In today's world, women face a hidden cost due to their gender, known as the "pink tax." This term refers to the extra charges for products and services marketed explicitly to women. From essential items like razors and deodorants to menstrual products like tampons and pads, women often pay more for similar products than men. This economic burden extends beyond finances; it highlights the systemic gender inequality embedded in society.
Photographers Diana Zubak (@dijadna) and Ingeborg Reichel (@mali_mracnjak), a duo by the name of 35 Analogue (@35_analogue) use visual media, mainly analogue photography, to explore these issues and the intersections of femininity, identity, and culture. Their work critiques the systems that perpetuate inequality, shining a light on the unseen struggles associated with the pink tax, which manifests in various forms and affects women globally.
Despite being functionally identical, everyday items aimed at women, like razors and deodorants, frequently cost more than those marketed to men. Menstrual products, essential for women's health, are often disproportionately priced, too. For example, in the United States, a pack of women's razors can be up to 13% higher in cost than men's, while in the UK, women's deodorants can be 37% more expensive. Haircuts can also fall under the pink tax, with women often paying more for similar services.
This gendered pricing reflects societal attitudes where femininity is commodified, assuming that women should incur higher costs for the same goods. In Mara Altman's article "Yes, Marketing Is Still Sexist," published in The New York Times, she discusses how marketing continues to target women with higher prices and advertisements based on outdated cultural stereotypes. These marketing strategies reinforce the notion that femininity entails a more significant financial commitment, suggesting that women's preferences are inherently more specialised and costly.
Ingeborg Reichel
© Ingeborg Reichel
One notable image from Zubak and Reichel's photography features a pack of cigarettes with tampons inside them. Tampons are a basic necessity for women, while cigarettes are marketed as a luxury. This contrast highlights how society commodifies women's essential needs for profit, emphasising that even vital feminine health products can be subject to consumerist whims. The juxtaposition emphasises that women are not just facing higher prices but are also exploited financially over their essential needs. This imagery reflects the reality of the pink tax, showcasing how products crucial for women's well-being are often disproportionately priced. Zubak and Reichel's critique of societal norms and gendered marketing through this image calls viewers to recognise the commodification and overpricing associated with femininity.
Cultural and media representations further entrench the pink tax by reinforcing specific, gendered ideals about femininity. Marketing often utilises pink packaging and floral motifs, associating femininity with costlier, delicate items. This cultural construction shapes consumer expectations and influences perceptions of what is appropriate for women. Consequently, this results in a pricing structure that treats femininity as a luxury needing monetisation. Zubak and Reichel's work disrupt these cultural stereotypes, revealing how media and advertising reinforce gendered pricing structures. By photographing everyday objects through minimalist and abstract compositions, they spotlight the hidden costs of femininity and the societal expectations placed on women driven by consumerism.
Another significant image in Zubak and Reichel's work shows the shadow of a hand holding a mop, where the mop's string resembles a tampon string. While these images critique societal norms, they also urge viewers to consider the broader significance of gendered pricing and the commodification of feminine identity. The deep-rooted gender inequities reflected in the pink tax demonstrate how consumerism exploits women.
Diana Zubak
© Diana Zubak
Zubak and Reichel's photography serve as art and a powerful commentary on the daily systemic issues. As awareness about the pink tax grows, people are beginning to question these practices in retail and marketing. Activists and organisations advocate for more equitable pricing practices that challenge the status quo. The narratives crafted by Zubak and Reichel contribute to this growing discourse, providing visual evidence of the financial inequity's women face.
In conclusion, the pink tax is a tangible representation of more profound societal inequalities linked to gender. Through the evocative lenses of photographers like Diana Zubak and Ingeborg Reichel, the hidden costs of femininity are revealed, exposing the exploitation ingrained in consumerism. Art like this can urge society to re-examine how gender influences pricing and encourages a movement toward equity in the marketplace. We can dismantle the barriers perpetuating inequality by addressing these issues and striving for a more reasonable economic landscape. The role of the audience in challenging the pink tax is crucial, and their engagement is a significant step towards a more equitable future.