Laws of Beauty: Exploring the Varying Standards of Female Beauty

We claim to be different individuals; we strive to be unique; yet we seek the same goals in life. A unified goal of all human beings is to find beauty; to enjoy it, to own it. Indeed, to each his own, but there seems to always be a unified major "theme" for what makes something beautiful. Naturally, we see a red rose as gorgeous; we admire the Mona Lisa for its magnificence; we idolize Marilyn Monroe as the sex symbol of all times (or at least most people still do). Even though Marilyn Monroe holds high regards in everyone's opinion, her style is definitely not that of the ideal contemporary "hot girl." The taste for feminine beauty has changed throughout history; from chalk-white to sun-tanned and from heavy-set to stick-like. There is no doubt that behind these shocking differences are related views of social standing, with beauty usually expressing wealth and high-standard lifestyles; and an undeniable connection to the liking of the dominating male population as they seek to satisfy their physical-and emotional-needs.

Ralph Waldo Emerson states, "We ascribe beauty to that which is simple; which has no superfluous parts; which exactly answers its end; which stands related to all things; which is the mean of many extremes" (Beauty Quotes). One extreme was observed during ancient times, mainly in Greece and Rome. Both cultures favored white skin, golden locks, and curvy bodies. They did not necessarily prefer heavy-set women, but they did admire full-figured ones. Women obsessed over attracting their male companions to the point that they used white lead to lighten their skin color. Additionally, they used different natural elements to enhance the texture of their skin and add color and definition to their faces (Kluth). The same guidelines for beauty were followed in Rome. They also applied a white foundation, but often used the not-so-deadly alternatives to lead: chalk and orris root. As in Greece, Roman women enhanced the flushed white complexion with red spices on the cheeks and black kohl to emphasize the eyes and eyebrows (Pointer).

Women in that region of the world were after the ideal image of "Aphrodite" in Greece, or "Venus" in Rome. Aphrodite/Venus was the goddess of love, beauty, and sexual ecstasy; all of which made her a perfect candidate for being the trend-setter at the time. Although Aphrodite's image was only an imagined one, artists and sculptors brought her to life with statues that emphasized her beauty and femininity. Here, obviously, the male factor was hard at work. The sculptors imagined the gorgeous goddess in a certain way and sought women of resemblance to the Aphrodite of their mind's eye. Women, therefore, developed a craze over perfecting their look to resemble the goddess of love to attract men. This craze seems to have been carried on through the gene pool to the period of the Renaissance.

The 16^th Century Renaissance era is perhaps the most popular period of time for its renewal and resurfacing of appreciation for the arts and concept of beauty. One of the most prominent writers of the time is certainly the ingenious Shakespeare. He mastered the art of poetry and devised what is known as the "English Sonnet." In all of his sonnets regarding love and beauty, Shakespeare highlighted specific physical features of his lover. She was white, pink-cheeked, with red lips, and firm and white breasts. In his Sonnet 130, Shakespeare describes his (horrendous) beloved:

My mistress' eyes are nothing like the sun;
Coral is far more red, than her lips red:
If snow be white, why then her breasts are dun;
If hairs be wires, black wires grow on her head.
I have seen roses damasked, red and white,
But no such roses see I in her cheeks;
And in some perfumes is there more delight
Than in the breath that from my mistress reeks.
I love to hear her speak, yet well I know
That music hath a far more pleasing sound...(Fiero)

The sonnet obviously stresses his view of feminine beauty. What was considered to be womanly and beautiful during the time of the Renaissance reflected the social standing of each female. A white woman with soft hair and vibrant facial features signaled nobility. Such characteristics showed that she has not lifted a speck of dust or had been out working in the field with the "commoners." Wealth, in this age, was the main factor influencing opinions on beauty.

The hype over white still continued up to the 40s, where we would have to pause for some time to examine the ever-lasting legend of Norma Jean Baker-Marilyn Monroe. In IT: A History of Human Beauty, Arthur Marwick notes:

[Monroe's] life epitomizes both the power and the tragic fragility of beauty. Her career points...ahead to the liberation brought about by the cultural revolution of the 'swinging sixties' whereby a woman could exploit the power of her beauty on her own terms. (p.185)

It was Monroe who paved the road for the growing demand for cosmetics and more skin-bearing than ever before; more white skin-bearing, that is. Interestingly enough, it was around then that Playboy was introduced to the market. For years to come, the standard for beauty was the natural look, but particularly blonde and extremely curvaceous.

The complete transformation of the sense of female beauty took place in the 80s, when thin and athletic were in style. The focus during that time was not so much on facial features and skin color, but more on weight. The ever-so-erotic Marilyn Monroe was by then considered fat. "Never previously an item of systematic public concern, dieting or guilt about not dieting became an increasing staple of private life, along with a surprisingly strong current of disgust directed against people labeled obese" (Stearns, p.3). Women went through rigorous exercise and extreme dieting plans to slim down, with some even depriving themselves of food for extended periods of time.

Some of the women of today's world are still occupied with the race for the slimmest body, but with much less of an obsession than that which had developed around the 80s. On the other hand, most women now resort to cosmetic surgery to refine their look. To be one of today's "hotties," a woman/girl would have to be tall, thin to full-figured (but not fat or chubby!), tan, and long-haired. The peasant/messy/girl-next-door look is definitely adored. That pale, fat woman from earlier times is simply recognized as "ugly." Now the focus is on everything; we are growing to be more demanding than ever. Eyes have to be seductive and piercing, lips should not be thin, tan skin, and-most importantly-full breasts and hips. Breasts and hips are to be lush and big, but everything else has to be well-toned, or even muscular. How can someone possibly control where their body is to loose fat and where to keep it? Very simple: loose all of the fat, tone all of the muscles, then walk in for a session or two (or three) of implants. Don't forget the padded push-up bra and that appointment to go get fried..err.. tanned! Victoria's Secret even recently came up with jeans to enhance the shape of the buttocks, somewhat similar to having a push-up bra built into a pair of jeans to give the butt that ultra-sexy lift! The only thing that does not follow a certain guideline yet is hair color; whichever looks best on a woman seems to be the rule nowadays.

Now that advanced technology is making everything reasonably priced, beauty and its maintenance are not so much regarded as indicators of wealth, but solely the effect of male opinion. The messy, active, and feisty look signifies a body full of energy and sexual health. It appeals to males who usually look for an exotic/erotic/energetic woman. The "cat-tish" look, representing a mix of femininity and mischief, embodies the ultimate aphrodisiac in the modern world. The lady-like appearance of past times is only appealing to a minority of today's male population, mostly composed of older men.

The intensifying development of cosmetics and cosmetic surgery industries testifies to the obsession of western society with beauty. This rage irreversibly links beauty to success, ensuring that fascination with physical appearance is set to continue for quite a long time, especially in male-dominated societies and career fields.

The perception that "beauty sells" became commonplace in business after 1920. Scholars have studied how manufacturers and advertisers have long used representations of beautiful women to sell specific products and to promote consumption-oriented lifestyles. The "beauty appeal" as a self-conscious commercial strategy went further by promising consumers the psychological and social benefits of better looks... Beauty and business may seem to exist in different domains but their relationship grows ever closer and more significant. (Peiss)

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Beauty Quotes - Quotation Guide. 16 Jan. 2006 .

Fiero, Gloria K. The Humanistic Tradition. 4th ed. Vol. 2. New York: McGraw-Hill, 2002. 494-496.

Kluth, Frederick J. Hairstyles and Cosmetics in Ancient Greece. 25 Oct. 1999. 16 Jan. 2006 .

Marwick, Arthur. IT: A History of Human Beauty. New York: Hambledon and London, 2004.

Peiss, Kathy. "On Beauty...and the History of Business." Beauty and Business: Commerce, Gender, and Culture in Modern America. Ed. Philip Scranton. New York: Routledge, 2001. 7-20.

Pointer, Sally. "The Roman Makeover." Page 1. 29 Oct. 2001. 16 Jan. 2006 .

Stearns, Peter N. Fat History: Bodies and Beauty in the Modern West. New York: New York UP, 1997.