After the previous week's unsurpassable masterpiece (the one that showed Whitney baking cupcakes), last week's CoverGirl commercial was a bit more ordinary, but still very beautiful.
The finest shot in the ad is the first one, which shows Whitney enjoying a quiet moment in her lovely apartment. Immediately evident is the aesthetic that has been the signature of these commercials: a subdued sensuality, with Whitney's position allowing the viewer a glimpse of her decolletage, and the fitted sweater defining the shape of her curvy arm.
This ad is more explicitly a cosmetics promotion than previous entires in this series have been. The premise here is that CoverGirl's products last all day, and that this is what a busy girl like Whitney requires for her hectic lifestyle, which has her rushing out of her apartment in the morning, and only returning in the evening.
A shot of the model about to depart shows off her buxom contours.
The wardrobe in the commercial is simple and practical, yet takes full advantage of Whitney's curvy figure.
Note the prominent view of Whitney's Elite
portfolio, reminding viewers of the truly extraordinary fact that she is the one and only plus-size model at the most highly-regarded agency in the world--literally making her "the elite plus-size model."
The second half of the commercial finds Whitney in various locations throughout New York. The "little girl in a big city" theme is always fascinating. Anyone who has followed their dreams into daunting circumstances can relate.
The director of these ads always finds locations in New York that are truly idyllic--much lovelier than the grim New York cityscape of 1970s crime dramas. In these commercials, we see the 19th-century city in all of its picturesque glory--a fittingly elegant backdrop for a plus-size goddess.
A lovely close-up exhibits Whitney's womanly curves. Note also her enchanting, wide-eyed expression.
The ads' cinematography is highly artistic. Observe the remarkable composition in this shot of Whitney en route to a casting: the striking gold wall, the dark tree and its shadow, the flat canvas of the sidewalk, and the splash of red of the model's handbag.
This view of Whitney hailing a cab caused a traffic jam in Manhattan, as dozens of cabs simultaneously veered over towards her, all of them eager to serve. Meanwhile, countless other motorists were involved in low-speed collisions, their attention diverted from their driving as they focussed on the buxom beauty.
A shot of Whitney checking her messages again shows off some interesting cinematography, with the white panelling and red-brick wall complimenting the colours of the model's handbag. Note too the display of Whitney's great legs.
Although these commercials favour the New York of the 19th century (notice the cobblestone street), it is a very clean version of that city, the buildings all restored to pristine newness, looking as they might have appeared when they were first built. The mixture of colours here, with the olive windowsill playing off against the red-brick wall, is very artistic, as is the dramatic shadow of the fire escape. The motorcycle is a contemporary element, but it is placed in the frame expressly to play off against the yellow of the cab and Whitney's golden hair, and to match the model's top.
Another shot of Whitney returns to the cosmetics theme. Note the gorgeous belle époque
buildings in the background. The roundness of Whitney's face is the key to her beauty, a characteristic that her hairstyle accentuates.
The final scene shows Whitney coming home late in the day, the sun gilding the streets, their golden glow playing off against her blue top (which offers one more view of her buxom figure).
While not quite as magical as previous ads in the series, this commercial is high on visual artistry, and still displays Whitney's lovely figure. We eagerly look forward to the next entry in this phenomenal CoverGirl series.
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