 

	Comparing the 2002 Nude Ad with both earlier and later ads highlights some of qualities and aims of Perrier Jouet throughout the changing eras in which the ads were used, and reveals semiotic differences.
	Recalling again the 1926 ad in the form of a typeset announcement similar to a formal, engraved wedding announcement, the 1980 Bottle Ad reflects the change brought by a dramatically broader and larger potential market. With the economic boom after World War II, the U.S. market would have expanded from the class of the wealthy, educated and initiated, to draw in a larger number of wealthy and a broader potential universe of “receivers”, to include the large “upper middle class”.	
	This 1980 Bottle Ad uses the photograph to support the representational and “instructive” and figurative text to convey information. The photograph shows an open green glass bottle of Champagne with the white flower artwork. The top of the bottle has hints of yellow reflection, similar to the color of the Champagne in the glasses. The tan cork with red metal top sits on the surface below. Two Champagne flute style glasses sit adjacent, half filled with Champagne, a correct level. A string of yellow confetti of the sort used at New Years’ Eve celebrations winds through this scene. The figurative text reads only “Uncork the Ultimate”, and the brand name.
	As noted, this ad is stolid, even boring. It says almost nothing about Champagne as a celebratory, happy drink, let alone conveying sensuality. It seems aimed at those who already know the wine. The name of the product is barely visible, the typeface is so small.
	At the time of this ad, wine was not yet popular in the US in the way that it was 20 years later and is today. The California wine industry was still young and imports were not nearly as common as they are today. Mixed drinks took preeminence among the more affluent and wine had not yet become widely understood. Champagne flute glasses were only beginning to be in wide use in the United States, replacing the coupe style used in prior decades. 
	While this ad takes advantage of new technologies of color photography not available in 1926, the photo remains strongly linked to the past in its formality and representational nature. In fact, the scene suggests a Dutch painting of the 17th Century. The photo is primarily factual, not fictional; literal, not metaphorical; realistic not idealized, at least for the target audience of those affluent enough to be able to buy this product. 

	The plastic is clearly not dominant here. The subject is the bottle and glasses. While they signify luxury, the ad evokes, at best, a restrained emotional response,  not an intense one as in the 2002 Nude Ad. The designer has not interjected himself between the object and the final photo, as in the 2002 ad, where the product itself seems subsidiary to the overall design and possible shock effect–and emotional reaction to–the nude woman’s body. 