Historical visions of beauty: Part One
Kate mentioned in a recent blog entry how emotionally draining daily ranting is. I can entirely empathize. Part of the reason I love my job as a journalist so is because the section I cover and the stories I write are for the most part, very positive. I get to meet some of the most interesting and eclectic people who do interesting and eclectic things and then tell their stories and their passions to the public.
I’d love to report on only positive things on this blog, but unfortunately, it seems affirming stories of society NOT endorsing behaviors and values which serve to reinforce eating disordered behavior are few and far between. Meanwhile tales of discrimination against people based on their size, news of multiple and dangerous eating disordered behavior and the sad, sad stories of all the ways in which women hate and try to mold their bodies into a thinner, “better” aesthetic model are rampant.
Not to mention, reporting on eating disorders can be very triggering for anyone who’s had a disorder, regardless where they are on their recovery path.
So, I’m taking a few days off active blogging. In lieu of my comments on current events, I will delve into my handy dandy research notebook and present some historical information on all the various visions of beauty throughout American history. I start today with the Gibson Girl. Click on any image to see a larger version of it.

The Gibson Girl
Towards the latter end of the 19th century, the cultural perception of fat began to change from an indicator of wealth and health into something to be detested, slowly, and then more rapidly as the turn-of-the-century approached. The reasons for this are myriad and complex, but a short answer would involve the transformation of a previously rural, agrarian society into one of an industrial economy, marked by large cities and an influx of an immigrant labor force. For a more detailed explanation, see Peter Stearns’ Fat History.
As the economy shifted, so too did the aesthetic standard for women. The epitome of the new
“American Glamour Girl” was not to be found in a flesh and blood woman, but in the ink drawings of Charles Dana Gibson. This new goal of women would etch its way across class lines, creating a single homogenous ideal of femininity by 1900. As Gibson himself predicted, the Gibson Girl was to become, “The American Girl to all the world.”
The “Barbie doll” of the early 1900’s, the Gibson Girl was tall, with long arms and legs with a distinctly thinner figure than any other publicized image of female images in the United States. Featuring both the idealized look that women coveted, she epitomized the very essence of true womanhood – wholesome, demure, active, and carefree – “A Big American Girl,” as Gibson phrased it, in dedicating his 1896 collection of drawings. She was spunky and sentimental, down-to-earth and aristocratic and she appeared in drawings which captured with deft craftsmanship the themes of love, money, self-deception and social-climbing – values which her admirers also aspired to.
The Gibson Girl would become the first mass-marketed ideal image to appear in magazines and newspapers everywhere.
Women, desperate to achieve the S-curved posture of the Gibson Girl, responded to ads offering corsets promising the mythological carriage.
Advertisers sold women’s clothing, soaps and other feminine products on a mass scale with the Gibson endorsement appealing to women’s sense of inadequacy and inferiority. The Gibson Girl was so popular that women believed that by buying products with her name emblazoned on them, they could hope to emulate her in some regards.
Although no one could become the Gibson Girl (her proportions were impossibly proportioned), advertisers never ceased in their zeal to convince women of their need to try. A century later, they’re still succeeding.
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