In the context of gender, the selection of perfume bottles created by Armani also demonstrates that there is a distinct construction of identity based on gender to be found in something as simple as perfume. Partington (1996) states that many examples of perfume packaging refer to well-known images and cultural forms. Guerlain's Shalimar references the Taj Mahal while Revlon's "Krystle" references the television soap opera Dynasty (Partington, 1996).
At the same time, when one compares the image of the gold and diamond encrusted ladies' watch in the image series to the larger and less heavily ornamented men's watches it becomes clear that gendered design is at work. Rolex does in fact make 18 carat gold or platinum jewel encrusted watches for males but most men who wear a Rolex watch are unlikely to purchase one whose face is covered with Pave diamonds.
In the case of the Armani perfume bottles, even the names of the perfumes are deliberately gendered. There is nothing androgynous about these bottles or, one suspects, the scents they contain. Attfield (1996) states that studies of gender in material culture are now cutting across the relatively simplistic binary opposition which defines masculinity and femininity by means of division, biological truth, and hierarchy. However, at the same time the discourse presented in each of these images tends to affirm the contention that many marketing professionals continue to believe that men and women have different tastes and will respond to products that are clearly marked as "masculine" or "feminine."