ing image of the ad, the woman's face. Immediately, attention is drawn to her lips and eyes. Her lips are covered by a bright red lipstick. Her mouth is slightly open, adding sexuality to the ad. Her left eye is covered by a gold eye patch that is attached to a gold headpiece. It is as if she is guarding herself from something outside of her control. Her right eyelid is covered in a sheer, yet dark eye shadow, which is accentuated with heavy black eyeliner. She is gazing away from the man standing behind her, perhaps into a mirror. However, she is not bothered by the advance that the man is making by opening her jacket to expose her collarbone. The figures are not making eye contact, adding to the mystery and sexuality of the ad. Looking through the figures' eyes, the attention of the ad is drawn to the body image of the two figures. The man is looking down at the woman's body while the woman gazes at a mirror to apply lip-gloss. Both of the subjects are concerned with the image they are portraying through Robert Cavalli's clothing. The attraction between the two figures is stimulated by the clothes they wear, not the people they are. This idea supports the pure sexuality of the ad, ignoring the true person and focusing on materialistic and synthetic values. It gives women a distorted notion that exotic female qualities hold priority in society.
             The clothing choice for the figures in the ad contributes to the female induction of submiss
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