(deep)fake it 'till you make it.
A project investigating the use of Deepfakes and Synthetic Media in advertising.
10 min read
What if you saw yourself in fashion ads?
Would you feel good about yourself?
Or perhaps this could be a bit daunting?
What are the ethical limits of
(hyper) personalising ads?
The why.
Back in 2021, Synthetic Media was still on the rise. Not many heard of it, but those who did were curious about how it could have developed. The term Synthetic Media refers to digital content (e.g. audio, video, images, and text) that is partially or fully generated, manipulated, or altered by AI.
Synthetic Media could be harmful when used maliciously because detecting the truth gets more difficult than ever - especially in relation to politics, journalism and pornography. With this project I wanted to push the boundaries of what could be socially acceptable and what not, understanding the technology's limitations within the advertising space.
My second aim was also to investigate the controversies of the fashion world, an extremely creative industry with a mindset often rooted in the past, still promoting unhealthy standards of beauty.
I thought, maybe if we found a way to replace perfect-looking faces and bodies, with our own ones, we could value our physical appearance more?
And potentially.. better resonate with the brands & products we see in those ads?
The how. Interviewing.
7 women, representing young consumers, sat with me to debate about Synthetic Media, Fashion and Advertising.
Majority of the interviewees were concerned about the fact that fashion advertising still portrays idealised skinny bodies and an unrealistic conception of beauty. Some argued that they rarely see how the average society looks like, ads frequently show either super skinny bodies or plus-size models, without including what lies in the middle.
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​Consent was a crucial word that emerged frequently, referred to as a necessary requirement to allow brands to personalise ads with their audience. I also gathered a general frustration about advertising, especially in relation to the amount of ads we're exposed to every day. Some argued about the lack of creativity and relevance with the audience. ​​​​​​​​​​
The how. Prototyping.
Based on these insights, I experimented with some scenarios to test with the participants of the workshop and understand the ethical limitations of using this technology in advertising.
I created 3 prototypes, which gradually intensified the use of Synthetic Media.
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Prototype no. 1
This prototype evolves from the insight that the fashion industry still shows a lack of representation and practicality in their ads, as many find it difficult to imagine how garments could fit an average, more realistic, body type.
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Using the Deepfake technology with a software called DeepfaceLab and a basic knowledge of coding, I created deepfake videos swapping the faces of models with the faces of my participants.
Prototype no. 2
The second prototype takes Prototype no. 1 to a further level, addressing the fact that participants often want to imagine themselves in the situations shown in such fashionable adverts. ​
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The prototype is a simple storyboard that gives context to the fashion ads we see outdoors. It does this by adding elements that are part of our lives: situations, people, places, habits, attitudes, and passions.
1. Walking
2. Encountering the ad
3. Seeing the ad
Prototype no. 3
Prototype no. 3 isn't about billboards or bus stop ads, it focuses on the surrounding spaces.
It studies the integration between Synthetic Media and Mixed Reality technologies to transform our perception of what's around us.
The prototype consists of an audio track that guides interviewees through voice. To personalise the experience, for each participant I created a different version according to their personal tastes in fashion & music, by also considering the social groups they associate themselves with.
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In the audio track, I am assuming it's London Fashion Week, and the interviewees are wandering around the city. Suddenly, they encounter a mysterious venue that catches their attention. To access this space and join the experience, visitors would give their consent for the collection and re-elaboration of personal information for advertising purposes.
If they accept, magic happens soon. They immerse themselves in this synthetic reality where the unreal takes part in the physical world.
The what now.
Final insights
G.(1) described Prototype no. 3 as healthy advertising, emphasising that it allows audiences to choose their engagement without being bombarded by unwanted ads. Participants also expressed frustration with outdoor advertising, often finding it intrusive, so advertisers risk negative reactions if their messages are seen as too pushy highlighting the need to adopt healthier advertising.
The final interviews also sparked discussions about self-perception, revealing that high self-esteem can drive interest in advertised products. However, caution is necessary with deepfakes, as they may trigger critical self-reflection in some viewers. We would need a healthy approach to hyper-personalisation that respects privacy and avoids overly personal portrayals.
Plus, as the physical compete with e-commerce, Prototype no. 3 could enhance in experiences by combining digital try-ons with personalised, uplifting environments. G(1) noted the positive impact of such experiences on mood and purchasing decisions.
The study highlights the importance of human-centered communication in hyper-personalisation, encouraging brands to involve consumers in the ad creation process.
