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Armani Code

Posted by Robin on 6 April 2011 6 Comments

Actress Megan Fox and model Chris Folz in a new ad for 2006's Armani Code for women.

Below the jump, le making of.

 

Filed Under: perfume in the news
Tagged With: armani, video

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6 Comments

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  1. LaMaroc says:
    6 April 2011 at 2:24 pm

    Hmmm, with that creepy piano music it felt more like an ad for a horror movie. :P

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    • Robin says:
      6 April 2011 at 3:09 pm

      I really didn’t much care for this, although not sure I could say why. No idea who she is (and no need to tell me) but I don’t find her compelling either.

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      • KateReed says:
        6 April 2011 at 4:38 pm

        Ive seen her in a few things. The last thing she makes me think of is perfume. Where I can see some starlets or celebutantes coming out with a fragrance, she really isn’t anyone I ever would have…well, I’m repeating myself now, aren’t I?

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        • sevenpercent says:
          6 April 2011 at 4:54 pm

          I was about to say “looks like they covered her tattoos with makeup” but apparently they left the one on her back visible for some reason. I guess they thought that one was classier? I find her really unappealing, but this is probably the least trashy she’s ever looked. (Btw, I have nothing against tattoos and don’t find them inherently trashy by any means, though I do find Megan Fox as such! Sorry if I’m being mean, she’s just an odd choice for this.)

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  2. Marjorie Rose says:
    6 April 2011 at 9:27 pm

    I’m just trying to find the connection between the images and the scent. I found Code to be a REEEEALY sweet scrubber, not dark, mysterious, sophisticated, romantic, etc. like the ad seems to imply.

    Maybe my expectations for scent ads are too high? I guess compared to Kirstin Dunst laying with a lion and Kiera Knightly riding off on a motorcycle, it’s of comparable quality. . . (not that it’s a compliment!).

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  3. Tom Smith says:
    6 April 2011 at 10:52 pm

    This ad is what Beaudrillard would have called a “simulacrum.”

    It is absolutely meaningless in its generic regurgitation of clichés.

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