In the beauty myth (1991), Naomi Wolf claimed that beauty is the ‘last, best belief system that keeps male dominance intact’. In this essay I will discuss the extent of the justification of this statement and reference some contemporary visual culture from 1990 to present day.
The feminist movement that began in the 19th and early 20th century and came in the form of waves, the latter most recently in what is described as the fourth wave in 2010. Each wave dealt with a progression of issues fighting for the rights of women from the woman’s right to vote, sexuality, the right to abortion, to equal rights and the general empowerment of women. Although the feminist movement gave women a certain amount of physical and political freedom, it can be argued that the misogynistic standards of beauty today keep women in a mental and emotional prison or repression of their own making, in the form of mental and physical pressure to be beautiful, potentially creating a further impossible set of standards on modern women and the next generation. The idealised woman that is pushed onto female society today via social media, magazines and TV shows such as the X factor and keeping up with the kardashians.
These contemporary programmes have created an unattainable image construct that is putting immense unrealistic pressure on females today. The effect this is having on society can be seen manifesting in females competing for the male gaze which unfortunately may mean that patriarchy is still alive and well today and has simply evolved. I will also discuss the possibility of the beauty myth as a response to the movement that may have simply pushed patriarchy underground or into the subconscious of the patriarchal society, referencing the article by laura mulvey ‘Visual Pleasure in Narrative Cinema’.
‘Male dominance’ as described by Wolf could be used in society as a ‘political weapon, demonstrating the way the unconscious of patriarchal society has structured film form.’
( Laura Mulvey visual pleasure in narrative cinema 1975). These concepts have progressed at high speed into the current standards and tactics of modern visual culture. Mulvey states that “ An idea of woman stands at lynch pin to the system; it is her lack that produces the phallus as a symbolic presence, it is her desire to make good the lack that the plallus signifies.” The phallus references the symbol of male dominance and therefore the females lack of this has forced the beauty myth to rear its phallic head among female society used in consolation of this, using beauty as an equal form of power, yet in turn further objectifying the female. The image seen in fig 1 below demonstrates how the 2020 grand national set in Liverpool has objectified the female to the extent that her presentation of herself is somehow more important that the event itself.
The phallic position of her body central to the composition and feminine associated pink colour choice of the outfit, against her heavily made up face and hair projecting a direct gaze, challenging the viewer, are a classic modern example of the beauty myth and evidence that the female is responding to the male dominated sport of horse racing, and is now unconsciously competing with not only the male dominance but the horses in the event, striving to outshine all of the other females and attract the gaze of the whole world.
During the creation of the contemporary TV phenomenon that was ‘The X Factor’, seen in fig.2.
Jesy Nelson, a contestant and winner on the show, described in the BBC documentary ‘Odd One Out’ how she felt she had to conform to the beauty myth of contemporary beauty standards. She talks about how the pressure to be thin caused by online bullying from fans of the show forced her to stop eating in a bid for the bullying to stop. The show itself projects forward an ideal image of both male and female but we will focus on the female perspective of Nelson, the ideal performer has it all, she has the “X” factor.
What is the X factor? The Oxford dictionary states “a noteworthy special talent or quality”. This image is then projected onto the rest of society creating unrealistic expectations of the current and future generations. The unique experience of being on the show gives the contestant a complete makeover, one that will ultimately benefit the music industry sales. The presentation of these ideal “thin” celebrities further fuels other economic industries such as the weight loss industry. “That there is an economic aspect to behaviour surrounding body weight would hardly be surprising. A recent business week article (armstrong and mallory 1992) reported that U.S. companies had 1991 sales of 8.4 billion in products for serious dieters” – The economic reality of the ‘beauty myth’( economic differentials by body mass). – the University of Wisconsin
Claire Granlund·
This editorial by Claire granlund just captures today’s beauty standards impeccably, sadly women’s faces have become a commodity and as a result of the aesthetics beauty industry women are literally becoming like clones of each other in the quest to stay youthful.
In conclusion to my research on the quote ‘last, best belief system that keeps male dominance intact’ has left me with some confirmation that the beauty myth belief system, potentially created by the feminist movement by forcing patriarchy underground, has created even further inequality within the female societal structure by creating further impossible expectations of modern and future women. This ultimately keeps the male gaze and male dominance intact simply in a covert way so as to still have its patriarchal needs met. This simply has meant that now women strive to be exceptional mothers who are stunning, slim and are strong business women also, an impossible task without mental and physical health implications.
CENTURYFOXX 