Few perfumes were on the market as exemplified by the low number of advertisements and the relative lack of selection in the 1968 issues of Cosmopolitan. Lack of advertisements however does not necessarily preclude a low number of perfumes. The readership of the magazine dictates the types of products that are advertised within. Cosmopolitan has been considered to be a woman's magazine and writes for "the average woman" or the "COSMO" woman. Most of the advertisements were for expensive perfumes. Only one perfume visibly appeared to be inexpensive based upon bottle design/materials used. Perfume is depicted as a luxury item as exemplified in advertisements, particularly in Chanel no.5, Halston and Chantilly. Depiction as a luxury item indicates that perfume is not worn on a daily basis by the average middle class woman, but reserved for special occasions. In 1998, Chanel and Halson are both higher priced perfumes, Chantilly on the other hand has become an inexpensive purchase. Both Chanel and Chantilly are available at most drugstores (author investigation). Perfume names in 1968 refer to exotic locales, indicated travel with a conservative attitude predominating text and pictorial/visual representation

The bottles of 1968 were mainly designed to mimic geometric shapes, most often in the masculine form. They are predominantly either rectilinear and angular or rounded and cylindrical. There is only one figural bottles (Crepe de Chine). A correlation can be drawn between luxury and masculine forms based upon pictorial representation, (Appendix 2, 1968 Section) similarly the curvilinear form or feminine form is closely associated pictorially with romantic situations. The Chanel bottle shape predominant among luxury perfumes. The bottle for Chanel No.5 is based on an interpretation of a man's cologne bottle (www.vivelavie.com).

Classic scents including Tweed and Chanel no.5 are housed in rectangular bottles. Similarly, exotically named perfumes including Republique and Passport are contained in rectangular conventionally masculine bottles. Fragrances indicating sensuality (Possession, Tigress, Ma Griffe, Chanel no. 22 and Essence de Chantilly) were produced with rounded, cylindrical bottles, reiterating the connection between curvilinear form and femininity. In this rudimentary analysis, masculinity is associated with luxury or classicism and travel or adventure while femininity is associated with sensual images.

Both Tabu and Intimate carry sensual iconography and word association, but they are housed in characteristically masculine bottles (Appendix 2: 1968 Section), in contrast to the general trend where images of sensuality are housed in feminine bottles. These bottles may reflect a shift in perception or a growing liberation in women's sexual roles with women taking on more aggressive or characteristically masculine actions in relationships.

Tops are predominately cylindrical with the following exceptions Tweed, Elan, Chanel no.5, Intimate and Republique. Four of the corresponding bottles are of the masculine rectilinear form, while the Elan bottle reflects a feminine curvilinear form. Thus, irregular tops may indicate the possibility of a masculine formed bottle (more likely than a curvilinear form). There is only one visibly opaque plastic top on the Tabu bottle and only one metal top Maja is advertised.

The bottles of 1968 reveal gender associations between masculinity and luxury, wealth and travel, while femininity is associated with sensuality and relationships. There are indications of shifting gender roles, though at this point it appears to be a small movement in commercial ventures.
Next to Results Based on 1974 Advertisements