changes in consumer behavior.
From the ’20s to the ’60s, ads swung between reinforcing stereotypes and glimpses of empowerment, reflecting the evolving, often contradictory, views of women in a changing era.
The Early Days
The early years of the 20th century brought ads that appealed to men by making a woman an accessory that came with the car. One such ad by Pontiac pictured a female as a passenger next to the male driver, further stressing male power and status.
The portrayal of women did change over the decades, but it remained traditional most of the time. During the 1950s, the automotive advertisements targeted families but still featured women performing domestic chores.
A 1956 Chevrolet Bel Air advertisement depicts a smiling woman with flowers and groceries beside her car to show how the car was actually used as a utility for housewives. The car was her assistant, not her freedom.
However, the most controversial ad from this era is the one for Pontiac Star Chief with the tagline “Spread Your Legs.”
One of the most indicative advertisements by Pontiac in the 1980s would be their “Spread Your Legs” commercial, which had a sweet-talking phrase to invite women inside the car. Meant to raise excitement, it raised controversy over the objectification of women, showing how bold ad makers could be in that era, as well as social behavior on the representation of gender through the media.
Not every ad from this period fell into the trap of stereotyping women. Some broke free and empowered women, celebrating their strength, intelligence, and independence in ways that still resonate today.
Between the late 1910s and early 1920s, women experienced greater degrees of freedom in transportation and travel. The success of the Ford Motor Company’s Model T facilitated women’s onset of 1920s car ownership. This automobile empowered them to leave their houses and get behind the wheel. Promotional materials created by Ford at that time featured a mother-daughter pair posing next to a 1926 Ford Model T exhibiting an all-steel frame as well as suggesting that this is a perfect feminine car.
This Ford ad catches that attitude wonderfully, showing the Model T as the perfect companion for women prepared to see the world on their own conditions. They are not just driving; by turning the wheels, they are making their future paths, enjoying the exciting liberty that every mile brings.
Another example is from the 1930s, which changed the portrayal of women, as advertisements showed them more elegantly and sophisticatedly. For instance, Chrysler would employ women who presented an uncanny resemblance to Hollywood divas as brand ambassadors in their advertisements.
A 1939 Chrysler advertisement depicting a woman next to the title “Boston girl tells it to the engineers’’ underlines how Chrysler equated themselves with ‘modern’ cars and modernity. They also suggested that women were becoming more involved in the car-buying process and had a say in the features and design of the vehicles they purchased.
Another example is the 1951 Nash Ad “Yours for a Merry, Merry Christmas”.
The 1951 Nash Advertisement is titled “Yours for a Merry, Merry Christmas.” It undermines gender stereotypes by presenting women as independent buyers instead of housewives. This advertisement, which promotes a car as a perfect Christmas gift, recognizes the females’ role in family purchases. It also integrates the automobile with these moments of happy family time tied to the festive season. It shows how to do marketing aimed at freedom-loving women and what they did after World War II by portraying new consumers interested in contemporary choices. This advert addresses social transformation and changes in the family structure by referencing changes in consumer behavior.
From the ’20s to the ’60s, ads swung between reinforcing stereotypes and glimpses of empowerment, reflecting the evolving, often contradictory, views of women in a changing era.
Changing Roles Amidst Social Shifts
The feminist movement challenged traditional gender roles and brought about social upheaval marked by significant societal changes. This was reflected in advertising as well, but slowly and almost unnoticeably. While women were still portrayed as secondary to men, they were increasingly shown in more active roles. In some car commercials, women could now be seen as drivers, but they were depicted in ways that still conformed to certain stereotypes.
Some ads that highlight stereotypes are for Fiat, MG, Volkswagen and Mini.
Between the ’60s and ‘80s, many car ads resorted to sexualizing women and portraying them as naive, missing the mark with a growing, more discerning audience. But not all ads were guilty of this—some stood out, representing and empowering women in ways that truly resonated and reflected their evolving roles.
Brands such as Honda, Chevrolet, and Ford broke the mold and included women in their commercials.
These brands recognized women as passengers and drivers of change, depicting them as confident, capable, and in control. Their campaigns resonated because they reflected the reality of women’s lives, setting a new standard in advertising that others would soon follow.
Changing Roles Amidst Social Shifts
The feminist movement challenged traditional gender roles and brought about social upheaval marked by significant societal changes. This was reflected in advertising as well, but slowly and almost unnoticeably. While women were still portrayed as secondary to men, they were increasingly shown in more active roles. In some car commercials, women could now be seen as drivers, but they were depicted in ways that still conformed to certain stereotypes.
Some ads that highlight stereotypes are for Fiat, MG, Volkswagen and Mini.
Between the ’60s and ‘80s, many car ads resorted to sexualizing women and portraying them as naive, missing the mark with a growing, more discerning audience. But not all ads were guilty of this—some stood out, representing and empowering women in ways that truly resonated and reflected their evolving roles.
Brands such as Honda, Chevrolet, and Ford broke the mold and included women in their commercials.
These brands recognized women as passengers and drivers of change, depicting them as confident, capable, and in control. Their campaigns resonated because they reflected the reality of women’s lives, setting a new standard in advertising that others would soon follow.
The Era of Maximum Misrepresentation
A few of the worst periods of advertising, grossly distorting women, were the years between 1980 and 2010. It was not merely that the stereotype was prevalent but that it made the leading element to ads in an age when stereotypes often took over the very product these advertisements were promoting. The world moved on, but this was the one remit within general advertising that appeared to be fixed firmly within a time loop, depicting women in the most archaic and destructive manners possible
1980s: The Golden Age of Objectification
The 1980s were an excessive time—big hair, big cars, and sadly, big stereotypes. In car ads, women were reduced to little more than props to make the vehicle look sexier, never a driver or decision-maker.
The most notable examples are for Toyota Supra and Ferrari.
These ads delivered a clear message: just like the lady beside it, this car was a prize to be lusted after. Instead of performance, these ads were selling a dream wherein both of them became prizes. Their images of male drivers and passive female passengers further crystallized the role of men as being in charge. They reduced the role of women to accessories, moving away from the female consumer even more.
On the other hand, brands such as BMW, Audi, and Citroën empowered women in their ads.
While most of the car ads from that period often tended toward traditional gender roles, a few notable campaigns marked a change, depicting women as more active and more empowered. Ads like those by BMW, Citroën, and Audi marked a shift toward acknowledging women as independent consumers.
1990s: Hyper-Sexualization in Advertising Begins
During the 1990s, it was common to have women as props to promote cars. Many adverts in those days featured women dressed lightly and posed suggestively simply to catch men’s eyes.
Some commercials did not depict women correctly but rather as ‘accessories or objects’ instead of individuals who could be potential customers. This caused several companies to lose many customers, discrediting their names forever. Here are some examples:
The two most controversial commercials to this day are the ones for Mercedes E-Class and Peugeot 307.
The commercials for the Peugeot 307 and Mercedes-Benz E-Class demonstrate how advertising can perpetuate negative gender stereotypes while also appealing to people’s feelings through emotional marketing. These ads illustrate women as objects of desire. The Mercedes-Benz E-Class ad suggests women should choose one from two things only, strengthening the harmful stereotypes. This kind of representation has profound implications on the perception of women but goes further to reveal underlying problems that have engulfed marketing regarding gender issues.
On the other hand, the most notable campaigns from this period were for Saturn and Ford, who empowered women.
Saturn’s “A Different Kind of Company” campaign was revolutionary as it placed women at the center stage as informed consumers and delighted proprietors. The commercials featured actual women driving Saturns who defied stereotypes and catered to the needs of female consumers who cared for reliability and community. Saturn made itself distinct in a noisy marketplace by emphasizing customer satisfaction and having inclusive representation. Thus, the campaign succeeded in making the brand different, contributing towards an overall shift in automotive advertising culture to gender parity. Saturn’s depiction of empowered women resonated with both sexes, revealing this company’s commitment to understanding its audience and developing a persuasive marketing message.
The Ford Focus commercial broke down stereotypes by making women empowered buyers in the automotive sector rather than just passive participants. Historically, car ads targeting women focused on safety, family, or practicality while often ignoring performance and style. However, this advertisement takes a different angle and emphasizes the design and advanced technology of the Focus, presenting it as a modern-day car for an independent woman.
This approach addresses emotional needs for freedom, elegance, or self-assurance. Therefore, Ford is not selling them just a vehicle but rather making them realize that they are changing roles in society through her association with such a car meant to evoke such personality traits in women. Thus, the message is that every woman should own a vehicle that fits her lifestyle while breaking down gender stereotypes about women’s dislike of technicalities or aesthetics when it comes to cars.
Saturn’s “A Different Kind of Company” campaign was revolutionary as it placed women at the center stage as informed consumers and delighted proprietors. The commercials featured actual women driving Saturns who defied stereotypes and catered to the needs of female consumers who cared for reliability and community. Saturn made itself distinct in a noisy marketplace by emphasizing customer satisfaction and having inclusive representation. Thus, the campaign succeeded in making the brand different, contributing towards an overall shift in automotive advertising culture to gender parity. Saturn’s depiction of empowered women resonated with both sexes, revealing this company’s commitment to understanding its audience and developing a persuasive marketing message.
The Ford Focus commercial broke down stereotypes by making women empowered buyers in the automotive sector rather than just passive participants. Historically, car ads targeting women focused on safety, family, or practicality while often ignoring performance and style. However, this advertisement takes a different angle and emphasizes the design and advanced technology of the Focus, presenting it as a modern-day car for an independent woman.
This approach addresses emotional needs for freedom, elegance, or self-assurance. Therefore, Ford is not selling them just a vehicle but rather making them realize that they are changing roles in society through her association with such a car meant to evoke such personality traits in women. Thus, the message is that every woman should own a vehicle that fits her lifestyle while breaking down gender stereotypes about women’s dislike of technicalities or aesthetics when it comes to cars.
To gaze over the decade between 1990 and 2000 is to see a battle between the established feminine stereotypes and the early signs of deliberate representation of women in car advertisements. Though many commercials still embraced old concepts, the breakout of progressive representations pointed towards a possible transition in car marketing, mirroring societal changes and more recognition by manufacturers that women are key players in vehicle purchase decisions.
2000s: Woman Reduced to Objects in Car Ads
The 2000s should have marked a turning point in women’s depiction. Given their increasing power as consumers, women would be expected to be seen as self-assured, strong, and autonomous. Nevertheless, though some progressions were evident, much disappointment loomed in what actually happened. Unfortunately, too many automobile commercials of this decade kept degrading females into mere things that could help sell the cars instead of recognizing their worthiness.
Some of the commercials that stereotyped women are for the Mercedes Benz E-class starting good-looking blonde and for the BMW Z4.
The Mercedes-Benz “Beauty Is Nothing Without Brains” commercial intended to equate beauty with intelligence, but it rather entrenched stereotypes. In the beginning, the ad draws attention to what constitutes the woman’s physical beauty, implying that her main asset is her appearance. Then it changes focus to her mind’s achievements as if her brains have to come in to balance her face. Such an interpretation encourages a notion that beauty and intelligence can never go together but instead exist in contrast to one another. This advert risks reducing womanhood to mere objectification by presenting a female figure firstly in terms of looks and later claiming intelligence should be an addition to physicality. This marketing strategy highlights the problem of advocating for empowerment without unintentionally promoting traditional stereotypes.
Gender representation in advertising is a problem that the BMW Z4 commercial from 2003 shows. The ad implies that the husband’s weekend is just another ordinary weekend compared to one full of excitement for his wife and hence ends up reinforcing any existing gender stereotypes or gender roles. In this way, it has opened up larger conversations on how car ads can move from being totally sided to an equal representation of both genders hence avoiding the existing stereotypes and thus facing the actual reality instead of fiction.
Porsche, known for decades for the sexualization of women in their commercials, did not miss this era with probably one of the most controversial commercials ever.
The advertisement of Porsche where a lady exposes herself to the car, symbolizes the controversy surrounding sexualization in marketing communications. The ad uses visual metaphors to present a woman as an object rather than an individual, thereby disrespecting her humanity. Such kind of portrayal makes women reduce to mere sexual objects that require no empowerment whatsoever. Such advertisements serve to normalize for everyone else except their targets the act of turning women into sex objects, affecting social perceptions on gender matters and promoting inequality among genders.
The Mercedes-Benz “Beauty Is Nothing Without Brains” commercial intended to equate beauty with intelligence, but it rather entrenched stereotypes. In the beginning, the ad draws attention to what constitutes the woman’s physical beauty, implying that her main asset is her appearance. Then it changes focus to her mind’s achievements as if her brains have to come in to balance her face. Such an interpretation encourages a notion that beauty and intelligence can never go together but instead exist in contrast to one another. This advert risks reducing womanhood to mere objectification by presenting a female figure firstly in terms of looks and later claiming intelligence should be an addition to physicality. This marketing strategy highlights the problem of advocating for empowerment without unintentionally promoting traditional stereotypes.
Gender representation in advertising is a problem that the BMW Z4 commercial from 2003 shows. The ad implies that the husband’s weekend is just another ordinary weekend compared to one full of excitement for his wife and hence ends up reinforcing any existing gender stereotypes or gender roles. In this way, it has opened up larger conversations on how car ads can move from being totally sided to an equal representation of both genders hence avoiding the existing stereotypes and thus facing the actual reality instead of fiction.
Porsche, known for decades for the sexualization of women in their commercials, did not miss this era with probably one of the most controversial commercials ever.
The advertisement of Porsche where a lady exposes herself to the car, symbolizes the controversy surrounding sexualization in marketing communications. The ad uses visual metaphors to present a woman as an object rather than an individual, thereby disrespecting her humanity. Such kind of portrayal makes women reduce to mere sexual objects that require no empowerment whatsoever. Such advertisements serve to normalize for everyone else except their targets the act of turning women into sex objects, affecting social perceptions on gender matters and promoting inequality among genders.
On the other hand, brands like Mazda, Chevrolet, and BMW celebrated women’s strength and independence, crafting commercials that didn’t just market cars, but championed women as empowered, equal drivers of change.
The 2003 Mazda 2 ad represents women’s empowerment as it shows a female driver parking well in parallel. It shatters the stereotype of women by showcasing their driving ability and self-confidence, proving that they can do exceptionally well in areas previously regarded as masculine. Instead of concentrating on the woman’s looks, this commercial challenges gender roles by highlighting her ability. Additionally, it uses light-hearted humor, which makes her appear more competent and skillful. This marketing strategy not only challenges long-held beliefs but also places Mazda on the side of the dispossessed while appealing to a vast audience.
The Chevrolet Malibu commercial goes beyond all traditional stereotypes with an emotional transcendence. It features a little girl’s life that is moving along a conveyor belt while her parents and GM production robots are taking care of her. The surrealism in this setting shows that reliability and nurturing are two sides of the same coin, which is what the Chevrolet Malibu stands for. This ad uses the girl’s life course from childhood to adulthood to present the car as an integral part of a loving, caring environment. Such an approach breaks from traditional gender roles and presents women not just as passive or secondary figures but also as central actors in supportive and dependable stories.
BMW, after the backlash of the “Ultimate Attraction” campaign, created a campaign called “Joy is BMW,” which joins a few of the brands in empowering gender equality.
Car ads between 2000 and 2010 struck a balance between modernity and longstanding stereotypes. While some brands embraced gender equality, recognizing women’s potential, others clung to obsolete stereotypes that depicted women as nothing but sex objects. In many of these ads, looks took precedence over content which served to perpetuate traditional notions of women’s roles. The present day represents the dichotomy of progressive and regressive gender representations in car advertising that need to be addressed to empower women if they are to move forward.
The 2003 Mazda 2 ad represents women’s empowerment as it shows a female driver parking well in parallel. It shatters the stereotype of women by showcasing their driving ability and self-confidence, proving that they can do exceptionally well in areas previously regarded as masculine. Instead of concentrating on the woman’s looks, this commercial challenges gender roles by highlighting her ability. Additionally, it uses light-hearted humor, which makes her appear more competent and skillful. This marketing strategy not only challenges long-held beliefs but also places Mazda on the side of the dispossessed while appealing to a vast audience.
The Chevrolet Malibu commercial goes beyond all traditional stereotypes with an emotional transcendence. It features a little girl’s life that is moving along a conveyor belt while her parents and GM production robots are taking care of her. The surrealism in this setting shows that reliability and nurturing are two sides of the same coin, which is what the Chevrolet Malibu stands for. This ad uses the girl’s life course from childhood to adulthood to present the car as an integral part of a loving, caring environment. Such an approach breaks from traditional gender roles and presents women not just as passive or secondary figures but also as central actors in supportive and dependable stories.
BMW, after the backlash of the “Ultimate Attraction” campaign, created a campaign called “Joy is BMW,” which joins a few of the brands in empowering gender equality.
Car ads between 2000 and 2010 struck a balance between modernity and longstanding stereotypes. While some brands embraced gender equality, recognizing women’s potential, others clung to obsolete stereotypes that depicted women as nothing but sex objects. In many of these ads, looks took precedence over content which served to perpetuate traditional notions of women’s roles. The present day represents the dichotomy of progressive and regressive gender representations in car advertising that need to be addressed to empower women if they are to move forward.
Breaking the Mold or Not?
By the 2010s, the automotive industry had confronted a critical choice: should they go for advanced images of women or stick to the same old stereotypes often used in industry advertisements? Sadly, most car adverts from this decade chose the latter option, holding onto male-oriented tropes about femininity and privately treating women as mere ornaments concerning automobiles. Despite an increased focus on gender equality issues, there were still disturbing incidences of sexualizing women in automobile ads during this period. In those days, only women’s bodies were used to market cars.
Fiat is one of the few brands that, even though they tried to include women in their ad commercials, failed again.
In 2012, Fiat had a controversial ad called “The Motherhood,” which made motherhood seem more sexual. This ad humorously portrays a mother who has to juggle so many tasks in life but still looks charming and fashionable at the same time. Nonetheless, this ad serves to reinforce stereotypes about women being able to care for their children as well as attracting men at the same time; thus, women are valued for their beauty only. The ad highlights a mother’s physique, thereby promoting the unreasonable standard of women having to be both mothers and sexually attractive.
The Opel Corsa ad with Lisa Volz sexualizes her body and represents her as an object of desire, completely ignoring her humanity. This implies that beauty is all there is to womanhood, making men see women only in relation to themselves. Such advertising corroborates societal beliefs where a girl’s sexual appeal is valued more than her other attributes.
Another example of a commercial that was later banned and issued an apology by Audi is their ad where they compared women to used cars.
Fiat is one of the few brands that, even though they tried to include women in their ad commercials, failed again.
In 2012, Fiat had a controversial ad called “The Motherhood,” which made motherhood seem more sexual. This ad humorously portrays a mother who has to juggle so many tasks in life but still looks charming and fashionable at the same time. Nonetheless, this ad serves to reinforce stereotypes about women being able to care for their children as well as attracting men at the same time; thus, women are valued for their beauty only. The ad highlights a mother’s physique, thereby promoting the unreasonable standard of women having to be both mothers and sexually attractive.
The Opel Corsa ad with Lisa Volz sexualizes her body and represents her as an object of desire, completely ignoring her humanity. This implies that beauty is all there is to womanhood, making men see women only in relation to themselves. Such advertising corroborates societal beliefs where a girl’s sexual appeal is valued more than her other attributes.
Another example of a commercial that was later banned and issued an apology by Audi is their ad where they compared women to used cars.
Then we have Chevrolet, a brand that continues to empower women, refusing to fall into the trap of stereotypes and instead celebrates their strength and individuality.
The Chevrolet Camaro commercial “Miss Evelyn,” shown during the Super Bowl XLV in 2011, shattered gender stereotypes and had an emotional impact. Miss Evelyn, a driver who is both skilled and adventurous, appears in thrilling situations such as avoiding helicopters and jumping off buildings. The twist is that she is actually a schoolteacher, which gives her much more dimensions than a typical “hot woman” in car ads. This representation of women forces viewers to see them in traditional and non-traditional roles. The unexpected ending of this ad, where Miss Evelyn surprised two men brainstorming for the ad, shows that women can also be intelligent yet fun-loving, reaching wider audiences and redefining gendered marketing in the auto industry. The commercial was viral, with Nielsen reporting it as the most-watched Super Bowl ad of all time, seen by 120 million viewers.
The Chevrolet Camaro commercial “Miss Evelyn,” shown during the Super Bowl XLV in 2011, shattered gender stereotypes and had an emotional impact. Miss Evelyn, a driver who is both skilled and adventurous, appears in thrilling situations such as avoiding helicopters and jumping off buildings. The twist is that she is actually a schoolteacher, which gives her much more dimensions than a typical “hot woman” in car ads. This representation of women forces viewers to see them in traditional and non-traditional roles. The unexpected ending of this ad, where Miss Evelyn surprised two men brainstorming for the ad, shows that women can also be intelligent yet fun-loving, reaching wider audiences and redefining gendered marketing in the auto industry. The commercial was viral, with Nielsen reporting it as the most-watched Super Bowl ad of all time, seen by 120 million viewers.
More brands joined Chevrolet in a movement to break stereotypes, including Nissan, Audi, and Volvo.
Car ads from this period featured two glaring contrasts. Firstly, several brands still clung to the obsolete and jeopardizing stereotypes by continuing to have sexualized depictions of women. Rather than acknowledging women as individuals with their own choices, these advertisements reduced them to mere instruments for selling cars. In contrast, some companies were mindful of portraying women more decently, thus making headway. One question remains: did the car industry truly break the mold, or did it simply dress up the same stereotypes in more sophisticated packaging?
A Mixed Bag of Progress and Social Media Regression
Some significant changes occurred in women’s depiction in car adverts between 2020 and 2024. Brands have faced criticism for their representation of women, leading them to make significant advancements towards woman empowerment while others still use outdated stereotypes. The influence of social media during this period seemed both good and bad, making things more pronounced.
One of the stereotyping women that led to becoming viral is the Volkswagen clip on its X (ex-Twitter) account that features a testimonial from a male customer named Simon.
The ad of Volkswagen has been attacked because it reinforces traditional gender stereotypes of women as primary caregivers. In this video, the father is represented as awkward and stressed, while the mother is presented as the strong and caring figure, majestically controlling the mayhem. Critics believe that this ad has reinforced the stereotype that women are inherently better parents and weakened the developing role of both parents. Most specifically, the controversy brought to the fore that brands needed to achieve a better balance in their campaigns and advertising those outdated notions and incline more toward inclusive messaging on the diverse realities of modern families.
The ad of Volkswagen has been attacked because it reinforces traditional gender stereotypes of women as primary caregivers. In this video, the father is represented as awkward and stressed, while the mother is presented as the strong and caring figure, majestically controlling the mayhem. Critics believe that this ad has reinforced the stereotype that women are inherently better parents and weakened the developing role of both parents. Most specifically, the controversy brought to the fore that brands needed to achieve a better balance in their campaigns and advertising those outdated notions and incline more toward inclusive messaging on the diverse realities of modern families.
The comments were brutal:
Another example comes from BMW, starring Naomi Campbell, promoting XM Mystique Allure.
The ad of the XM Mystique Allure by BMW with Naomi Campbell depicts outdated stereotypes in promotion and reduces femininity to just beauty. BMW involves lightness rather than women designers or engineers, jeopardizing its image. Car ads then became about women reinforcing the stereotype that they are just beauties who do add flavor but not any weight. This means disregarding today’s cherished principles, such as inclusion and adequate representation of all groups. It is noteworthy that brands that innovate alongside the times continue receiving positive responses while those that assume age-old conventions may ultimately cease thriving.
Another example comes from BMW, starring Naomi Campbell, promoting XM Mystique Allure.
The ad of the XM Mystique Allure by BMW with Naomi Campbell depicts outdated stereotypes in promotion and reduces femininity to just beauty. BMW involves lightness rather than women designers or engineers, jeopardizing its image. Car ads then became about women reinforcing the stereotype that they are just beauties who do add flavor but not any weight. This means disregarding today’s cherished principles, such as inclusion and adequate representation of all groups. It is noteworthy that brands that innovate alongside the times continue receiving positive responses while those that assume age-old conventions may ultimately cease thriving.
Social media’s backlash has resurrected one of the oldest and most harmful stereotypes: women being lousy drivers. This narrative is as outdated as it is untrue, yet it still finds promotion through misguided campaigns and thoughtless commentary.
Nevertheless, an increasing number of companies have begun adopting marketing strategies aimed at women’s empowerment and gender equality in order to demonstrate that authentic power resides in diversity and not in mindlessly following obsolete stereotypes.
With campaigns such as „Be one of many“ by Mercedes-Benz, #DriveTheChange by Audi, Dua Lipa for Porsche | The all-electric Macan, and Hyundai #BrakeOnStereotypes renowned car brands are breaking the mold. These campaigns break stereotypes and champion gender equity, demonstrating that the automotive industry can lead in celebrating diversity and pushing for a more inclusive future.
The most notable ad is one from Ford, introducing the Explorer Men’s Only car.
Ford Explorer Men’s Only Edition ads employ satire, challenging the conventional gender stereotypes in the automobile industry. It provides a comical view of how essential women were in developing cars, for instance, by taking away items women created, such as windscreen wipers and navigators. It breaks from traditional masculine-focused car ads, questioning the notion that only men innovate in the transport sector. Through humor and irony, the ad underscores women’s inseparable role in the industry, reinforcing Ford’s commitment to diversity and urging viewers to rethink gender biases in automotive design.
Another great ad comes from Nissan promoting ARIYA.
Nissan ARIYA’s advertisement Dualities with Brie Larson and Jay Ellis defies classic feminine stereotypes by showing the manifold nature of women in various dimensions. Larson’s role challenges conventional limits and pinpoints how complicated and profound female life is to the old thinking. The use of Elvis Presley’s song brings nostalgia and strength to current issues of gender equality. In addition, Ariya boldly asserts that real empowerment results from accepting the different sides of a woman as opposed to falling back on stereotypes.
Ford Explorer Men’s Only Edition ads employ satire, challenging the conventional gender stereotypes in the automobile industry. It provides a comical view of how essential women were in developing cars, for instance, by taking away items women created, such as windscreen wipers and navigators. It breaks from traditional masculine-focused car ads, questioning the notion that only men innovate in the transport sector. Through humor and irony, the ad underscores women’s inseparable role in the industry, reinforcing Ford’s commitment to diversity and urging viewers to rethink gender biases in automotive design.
Another great ad comes from Nissan promoting ARIYA.
Nissan ARIYA’s advertisement Dualities with Brie Larson and Jay Ellis defies classic feminine stereotypes by showing the manifold nature of women in various dimensions. Larson’s role challenges conventional limits and pinpoints how complicated and profound female life is to the old thinking. The use of Elvis Presley’s song brings nostalgia and strength to current issues of gender equality. In addition, Ariya boldly asserts that real empowerment results from accepting the different sides of a woman as opposed to falling back on stereotypes.
The Path Forward
As we traverse the landscape of automotive advertising, it’s evident that progress is being made. For one, the discourse on vehicle advertisements has progressed from objectifying women as mere appendages to the vehicle to appreciating women’s roles as both consumers and leaders. There are more brands that understand this shift in society and are, therefore, ready to address this imbalance.
Yet, there are some challenges when it comes to achieving gender equality. Pictures of women still portrayed as decoration or background figures in car advertisements are plenty. They remind all of us how much work there is still to be done.
Going forward, however, the critical thing for the advertisers will be getting not only gender inclusiveness but also preventing any possibly accurate stereotypes from propagating further. This brings along hope that such misleading representation will not be replicated in the age to come, as it further imagines a movement toward greater inclusiveness in the acceptance. Only then can the automotive industry genuinely say it has moved from its past prejudices.
Why? Because representation doesn’t equate to affirmation. Ads need to resonate with the target audience, and this need should be reinforced on merit. Only then will the audience resonate with what they see and retain the brand, associating it with empowering emotions of well-deserved recognition and gratitude.
Only, gender equity alone does not limit this shift. This is so because one brand has silently surpassed even the topmost competitors within the fierce competition for electric vehicle superiority. Interested in how BYD surpassed Tesla? Click here to find out about their revolutionary marketing strategy.