Together, integrated, they create not a sum of the meanings but a new whole. Giacomo Festi, Lecture, UNISG Colorno, 2010.  
	Let’s take an initial look at the ad, including denotative aspects. On the left is an artistic photo of a nude female figure. Although she is crouched, she is on her tiptoes and holds her legs with her arms. She looks up and away, a bit distant or dreamy, somewhat unclear, partly innocent, partly seductive, partly questioning. Her shoulder is tattooed with a flower, the same flower that bedecks the glistening bottle of Belle Epoque that sits beside her, and which her body faces. Her light flesh is set against a dark ground.  The bottle of Belle Epoque is large, shiny and moist with condensation. The bottle, which is distinctive and covered with artistic flowers, bears the French language, indicating the name, year and style of the Champagne. The eye eventually finds, in small typeface on the dark ground, the word “Unforgettable” (not visible in this photo) The dominant typeface reflects an Art Nouveau (Belle Epoque) style of the logo. 

	At first glance, the ad conveys simple sophistication, luxury, pleasure, some form of social connection, quality, possibly relaxation and elegance. The ad is about the experience of the consumer, not that of the producer. The terroir of the wine may matter because it is Champagne, but it is not referred to in the photos or figurative text (which here refers to the English language words appearing in the ad). Although this ad is somewhat serious in form, it is not about such serious, even dull matters as sustainability or methods of production. The sign intends to draw in the consumer, who is to enter into a relationship with the figures in the ad, and thus with Perrier Jouet Champagne, and thereby derive personal meaning.
	How did Perrier Jouet attempt to do this–to valorize its product? Using the semiotic square, the ad is about a lifestyle, dealing with existential values and subjective rebound.  The emphasis is on the consumer–the object–and his or her perceptions and reactions to the images and texts. This ad is not about technological values or price. The viewer will likely expect that the price is high, as the photograph will suggest, to an educated, sophisticated American audience. This is serious photographic art. The ad is also about taste and playability, again about the consumer. Taste implicates lifestyle and vice versa. The woman is not yet inside the bottle, as in the later ads, but is a subject of the ad. And the nude body with flowers “tattooed” on her shoulder is clearly not about the pragmatic or utilitarian.
	The ad is also about both the feminine and the masculine.  The body is obviously that of a female. Her skin is pale and appears smooth and soft. The flowers are also feminine.  But the Champagne bottle is bigger than the whole female body. It is tall, hard, glistening with moisture, presenting a more masculine sign. 