I have selectively chosen to outline a small number of trends based on Appendix 1. For the purpose of classification, I define the term Classic shape to refer to geometric, rectilinear shapes. It is so defined because geometric shapes are simple, streamlined and easy to replicate. Classic form are (e.g. square, rectangular, rhombus) defined as masculine based on architectural theories and ideology of the mid 19th century. If the shape is curvilinear (e.g. round, spherical, vase shaped, heart shaped, egg shaped, oval), I define it as feminine, similarly based on mid 19thcentury architectural convention. Scrutiny of male cologne bottles revealed a lack of figural images in bottle designs thus these types of bottles are defined as feminine. There are three basic types of bottles, the classic (rectilinear), the romantic (curvilinear) and the figural (e.g. flowers, birds etc.).

In general, it can be stated that the number of perfume advertisements has increased ten fold when comparing the 1968 magazine with the 1994 magazine. Between 1950 and 1980 the number of print advertisements in fashion magazines doubled: more and more the success of a perfume depend on strategic naming, packaging and promotion to match the product's attributes to the consumer (Craik, 1994:167).The size of the magazine in general is about twice as large as it was in 1968 and the proportion of magazine devoted to article has reduced to 1/3. In short the magazine is composed mainly of advertisements in 1994. Irrespective of decade, all perfume bottles are made of glass and the tops vary in each and through all four decades from metal, plastic or glass with an increasing proportion of metal tops from 1968-1994.

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.

Before 1973, few women wore perfume on a regular basis (www.vivelavie.com). Perfume was considered a luxury item and women had a reverend attitude towards it. In 1973, with the introduction of the perfume Charlie, produced by Revlon. After the introduction of Charlie the gift giving market greatly expanded. The Charlie woman was modern and in charge of her life. This particular perfume was the first to aggressively market a 'type' of woman rather than a particular fragrance. Magazines should reflect an increased number of perfume ads to accommodate the growing market and a growing amount of 'masculine' traits to account for the 'new woman' as one who is in charge of her life. A general indicator of the heightened emphasis on sign values is seen in the growing number of imitations of designer products (Goldman, 1992:19).

The bottles of 1974 reveal gender associations between masculinity and being in control of one's life and luxury, while femininity is associated with sensuality, relationships and a new confidence and self reliance. There are indications of shifting gender roles in commercial or advertising ventures. Romance was a predominant positioning category for fragrances in 1970, but declined in 1979 to account for increased celebrity endorsements and designer labels (Goldman, 1992:45). The shift in advertising reflects a general increase in media coverage and increased icon status created by both celebrities and designers. The acceptance of 'type' advertising, first attempted in the Charlie fragrance was widely accepted and is a harbinger for increased use of iconographic images in package design and advertising and may foretell an increase in figural bottle production (a visual icon produced to house the product). In the 1970's advertisers tried to make the process of reading ads as transparent as possible but by 1989 ambiguous advertising was popular through the use of complex iconography (Goldman, 1992:3). 1985 magazines contain a new form of advertisement with scent inserts. Production of perfume inserts indicates that the market has greatly increased to the extent that there are many perfumes on the market, many new fragrances are entering and need an avenue to reach their target audience. With this increase in perfume production, iconography must be more closely associated with a particular product to create a form of brand identity. Thus, I expect to see an increase in figural forms and irregular or whimsical bottles.

Bottles in 1985 reflect a magnification of the trends found in the 1974 magazine advertisements. Bottle shapes are still predominantly rounded, and hence of feminine form. In fact, the once masculine rectilinear form is beginning to take on more of a gender neutral image iconography. For my purposes however, I will still refer to it as masculine.

While femininity is associated with sensuality, modernity and confidence, forms historically described as masculine or feminine occur simultaneously in many cases. The bottles of 1985 reveal gender associations and bottle design (form) decreasing. In the 1970's advertisers tried to make the process of reading ads as transparent as possible but by 1989 ambiguous advertising was popular through the use of complex iconography (Goldman, 1992:3). There are indications of shifting gender roles in commercial or advertising ventures. Opaque plastics are increasingly used as components of perfume bottles, indicating a rise in disposability and corresponding shift in status of perfume as luxury item to perfume as toiletry item.

Trends in the 1994 advertisements reflect the preceding two decades. There are many more perfume advertisements per issue. In fact, there are substantially more perfumes on the market, indicating market growth. Advertising agencies in the creation of print ads depends on three basic techniques: repeated brand name; emphasizing using more of the product than is necessary; and creating favorable image associations with the product (Scanlon, 1995: 204). Women are purchasing more and more perfumes on a frequent basis or receiving them as gifts. The purchased perfumes reflect an increased trend since the 1985 magazines of perfume as a daily cosmetic; to be used and coordinated with events and clothing. Perfumes, like makeup are correspondingly positioned in drugstores. 1994 magazines exhibited a new bottle that is completely opaque, in the Exclamation bottle, the product is sold exclusively in drugstores and similar priced venues. This bottle resembles plastic, but is composed of a glass base and reflects the whimsical, disposable nature of perfumes.

1994 bottles display the shift in status of perfumes from luxury items to toiletry items indicated by the marked increase and predominance of plastics and the significant increase in product selection/ advertisement in magazines. Gender is masked in bottles to a greater extent than it was in preceding decades. The newly introduced unisex fragrances are unanimously housed in the same type of container, a stylized alcohol flask or old fashioned medicine bottle. Manufacturers changed this traditionally masculine form and softened it (feminize it) by rounding the edges. This paper has primarily dealt with women's changing gender role. The introduction of unisex perfumes bring men's gender role into question. Are men becoming more feminine? Is this reflected in cologne bottle design? Does the same level of change occur in each decade for men's cologne bottles as women's perfume bottles?