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Snus has throughout history been a product that has been consumed by men, and snus has thus has been considered a masculine habit – but this has changed. A study of Statistics Sweden (Statistics Sweden) during the period 2016–2017, has shown that Swedes’ consumption of snus is generally increasing. The same survey also shows, despite the fact that consumption of snus has been another predominantly masculine habit, that this increase is particularly characteristic among women (Statistics Sweden 2018). In the study, however, no distinction is made between snus that contains tobacco and snus which is free from tobacco. However, Snusbolaget, Sweden’s largest retailer of snus, annually a survey of Swedes’ snus habits, where a distinction is also made between snus as contains tobacco and snus that are free from tobacco (Snusbolaget 2019). The snus company’s survey for the year 2018 showed that since the tobacco-free snus was launched, sales of the same have increased still (Snusbolaget 2018). Snus is consumed today in the form of small portion bags that can stay under the lip for a long time (Norberg, Lundqvist, Nilsson, Gilljam & Weinehall 2011: 2). A relatively new snus brand on the market is LIFT. This snus is white and tobacco-free, but still contains nicotine extracted from the tobacco, and then added to the snus again. This type of snus categorized as “all white portion”, “pure white” or “super white”, and usually contains no tobacco at all (Snusbolaget 2019). That LYFT does not contain tobacco means that the product and its marketing are not covered by the otherwise strictly regulated tobacco law in Sweden (Statistics Sweden 2018), which among other things regulates that direct advertising for tobacco is prohibited. This means that LYFT has different conditions in its communication to consumers than what snus products containing tobacco have. The company has also been transparent in that they is aimed at “tomorrow’s snus users”, that they want to reach a new target group (Service Trends u.å.).
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Sweden is the only country in the European Union (EU) that has been granted an exemption from the ban on manufacture and sale of snus. In a position from February 2019 clarified The National Food Administration that tobacco-free white snus does not constitute food in accordance with Article 2 of the Regulation (EC) No 178/2002, and the product is therefore not covered by the Food Act. In July 2019 The law (2018: 2088) on tobacco and similar products was implemented, which replaced it earlier the Tobacco Act (1993: 581). The new legislation does not include tobacco-free snus in the definition of which products are covered by the law, which means that the law is not applicable to tobacco-free snuff. Thus, there is no special legislation on tobacco-free snus. White snus was launched as a world first by Winnington AB in Hökerum, where Epok was the first white snus on the market, containing both tobacco and nicotine. In 2017, Winnington AB was acquired by British American Tobacco (BAT), a company that is one of the leading manufacturers of tobacco in the United States the world. At the same time, the company changed the name of the product, from Epok to LYFT, and the tobacco was removed from the product (Borås Tidning 2017). Despite the acquisition of BAT, LYFT still works as an independent company, unlike other snus brands in Sweden. By filtering tobacco in several stages, most unhealthy substances disappear at the same time as the tobacco taste disappears and is replaced by artificial flavors. These new features aim to attract new ones target groups. Winnington AB believes that they have not chosen to invest in the traditional snus; the instead turns primarily to “tomorrow’s snus users”, and offers its products to get women smoking their cigarettes ”(Service Trends u.å.)
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LYFT’s instagram account publishes pictures of people – especially young women – at the same time as the snus is placed in the product. Furthermore, many pictures and movies are published on Instagram account taken during events and festivals with well-known profiles, where the company works as sponsor. However, LYFT’s website is more economical with pictures of people and has a larger one focus on showing the range of products, but it also occurs there to some extent as well portrayal of people.
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Until the 1920s, cigarette consumption was a male-dominated activity – smoking was nothing which was considered appropriate for women but was seen strictly as a masculine habit. This came however, to change between the 1920s and 1930s, when cigarettes began to be associated with one sophisticated femininity that could embody new ideals and new possibilities. During the latter In the middle of the 20th century, cigarettes also began to be marketed as a product for women (Elliot 2001). One campaign that can be identified as the starting shot for this is “Torches of Freedom” which took place in 1929. This campaign was carried out by the American Tobacco Company together with Edward Bernays, sometimes referred to as “the father of Public Relations”. At this At the time, smoking was still primarily a male activity. However, the company strived after expanding its sales, and therefore women became the target group the company entered into, and also the reason why Bernays developed a campaign involving female liberation together with smoking. Thus, smoking became a symbol of female liberation. Considering that the woman’s traditional role in society had begun to change, this was an ingenious campaign seen from a PR perspective. It also proved to be successful – women’s consumption of cigarettes increased (Leal, Freire Filho & Rocha 2016).
The cigarette thus became a symbol of the varying meanings that the concept of femininity holds, which also contributed to more women starting to smoke. The tobacco industry thus took advantage the changes in women’s socio – economic status and the social attitudes towards women women, by portraying smoking as a symbol of freedom. The industry thus reformulated the female smoker to someone who could be seen as respectable, sophisticated, modern, good looking and feminine (Elliot 2001). Since then, the cigarette has often been used to symbolize female liberation, in response to the major changes taking place in gender role ideology. Thus The tobacco industry has a long history of trying to market the cigarette in new markets. This pattern of development can also be identified in products on the tobacco market in general; snus is, like cigarettes, a product that has historically been masculine. In recent years, tobacco-free snus products have been established and, in a similar approach as with the cigarette, started marketed in new markets with new target groups. LYFT works here as an example of one such product.
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During the 2000s, it became clear that the pattern of tobacco consumption among adults in The United States has changed. Sales of cigarettes, which previously had a steady sales curve through years, decreased by 18 percent between the years 2000-2007. This while the sale of another form of tobacco product – snus – increased by 65.6 percent between the years 2005-2011 (Sung, Wang, Yao, Lightwood & Max 2016: 817). Swedish research also shows that the pattern of cigarette consumption in Sweden has changed and decreased; in 2007, Sweden was one of them industrialized countries with the lowest incidence of smoking (Norberg et al. 2011: 1). This at the same time 8 as the popularity of snus steadily increased. The main reason for this is believed to be the Swedes use snus as a substitute when trying to quit smoking (Norberg et al. 2011: 2). In Sweden, both a cross-sectional study and a longitudinal study between 1990 and 2007 to investigate trends and patterns of tobacco consumption in adults in middle age. Both studies showed, among other things, that many men who never smoked started anyway snus, while the majority of the women who used snus had previously been smokers. Norberg et al (2011: 4-12) state that this clearly shows the ongoing transition from smoking to snus in Sweden, and that the driving force for this development can be a combination of successful marketing and lack of political control over snus consumption as a whole.
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The selection of images for the semiotic image analysis consisted of a total of ten images from LYFTs website and Instagram account. Two of these pictures were from LYFT’s website, which is motivated by that these two pictures were the first on the home page. The eight photos on LYFT’s Instagram account were selected out monthly, where a picture thus represented a month was during the period May-November 2019. This time span was chosen because the pictures before the month of May mainly portrayed snus cans and not people. Furthermore, two pictures were selected from the month of May instead of one, this because different gender patterns were particularly distinctive of the two. However, there are a large number of images during these months, which portrays both men and women. The selection of images in the study portrays mainly women, however. This is motivated by the fact that men are already a group who use snus, they are thus already established consumers of snus. Therefore, the selection of images that mainly portray women have been implemented because they are a new target group in the market. This is also in line with what the company expressed – that they “target tomorrow’s snus users” (Service Trends u.å.)
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What first catches the attention of this image is the distinctive red color and the woman’s countenance. Based on the woman’s facial expression, along with the color scheme, we believe that the woman radiates a lot of attitude. The facial expression is perceived as careless, cocky and sensual. 21 Her gaze and positioning are interpreted as challenging. This is thus a traditional and stereotypical portrayal of women in marketing (Uray & Burnaz 2003). We interpret that the woman along with the text serves as a questioning of the norms traditionally seen existed about snus, #shredthenorms also suggests that the woman goes against those norms, by to snuff. Since snus has generally been male coded, the woman in the picture represents one norm-breaking. The red color seems to be used as a way to capture the viewer’s attention (Allbranded 2018). We interpret the red color as a female coded color and above all a sensual color. What we think that LYFT wants to convey with this image is snus is also for women. However, this is a paradox – while marketing a traditionally male product, is the product transformed into possessing what we consider to be stereotypical female characteristics (white, flavored, fresh and fruity). Those qualities have thus replaced the stereotypical males the properties (brown, tobacco taste, sunkissed). Thus, LYFT’s variant of snus is free from them traditional properties of snus, and then also free from what connotes masculinity. Thus becomes the paradox that in their marketing they call for breaking the norms – that women too can snus – but that this is done through a “female” product and that it is marketed with one color associated with femininity and sensuality. Based on this, we can read a dichotomy because it is the same product (snus) but with different properties for the male respectively female snus user.
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Even though the snuff box is in the foreground, it is the man in the background who catches first attention. We link the blue color to masculinity, continuing to inspire the color as well a sense of security. We believe that masculinity is something that traditionally also includes qualities such as security and guardianship. Furthermore, the image gives a cool feeling because of it is a cold blue color, the product name “Berry Frost” and that the man looks to be wearing wearing an outdoor jacket. The combination of the jacket, the color and the directed look connotes that he is outdoors and on his way somewhere: he is active, confident and exudes confidence. The active the portrayal of the man is a traditional stereotype of masculinity in different types of media (Mulvey 1975). The snus product itself is feminine (white, fresh and fruity), but this femininity we consider to be compensated by the fact that the image also contains some visual masculine characteristics, which can attract the male snus user.
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The picture as a whole is warm and bright. The objects seen in the image, such as the wreath, in combination with the surroundings, creates a feeling that the woman is in a festive context; an event or a festival. This context creates a feeling of joy, warmth and freedom. Furthermore, the different bright colors in the image also contribute to these feelings. The picture depicts one active movement when the woman has opened the can and holds a portion of snus in her hand. Thus creates the image a sense of movement, partly because of the woman’s action and partly because of the people who are actually moving in the background. The image is constructed in a way that inspires one feeling that the photographer has captured a real moment – rather than that the image would be 24 arranged. The woman’s gaze does not meet the camera and focuses on something that is not visible in the picture. However, the positive mood of the picture is not visible in her facial expression; which is serious and determined. We perceive the woman’s clothes, accessories and make-up as sophisticated and feminine. The the half-open shirt creates a feeling of sensuality, while at the same time she is relaxed and pleasing be dressed adapted for a hot summer day. The woman in the picture is a famous influencer, and this together with her appearance and clothes creates a feeling that it is women like her who are LYFT’s consumers, trendy women with status. In summary, it is clear that the picture connotes femininity – bright colors, makeup, flowers – in addition to snus, which is traditionally a male product.
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Apart from two of the images (Figures 5 and 7), the male / female dichotomy was clearly prominent in the pictures. A consistent pattern in all images analyzed is that the color scheme varies in relation to what the image as a whole represents for gender patterns. Figures 9 and 10 are a clear one examples of an opposite pair and a representation of masculinity as active and femininity as passively. Figure 9 focuses on appearance and is clearly aimed at women, and Figure 10 focuses on adventure and is clearly aimed at men. In the images that, for example, connoted traditional masculine features and activities, the color scheme also went in line with this, through the use of traditional masculine colors such as blue. The same observation was made in the pictures that connoted typical female features and activities, these images were characterized by bright colors. The women in the pictures were portrayed with a focus on appearance – for example body, clothing and external attributes. The man was instead portrayed as adventurous and active with less focus on the outside attribute. Furthermore, it was clear that the marketing portrayed female characters with different lifestyles and personalities, where the snuff box only served as a prop. Examples of characters and with associated lifestyles is among other things cool, sexy or sophisticated. Because the box is one Throughout accessories in the pictures also create a feeling that it is a natural part of the various lifestyles. Many of the pictures conveyed a social and fun atmosphere, and that the snuff box has one given place in such contexts means that it is also a given component in the positives contexts. Figures 5 and 7 instead show how masculine activities and attributes are applied to women, which means that women are perceived as breaking norms and thus cool, while taking pictures where the portrayal as a whole is feminine is perceived as sensual, sexy and fresh. Traditionally, snus has been masculine coded, but this marketing reformulates what it is snus is and who it is that should or can snus it. LIFT shows that snus can also be for women, and with #shredthenorms LYFT means that the norms around snus can be broken.
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The two different focus groups differed through their experiences of snus and in which extent they had encountered LYFT’s marketing, but in addition to this, the two groups had clear common perceptions of LYFT’s marketing. Therefore, a joint was made thematization of both interviews. General perceptions of snus involve the respondents’ own perceptions and experiences of snus in general. In both groups, all respondents were of the opinion that men “always” have snus, while women’s snus consumption has become clearer and increased explosively in recent years time. Furthermore, all respondents in the different groups had a relatively definite opinion about which snus brands could be considered “girl snus” and “boy snus” respectively: brown, traditional snus was considered a product for the latter group, while white snus was considered a product for it earlier. From what emerged during the interviews, it can thus be concluded that snus today is one product for both men and women, but that there are masculine and feminine variants of the product. Another interesting aspect is that women’s consumption of snus was considered to be more of a trend other than men’s consumption of snus. Furthermore, some respondents born in 1994 said that above all, girls were born later than those who use snus the most, something that they linked to that in younger ages can be seen as trendy – in the same way that cigarettes were considered cool when the respondents themselves were at that age. The category Selling emotion and lifestyle refers to how the respondents perceived LYFTs marketing. Both groups agreed that the snuff box was not really in focus marketing – the focus was on the person who snus rather than the snus that the person snus. The respondents believed that the marketing thus created a feeling of who it is that snus is LIFT; what lifestyle a person who snus LIFT has, what his personality is, in which environments and contexts the person sniffs LIFT and so on. In summary, it can thus, it is stated that the respondents felt that the snus box was not really relevant to remaining context in the image, without it being more placed in different situations with different types of people. Therefore, a possible conclusion from this could be that those who are exposed to the advertisement buys a lifestyle (which includes LIFT), rather than buying the product itself.
The term “the male gaze” has been used as a complement to Yvonne Hirdman’s theory, to create a more nuanced understanding of how LYFT’s marketing is designed. The concept was coined by Laura Mulvey in 1975 and is based on the premise that the man is the bearer of the active the gaze of the woman in visual media. The woman acts there as the passive object and has also throughout history always been portrayed according to a clear stereotype in advertising – as one sex objects, which seem appealing to the male gaze. The result of the study’s data collection has shown that LYFT’s marketing is to some extent designed in the same stereotypical way. The women in the pictures are portrayed in a way that aims to attract many different types of female consumers, and by portraying different styles and different external attributes, the range is increased of recognition and more women can thus identify with the people in the pictures. How women are portrayed through LYFT’s images are thus to some extent multifaceted. However, one has overall theme identified through the results of the data collection – that the women, despite LYFTs attempts to refrain from gender stereotypical depictions, yet are portrayed as erotic objects on some pictures. That a woman can identify with such an image and possibly also be attracted to one This type of marketing, even though the image portrays her as an object, can be interpreted from the outside the concept of to-be-looked-at-ness. The concept means that the woman has the masculine gaze internalized. It is thus a form of identification of oneself as an object, and a desire in the female viewer to become like the woman in the picture, and thus a desire to become looked at through a male gaze (Mulvey 1975). Through this, a woman can be attracted by LIFTS objectifying marketing and possibly also attracted to consuming snus.
This study has treated women’s increased consumption of snus and the tobacco-free white the snuff LIFT and the marketing of the product. The purpose of this study has been to examine how LYFT’s marketing is designed on the company’s website and Instagram account, which main target group the marketing is aimed at, and whether women increased Consumption of snus can be explained by how LYFT markets its products. To try answer the study’s questions has a semiotic image analysis and two focus groups with image support implemented. The survey has shown that LYFT’s marketing is designed to mainly depict different types of women with different types of lifestyles. LYFT does this by portraying women in various roles in varying environments and uses, to varying degrees, classical stereotypes of gender and gender roles in their marketing. This by alluding to feminine qualities when women are portrayed and on masculine qualities when men are portrayed. Furthermore works the snuff box, by placing it on all the pictures, as a prop or an accessory. Therefore is not the snuff box to be seen as the centerpiece of the pictures, although it is certainly the underlying one the purpose of the marketing. Furthermore, the survey has shown that LYFTs main target group is young women. This is mainly through how the women are portrayed in the pictures. These perceptions were also strengthened by what emerged during the focus group interviews: “that is feels very much directed at women type ”(Appendix 2). However, marketing can also be aimed at young men, and more specifically at the “modern man” – a young, hip and conscious MAN. Overall, however, it can be stated that young women are the primary and most prominent the target group “… you know that it is girls who use snuff LIFT” (Appendix 3). Still can not the assumption of a correlation between women’s increased snus consumption and LYFT marketing fully confirmed. LIFT is a product that is barely a year old, which makes it for early to confirm the assumption that there is a strong correlation between the variables.
In summary, LYFT’s marketing is primarily aimed at a new target group: young women. The marketing is designed to depict desirable lifestyles where the purpose is to target the audience experience that by buying the snuff box, they also buy the lifestyle that is portrayed. Further The design of the commercial confirms many traditional stereotypical notions of women and men, and based on the theory of gender systems and gender contracts as well as the male gaze, are made visible also the dichotomy male female and becomes even more apparent. Furthermore, there is an indication of one correlation between women’s increased snus consumption and LYFT’s marketing. This speaks for itself that LYFT marketing is successful and that the target group can identify with the people which are portrayed in the pictures – despite the fact that the pictures partly depict women in a sexualizing and objectifying way. This can be explained by the theory of the male gaze – women have it male gaze internalized and thus also attracted to them by an objectifying marketing. LYFT also applies feminist values