Professional Documents
Culture Documents
By
Adam F. Bailey
The New School for Social Research
________________________
*The author can be contacted at baila263@newschool.edu
The Beauty Problem
Bailey
The Beauty Problem and an Assessment of the Western Ideal of Female Beauty
Abstract
This paper attempts to answer the question "what is beauty?" The author argues that
nothing natural or man-made has beauty inherent in itself. Humans' conceptions of beauty are
defined by society. The main argument of this work is that beauty is primarily a product of the
habitus, leaving existential free will to explain individual differences in perception of beauty.
The second half of the paper deconstructs the Western beauty Ideal using the theoretical
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The Beauty Problem and an Analysis of the Western Ideal of Female Beauty
pleasing. But who decides what is aesthetically pleasing? Is Marilyn Monroe beautiful? Is the
Empire State Building? The Mona Lisa? What about the view from the summit of Mount
Everest, or Beethoven's Ninth Symphony? Most people would probably agree that these things
are all beautiful to some degree, but there will always be detractors. Thus, beauty is not
universal; nothing is inherently beautiful. Why, then, do we today still consider the ceiling of the
Sistine Chapel beautiful? Perhaps it is because past generations thought it was beautiful, and we
just accept it as such. But if beauty is socially constructed, how does the idea travel across
cultures and still carry the same weight? I think it is safe to assume that a Roman, Muscovite,
New Yorker, Nepali and Filipino would all have essentially the same reaction to the Sistine
Chapel ceiling. Every one of these people experiences beauty differently, yet they all have
How does one go about answering these questions? One could study aesthetics, and look
for common properties in things generally considered to be beautiful. But that is too
quantitative; part of beauty’s allure is its mystery. Talk of symmetry and continuity takes away
some of that mystery. My aim is not to look to the objects of beauty themselves, but into the
human mind and attempt to find out what makes us think certain things are beautiful and others
not. I also intend to deconstruct the Western ideal of human physical beauty in order to support
my argument. I hope at the end of this project to have developed a “theory of beauty” which can
be applied to any kind of beauty to aid in our understanding of how the concept works.
So, things are beautiful, but only because we say they are. No two people will agree
exactly on what is beautiful, and when they do agree, their reasoning will be different. Beauty is
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an opinion. But different cultures and generations often seem to have very similar opinions on
what is beautiful.1 Because of this generational and cultural similarity (if not because there is
any agreement whatsoever on what is beautiful), and because beauty is not inherent in any
object, we must assume that something exists in the mind that allows us to recognize and
experience beauty. Differences in opinions regarding beauty are defined by one’s cultural milieu
and personal experiences. That is not to say, however, that if environment and experience did
not factor into a person’s understanding of beauty, everyone would have the exact same ideas
about what is beautiful and what is not. That could not be further from the truth. Even if it were
possible for two people to live in the exact same environment and experience the exact same
things in the exact same way, their ideas would still form independently, because, to paraphrase
THE PROBLEM
The principal dilemma in aesthetics is that of defining beauty. Aristotle had this to say
on the subject: “the chief forms of beauty are order and symmetry and definiteness” (quoted in
Synnott 1990:614). It is my contention that there are no specific qualities that will put an object
into the category of beautiful things, and that aesthetics is wrong in trying to assign specific
criteria to beauty. One’s sense of beauty is very personal, and no concrete definition could
Personal as it may be, a person’s sense of beauty is also inextricably linked to the society
in which they live, to the world society at large, and to history. Therefore, the concept of habitus
is the most appropriate way to make an attempt at explaining how we recognize beauty.
1
Of course, there are vast cultural and generational differences in perception of beauty as well as striking
similarities. I will address these cultural and generational differences later in this work.
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objectively ‘regulated’ and ‘regular’ without in any way being the product of obedience to
decisions, their likes and dislikes, and explains their actions. A person’s habitus is in part based
on their environment, and, as Bourdieu argues, their social class, and is modified by their
individual experiences. Because a major part of habitus is collective within a society, it explains
why so many people have similar ideas on what is beautiful. The habitus produces regularity; it
is because of the habitus that people generally agree on what is beautiful, not because any object
Anything man-made cannot possibly have inherent beauty, because in being man-made,
an object is conceived of and created by a human who was influenced by his own habitus and
sensibilities, and any beautiful man-made object likely went through several not-so-beautiful
iterations before reaching its ultimate, “beautiful” finished state. But even natural things with
beauty are the products of society and habitus. There are so many humans in the world that the
physical attributes of some are going to conform to the collective ideal of physical beauty out of
sheer chance, but, as it is with all beauty, it is impossible to quantify and to prove that there is no
pattern to the existence of beautiful human beings.2 As for scenic vistas untouched by human
hands, such places are so seldom seen in modern society that they are bound to be considered
beautiful if only due to their rarity. That is, many people do not experience grand scenic vistas
on a daily basis and therefore will experience their beauty on a different level than would
2
The line “Was this the face that launched a thousand ships?” (in reference to Helen of Troy) from
Marlowe’s The Tragical History of Doctor Faustus has spawned a sort of folk measurement of beauty
called the millihelen, or, the amount of beauty it takes to launch one ship. This of course has no scientific
validity whatsoever, and for our purposes, serves as an illustration of the futility in attempting to quantify
beauty.
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someone who, for example, lives in the Rocky Mountains. I discuss this idea in greater depth
below.
Elaine Scarry (1999), in her essay “On Beauty and Being Wrong” offers her own
interpretation of beauty. She ends up essentially agreeing with Keats’ “Beauty is truth, truth
The beautiful, almost without any effort of our own, acquaints us with the mental
event of conviction, and so pleasurable a mental state this is that ever
afterwards one is willing to labor, struggle, wrestle with the world to locate
enduring sources of conviction – to locate what is true (P. 31).
Beauty and truth are not exactly one in the same, but they do work in tandem. Scarry says that
seeing something beautiful makes a person want to replicate its beauty, whether it be by drawing,
writing, or by simply staring at the beautiful thing as long as possible. She also says that
beautiful images cause us to look for precedent, to ask ourselves if this is the most beautiful thing
we have ever seen, and challenges us to be certain of that fact before claiming an object’s beauty,
lest we end up making an error. It is the incitement of longing for the truth (truth in this context
being the most beautiful) that dominates Scarry’s argument of the effect beauty has on the mind.
As compelling as Scarry’s argument may be, she makes a crucial error in her assessment
of what beauty is. She presumes beauty to be inherent in objects. While she acknowledges that
cognition is required to recognize beauty, she seems to take for granted that beauty is something
recognizing beauty in objects that have none, or not recognizing the beauty in a beautiful thing.
The entire idea that it is possible to err in recognizing beauty takes for granted that beauty can be
and is inherent in objects. Here, she explicates the “error” of not recognizing an object’s beauty:
In [this] genre of error a beautiful object is suddenly present, not because a new
object has entered the sensory horizon bringing its beauty with it but because an
object, already within the horizon, has its beauty, like late luggage,
suddenly placed in your hands [emphasis added] (P. 16).
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She does not even acknowledge the option that beauty might not be inherent in objects. She
simply accepts that things contain beauty in themselves, and it is an error of mind when we do
not recognize them as beautiful or if we recognize false beauty in an object. This is of course,
metaphysical quality such as beauty within its concrete existence. Objects are what they are,
nothing more, and nothing less. A painting, a book, even the human physical form contains
absolutely no abstract qualities such as beauty within itself as such. Any such qualities are
assigned to an object by humans, and these qualities gain their meanings via cultural
transmission.
-Throughout history
-Within a culture
But there are vast cultural and generational differences in opinion regarding beauty as well that
must be explained. I will illustrate with the example of the human physical form, as this is where
such differences are most apparent. The human form is arguably the most common visual
stimulus for humans in most cultures, save perhaps for those primitive cultures where nature is
likely a more common stimulus than are other humans.3 In the Western world, especially in
large cities, people are presented with many examples of many different human forms on a daily
3
I submit that because the populations of these cultures are greatly smaller (and homogenous), and they
have little or no exposure to Western media such as television and film, where heterogeneous human
forms dominate, that their physical environment may be a more common visual stimulus than
differentiated human forms.
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basis. This tremendous amount of visual stimuli is what sets in motion cultural differences of
opinion regarding beauty. As it is true with any other form of beauty to which one has large
amounts of exposure. For example, a musician will find minute details in a given piece of music
beautiful, being able to pick out these small details because of his training, whereas a non-
musician, while still just as able to find the piece beautiful, will be far less likely to appreciate
the piece in the same way. Habitus is far less of a factor in explaining one’s opinions on beauty
in an area in which a person is more knowledgeable than the average person. Their education
and exposure to a given type of beauty gives them a familiarity which allows them to see a given
subject differently than would a layperson, and allows them to see beauty in places where the
History also accounts for difference of opinion regarding beauty in the human form.
Aside from changing style and fashion, humans simply look different now than they did several
hundred, or even fifty years ago. Partly due to advances in medicine and nutrition, the bodies of
humans develop and mature differently now. People in general are taller, and women are
thinner, although the latter may have as much or more to do with the cultural ideal of beauty than
with better nutrition. In comparing visual depictions of beautiful women from different
generations who fit the cultural ideal of human physical beauty in their respective generations,
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Figure 1
Figure 2
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Figure 3
Above are three depictions of female beauty. Figure 1 is Botticelli’s Birth of Venus,
painted around 1483. Figure 2 is Marilyn Monroe, arguably the personification of beauty in
mid-twentieth century America. Figure 3 is Kate Moss, a present-day fashion model whose
image is very prominent in Western media. I chose these particular images because I feel they
are accurate representations of the societal ideal of female beauty for the time period in which
they were composed. Botticelli’s Venus is the heaviest of the three women, and her body is the
least shapely. She has small breasts and very long hair. Ms. Monroe is thinner than Venus, has
more prominent curves, larger breasts (made even more prominent by her attire) and shorter,
curly hair. Ms. Moss is rail-thin, has small breasts, and long, straight, unkempt hair. All three
do look similar, but the differences in their appearances are significant. These differences can be
wholly attributed to the different ideals of beauty in the time periods in which these images were
recorded. While all three women are beautiful, only Ms. Moss conforms to the early twenty-first
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The modern Western world has very convoluted, conflicting, and some would say,
artificial ideas regarding what constitutes a beautiful human. In this section I will examine the
Western ideal of human beauty and attempt to discern how this ideal formed and how it evolves.
The word “beauty” has immense connotations, most of which have been manufactured in
recent history. When referring to art, nature and other inanimate objects or to abstractions, the
word largely means the same thing: that the object or concept the word is applied to is appealing
in some way or another to the speaker. When discussing human physical beauty however, the
word takes on entirely different meanings. Of course, the simple meaning I just mentioned does
still apply, but oftentimes the meaning is deeper when discussing a human. This is likely
because of the fact, delineated above, that images of humans comprise the majority of our visual
stimuli.
When used in terms such as beauty salon and beauty products, the word seems to imply
that in going to this salon or using these products, one will become beautiful. These uses of the
word set a precedent for a kind of trivialization of the word itself, and along with it, the concept
of beauty. The word today is bandied about; many people give no thought to its real meaning.
For me, to say that someone is beautiful is to give them one of the greatest possible compliments.
True, many people use the word beautiful as the highest in a number of adjectives on par with
attractive, appealing, pleasing, and lovely, but far fewer truly understand the gravity of the word
precedent only those things which are themselves unprecedented” (1999:28). I am of the mind
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that the weight carried by the word beauty is similar only to that carried by the word love. Both
have complex webs of meaning and elicit a range of emotions from whoever speaks or hears
them, and both can be ecstatic and heartbreaking at the same time.
The modern Western ideal of human female beauty (hereafter referred to as the Ideal) is
perpetuated by celebrities, media and advertising. Its origins can be attributed to capitalism and
to the rise of the leisure class, as documented by Thorstein Veblen in his 1899 book, The Theory
of the Leisure Class. Veblen defines the leisure class as the highest social class of people, those
who do not perform manual labor in order to make a living. A key concept in his book is that of
conspicuous consumption. The leisure class has large amounts of disposable income, and so
they consciously seek out extravagant items to purchase, such as sports cars (albeit not in 1899),
mansions and designer clothes. They then flaunt these items as evidence of their wealth, hence,
conspicuous consumption. The portion of Veblen’s analysis that concerns us deals primarily
with fashion, but it can also be applied to the Ideal, of which fashion makes up a large part.
Until the mid-1800s, all clothing was custom made. Now, only the highest quality (or at
least, most expensive) clothing is tailored specifically for one person. Of course, custom tailored
clothing will fit a person better than anything purchased off-the-rack, and a good fit makes for
beautiful clothing. According to the ideal, beautiful clothing makes for a beautiful person. Since
the vast majority of Americans cannot afford bespoke clothing, and/or because they have a thirst
to consume massive amounts of clothing that no bespoke tailor could possibly quench, there are
many designers who produce ready-to-wear clothing that is very expensive (but less so than
bespoke) and highly “fashionable.” A cursory glance through any style magazine such as Vogue
(targeted to females) or GQ (for the male point of view) sends the message that in order to be
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beautiful, a person must have expensive clothing, and one must follow the trends in fashion,
which are dictated by these types of magazines in concert with executives at high-end clothing
designers and cosmetics companies. Veblen notes that no one argues that the clothing from
twenty years ago was inherently less fashionable than the clothing of today; the changing of
fashion is entirely in place to get people to guy new clothes every season. And so, capitalism is
A person’s weight also factors a great deal on whether or not they are considered
beautiful. Many of today’s fashion models are extremely thin, some so much that they look
emaciated. In fact, Kate Moss has been very controversial in part because of her extremely thin
frame. Despite this and many other controversies including stormy personal relationships and
alleged drug use, she remains extremely popular, having appeared on over three hundred
magazine covers over the course of her career which began in the early 1990s. Before Ms.
Moss’ rise to fame, fashion models were typically tall, statuesque and voluptuous, but because of
Ms. Moss, the 1990s and early 2000s saw a glut of waiflike models whose thin, unkempt look
was termed “heroin chic.” Currently, the waif look seems to be becoming slightly less desirable
as more celebrities and models are emerging who, while still thin, look healthy and not at all
emaciated.4 The pressure by society on young women to be ultra-thin is cited as a major catalyst
for eating disorders. A large part of this pressure stems from the fact that plus-sized models do
not appear in the ad campaigns of major fashion designers or on runways. Thin is indeed still in.
To get a closer look at the state of beauty in 2006, I consulted The New York Times Style
Magazine issue subtitled “Beauty Fall 2006.” The subtitle alone connotes that what is contained
inside the magazine is the current Ideal, and that it will only last for one season. I chose this
magazine in part because of the provocative title, and because New York City is the epicenter of
4
For example, the actress Scarlett Johansson, whose body more closely resembles that of Marilyn
Monroe than of Kate Moss, was named Esquire magazine’s “Sexiest Woman Alive” for 2006.
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North American fashion and beauty trendsetting. Almost everything in the magazine is hyper-
real and represents the loftiest, most impossible ideal of beauty, therefore making it an excellent
specimen for the kind of analysis I wish to undertake. Publications such as this are without a
doubt the source of the ever-changing Western ideal of human physical beauty.
The magazine’s cover (Figure 4) features the actress Evan Rachel Wood, with ultra-
stylized hair and makeup and seeming to proclaim that Ms. Wood is representing “The Next
Wave” of beauty. However, even the most astute fashion observer would admit that the look
seen on Ms. Wood would rarely, if ever, be seen outside a magazine photo shoot or fashion show
runway.
The content of the magazine is very similar. It is packed with advertisements for skin
care, perfume, cosmetics, underwear, and luxury goods such as watches and jewelry. There is
also an advertisement for slimming jeans that are supposed to “Flatten your tummy/Lift your
butt/Allow you to wear one size smaller/Make you look and feel younger.” Another, in the back,
is for a bra
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Figure 4
that “Eliminates bra bulge and makes you look 10 pounds thinner – Bra-vo!” Obviously, both of
these items are targeted at women who want to look thinner. These kinds of products perpetuate
the idea that to be thin is to be beautiful, a viewpoint which is made even stronger by these
One two-page Victoria’s Secret advertisement near the front of the magazine features
several nude supermodels and proclaims in large type at the top of the page: “THE SEXIEST
WOMEN IN THE WORLD WEAR ‘VERY SEXY’ MAKEUP,” “Very Sexy” being a line of
makeup sold by Victoria’s Secret. The advertisement perpetuates the idea that the women
pictured are the sexiest – and therefore most beautiful – women in the world. Sex appeal is
equated with beauty in the Ideal because of the eroticism present in advertisements such as this
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as well as in other forms of media including film and popular music, coupled with the taboos that
Past the advertisements, there is little real journalistic content in the magazine. Many
pieces are simply reviews of products, which serve essentially as more advertisements. One
particularly interesting tidbit is about a new digital camera made by Hewlett-Packard which has a
“slimming” function. At first, I thought this must have been a joke, until I confirmed my
suspicions on the HP website that it is indeed a real product. HP has actually developed a
camera based on the old saying that “the camera adds ten pounds,” which is of course,
completely untestable and silly. HP is using it simply as a gimmick to sell cameras, but if The
New York Times Style Magazine felt it was worthy of mention, it is significant. Because this
cameral allows photographers to alter images in order to make their subjects look thinner, it
makes yet another contribution to the idea that in order to be beautiful, one must be thin.
On cosmetic surgery and imperfection. Cosmetic surgery has become an increasingly popular
component of the Ideal. Such procedures are especially popular in the United States, where the
pressure to conform to the Ideal seems to be the strongest. The term “cosmetic surgery” refers to
a kind of surgery whose sole purpose is to improve the looks of the recipient. Of course,
“improve” is used as a relative term here, as cosmetic surgery can leave a person with unnatural
looking features. Cosmetic surgery is a subset of plastic surgery, whose original purpose was to
repair physical defects and injuries such as burns in humans. Recent years have seen an
expansion of the field to include strictly cosmetic procedures such as facelifts and breast
augmentations.
The prevalence of cosmetic surgery has normalized the idea that beauty must strive for
physical perfection, and that if one’s body does not fit into their own personal ideal of beauty
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(which, as we remember, is formed by their habitus, and acquires its meaning largely from the
Ideal) it can be “fixed” with surgery. One of the most controversial forms of cosmetic surgery is
female breast augmentation. This type of surgery is seen as being the least necessary, producing
in the recipient psychological effects similar to those of conspicuous consumption, even though
it is rarely obvious by sight that a woman has had the surgery. While women who have had
mastectomies can and do benefit from this type of surgery, the vast majority of breast
augmentation recipients have no physical abnormalities whatsoever. These women’s desire for
larger breasts comes from the idea that large breasts are sexually attractive and small breasts are
not. A Freudian analysis of why men like large breasts, while germane to this topic, is beyond
Several recent television shows such as Extreme Makeover, Dr. 90210, and MTV’s I
Want a Famous Face (on which teenagers undergo massive amounts of cosmetic surgery in
order to resemble a celebrity) are devoted to depictions of individuals trying to improve their
appearance (that is, trying to more closely conform to the Ideal), which in turn causes more of
the general public to be exposed to what this kind of surgery can do for one’s appearance. These
television shows bring cosmetic surgery to the forefront not only in people’s minds, but in the
popular culture generally, which in turn makes cosmetic surgery more and more inextricable
Recently, the ideal of surgical “perfection” has come under fire, and a sort of “anti-ideal”
has formed which finds imperfection to be beautiful. That is, in an age where cosmetic surgery
has become so popular that surgically achieved “perfection” is becoming the norm instead of
being so rare that it “[has] as precedent only those things which are themselves unprecedented”
(as Scarry says of beautiful things) some people today find imperfection (crooked teeth, smaller
breasts) to be the rare form of beauty, and assume that perfection is unnatural, thus taking away
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from the beauty a person would enjoy if their “perfection” was not surgically produced.
However, this kind of reaction to the Ideal is still the exception rather than the rule (if there are
Cosmetic surgery adds a new dimension to thinking about beauty. Before, a person’s
natural face was always on display, whether they liked it or not. Now, if a person does not like
one or another aspect of their body, they can change it with surgery. This leaves all human
beauty to question. If a person sees another person and thinks they are perfectly beautiful, they
are left to wonder if the person has had any cosmetic surgery. In a sense, cosmetic surgery
contaminates our ideas of perfect beauty. If the relationship between beauty and cosmetic
CONCLUSIONS
Beauty in all its forms is an enormously complex phenomenon whose true origins and
motives will likely remain hidden for all time. I have tried to offer a reasonable explanation for
how our minds recognize beauty, but I do not intend my argument to be the end of the debate. I
expect this discussion to continue until the end of humanity. My aim, therefore, is to aid in the
understanding of one of humankind’s most compelling mysteries. I hope I have achieved some
level of success in furthering the appreciation of such a beautiful concept. We are all slaves to
beauty; attempting to understand it in terms of its effect on the mind is the best we can do.
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References
------. 1984. Distinction: A Social Critique of the Judgement of Taste. Translated by Richard
Sartre, Jean-Paul. 1943. Being and Nothingness. Translated by Hazel E. Barnes. New York:
Scarry, Elaine. 1999. On Beauty and Being Just. Princeton, NJ: Princeton University Press.
Synnott, Anthony. 1990. “Truth and goodness, mirrors and masks – part I: a sociology of
------. 1990b. “Truth and goodness, mirrors and masks – part II: a sociology of beauty and the
Tonchi, Stefano, ed. 2006. The New York Times Style Magazine: Beauty Fall 2006.
http://www.nytimes.com/indexes/2006/10/22/style/t/index.html
Veblen, Thorstien. [1899] 1992. The Theory of the Leisure Class with an Introduction by C.
http://en.wikipedia.org/wiki/Kate_Moss
Zangwill, Nick. 2002. “Against a Sociology of the Aesthetic.” Cultural Values 6:443-452
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