Complexion vs. culture in a postmodern society and the failure of accurate representation in public relations messaging

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Complexion vs. Culture in a Postmodern Society and the Failure of Accurate Representation in
Public Relations Messaging
By
D’Ana Cymone Smith
A Thesis Presented to the Faculty of the University of Southern California Graduate School
In partial fulfillment of the degree
Master of Arts
Strategic Public Relations
University of Southern California
May 2019

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Dedication

This paper is dedicated to all women of color who search deep within each day to find the
strength to combat the day in a world that tells us only parts of us are beautiful—and never the
sum of our being. It is dedicated to the young women who will eventually raise young girls and
be fearless enough to teach them the power they possess. Most importantly, it is dedicated to
my superhero who made sure I always gleamed in a world that wasn’t ready to accept a little
brown girl like me.

Thank you, Mommy!

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Acknowledgments
I would like to extend a sincere thank you to my committee who believed in me when I chose to
embark on this project. You encouraged my thought process and challenged my ideas, only to
produce better ones.
Thank you to my friends and family who reassured me that this was possible when I thought
otherwise. I am grateful for the words of encouragement you sent my way. None of this would
have been possible without a strong foundation on which to stand.

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List of Figures
Figure 1: Bloggers Ronke Raji and Nyajouk Deng in a social experiment switching make routines _11
Figure 2: Psychologists Kenneth Bancroft Clark and a subject of his original doll test 13
Figure 3: Diagram used in the 2010 adaptation of the Clark Doll Test 15
Figure 4: Paper Bag Exhibit in the National Museum of African American History and Culture____17
Figure 5: Olay White Radiance collection 19
Figure 6: Olay Natural White collection 19
Figure 7: Dr.Dennis Gross Brightening Crème 19
Figure 8: Shiseido White Lucent Brightening Cleansing foam 20
Figure 9: Skin Laundry Brightening Serum 20
Figure 10: Dove’s Facebook advertisement 20
Figure 11: Dove’s Apology 21
Figure 12: Frida Pinto in a visibly whitened L’Oréal Ad 21
Figure 13: Beyoncé in a visibly whitened L’Oréal Ad 21
Figure 14: Kylie Jenner 22
Figure 15: Kim Kardashian 22
Figure 16: Young Native African American girl 22
Figure 17: Bloggers Emma Hallberg and Jaiden Gumbayan – both accused of Blackfishing 23
Figure 18: King Louis XIV in a ballet portrait 27
Figure 19: Margot Fonteyn Swan Lake 28
Figure 20: The New York City Ballet performing “Orpheus” in 1952 28
Figure 21: Misty Copeland’s UnderArmour Campaign 32
Figure 22: Indian Ballerina PIA SUTARIA 32
Figure 23: Asian Ballerina Yoko Ichino 33
Figure 24: Black Ballet Dance Company 34
Figure 25: Members of Alvin Ailey Dance Theater 35
Figure 26: Dance Theatre of Harlem company members 36
Figure 27: The practice of pancaking a ballet shoe 37
Figure 28: Basic Pointe Shoe for purchase online 39
Figure 29: Bobby Brown Setting Powder 41
Figure 30: Sonia Kashuk Setting Powder 41
Figure 31: Maybelline Setting Powder 41
Figure 32: KKW Beauty Nude Crème collection 42
Figure 33: Kim Kardashian West 43
Figure 34: Kim Kardashian West 43
Figure 35: Kim Kardashian West 43
Figure 36: Neutrogena’s best-selling Hydro Boost Hydrating Tint foundation 44
Figure 37: IT Costmetics Bye Bye Foundation 45
Figure 38: Make Up For Ever’s Ultra HD Foundation 45
Figure 39: Too Faced Born This Way Color Swatch 46
Figure 40: Too Faced Born This Way Color Swatch 46
Figure 41: Too Faced Born This Way Color Swatch 47
Figure 42: ColourPop Sculpting Stix collection 48
Figure 43: Fenty Beauty Foundation/Concealer swatch 50

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Figure 44: Fenty Beauty Setting Powder swatch 50
Figure 45: Fenty Beauty Stunna Lip Ad 51
Figure 46: Fenty Beauty Stunna Lip swatch 51
Figure 47: Fenty Beauty Stunna Lip Ad 51
Figure 48: Fenty Beauty Stunna Lip Ad 52
Figure 49: Fenty Beauty Stunna Lip Ad 52
Figure 50: Fenty Beauty Stunna Lip Ad 52
Figure 51: Fenty Beauty Foundation Finder Scale 53
Figure 52: Fenty Beauty Stunna Lip Ad 54
Figure 53: Fenty Beauty Stunna Lip Ad 54
Figure 54: Fenty Beauty Stunna Lip Ad 54
Figure 55: Fenty Beauty Killawat Ad 54

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Table of Contents

ORIGINS OF COLORISM
Roots in Slavery 9
Doll Test Experimentation ________ 12
The Paper Bag Test _______ 16
Skin Whitening Industry 18
Turn of the century Black-Fishing 22
THE ROLE OF PUBLIC RELATIONS IN THE EXACERBATION OF COLORISM
Code of Ethics _______ 24
Case Studies
Ballet ______26
Background of Ballet
Leotards, tights, and pointe shoes OH MY!
Ballet Dancers of Color
Unique and inclusive Ballet Companies
The Innovation of the Brown Pointe Shoe
Beauty _____39
Shades of Beautiful
Brands that Failed at their Inclusivity efforts
KKW Beauty
Neutrogena
IT makeup

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Make Up For Ever
The Naming of Dark Pigmented Products
Fenty
Why It worked
The Standard it has Created in Beauty
THE SOCIAL IMPLICATIONS OF RACE REPRESENTATION 55
The Responsibility of Public Relations
CONCLUSION 61
WORKS CITED 62

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Abstract
The journey to discovering your own beauty is often filled with trials and triumph. Now
imagine that journey is riddled with flawed representation, lack of acceptance, and internal
crisis which create a divide within your culture. Colorism helps to perpetuate all of the above,
and for a person of color, it can be a great detriment to the development of one’s self-worth.
Public Relations plays a hand in the continuation of a post-segregated reality by only
representing Eurocentric aspects of many cultures, diluting their differences to be more
palatable to a mass audience. In 2019, it is time for colorism to die out and to make way for a
new and more vibrant representation of all cultures. This paper will focus on the way in which a
deeply-rooted history of exclusion still plagues society today, present the power of inclusion,
and highlight the responsibility of Public Relations to make the important shift from one
position to the other.

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ORIGINS OF COLORISM
Roots in Slavery
The origins of colorism extend far beyond those of current day struggles. In many ways,
colorism is a tool of separation that happens internally between two or more races. From the
past translating to the current climate of representation, complexion matters far more than
ethnicity. It is the image which all parties see, and the criterion which all parties use to make
judgments. Though colorism causes a larger divide within cultures, it also creates a specific
hierarchy of acceptance in the observer. This concept can be traced back to the beginning of
the African Slave Trade era. Slavery is a concept that is intricately woven into the fabric of world
history, but the enslavement of the African people was entirely different from that of Greeks,
Romans, and many others. While many enslaved people of ancient history were acquired
through war, the enslavement of the African people came as a result of US farm owners seeking
laborers for a low cost. This led to the capture of African people who were then forced into
slavery—only to be treated no better than cattle. While the roots of slavery were not founded
upon complexion, slavery would later be the cornerstone for colorism as it is known today.
Colorism in America first played out on southern plantations where slave owners gave
preferential and favorable treatment to the enslaved individuals of a fairer complexion. African
American slaves of a lighter complexion were often the result of an inappropriate relationship
between the slave master and his slaves. The master would then bring that child into the home
to do domestic chores rather than the usual rigors of outdoor work. Though still denied their
fundamental human rights, house slaves (more commonly referred to as ‘house negroes') were
considered to be of a higher class than ‘field negroes'. This created systematic internal racism

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which is not only still very present in the black culture; it also affects the acceptance of black
people. For people of color specifically, colorism has had not only a psychological but also a
physical impact. For women of color, the image of any woman other than white women has
often been so unfavorable or so absent from popular culture that it breeds a dimension of self-
hatred and a desire for Eurocentric adaptation!
Although American colorism, more specifically concerning black culture, began as
separation and mixed-race children, in many other cultures such segregation arises between
high class and working class. In South Asia, this was often present in the caste system: those of
greater privilege often spent more time indoors, as compared with the working class whose
skin darkened as a result of working long hours in the sun. European colonization and racial
anthropologists solidified this practice. Representation helps to breed this idolization of white
skin when the portrayal of Asians is often summed up into one and presented as the lightest
version. Although South Asians have the darkest complexion of the all Asian cultures,
perception is everything and generally speaking, the image which modern society recognizes as
“Asian” usually matches the light complexion which is most widely observed among East Asians.
This tendency further fuels the “white is right” idolization. Far beyond the years of slavery, this
notion of ‘closer to white’ meaning ‘closer to acceptance’ still rings on. With Eurocentric
anecdotes being present in the most haunting ways, children's rhymes such as "If you're black,
stay back; If you're brown, stick around; If you're yellow, you're mellow; If you're white, you're
all right." And this issue is far more than black and white, and it's far more than a thing of the
past!

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Members of the Latin community experience colorism in ways very similar to the
experience of African Americans, as their classifications range from how little to how much
blackness they have in their racial makeup. Classifications are defined in terms of hair texture
and skin tone with groupings such as blanco, negro, trigueno, Indio, Jiabao, Moreno, Mulatta,
etc. While many cultures and ethnicities face colorism, the roots of this practice are found in
white supremacy through the social construct of race. Whereas race is created outside of
culture, colorism exists both within and outside of any given ethnic group. However, it all is a
result of Eurocentrism.

Figure 1
Bloggers Ronke Raji and Nyajouk Deng in a social experiment switching make routines

Eurocentric features have long been considered the norm of beauty standards, and for
many cultures, the adaptation of white features is a sign of more magnificent beauty. These
adaptations can range from permanent procedures to alter the appearance of an individual—
such as skin whitening creams—to temporary fixes such as hair texture augmentations,
cosmetic rakes to adjust hooded eyelids, or contouring to give the appearance of smaller whiter
features. However, in many more instances, colorism plays out internally in an ethnic war of
‘the better’ and ‘the worse’. In many cultures self-hatred is reflected in the form of internal
discrimination based on nothing more than skin color. This notion is only made worse in the

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media when only the lightest of one nationality is represented, and the fact the somehow
“mixed” has become a badge of honor because anything mixed with white is better than not.
Doll Test Experimentation
Many of the ways in which colorism has earned its place in history has a lot to do with
representation and internalized feelings of what is being projected in the media, film, and many
other avenues. What many fail to realize is that the absence of accurate and appropriate
representation opens the way for self-hatred and flawed self-identification; ultimately this is a
failure on the part of the PR department of many companies. The psychological implications of
flawed representation or lack thereof were first explored in the 1940s "Doll Test," conducted by
psychologists Kenneth Bancroft Clark and wife, Mamie Phipps Clark. The experiment was
conducted based on studies found in Mamie Clark's Howard University master's thesis, "The
Development of Consciousness of Self in Negro Pre-School Children," in which she further
analyzed the psychological implications of segregated schools. Mamie and her husband's
findings were used later in the Brown vs. Board of Education case. A sampling of about 300
children answered the following questions;
"Show me the doll that you like the best or that you'd like to play with."
"Show me the doll that is the 'nice' doll."
"Show me the doll that looks 'bad.'"
"Give me the doll that looks like a white child."
"Give me the doll that looks like a colored child."
"Give me the doll that looks like a Negro child."
"Give me the doll that looks like you."

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Results overwhelmingly showed that while white children have an apparent white bias,
black children have those same biases towards their own ethnic background, choosing the
white doll as more favorable in each question posed.
While the study later went on to change the trajectory of education for children of
color, it brings to light the possibility of children being taught self-hatred and improper self-
identification.

Figure 2

While the study later went on to change the trajectory of education for children of
color, it brings to light the possibility of children being taught self-hatred and improper self-
identification.
The original test was conducted almost 80 years ago when schools were segregated—
when the "white is right" emphasis was prominent. In today's society, the "white is right"
ideology is illustrated in a less than subtle, but not as direct form of messaging. This concept is
delivered to children either through lack of representation or the hierarchy of representation
based on one's skin color. In 2010, a similar study was conducted with shockingly similar results

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in what many consider a post-racial society. Child psychologist Margaret Beale Spencer was
commissioned by CNN to compose a study like the Clarks’ and to determine if these biases
were still present in the minds of children today. In a sampling of over 130 students in both the
New York area and Georgia, children were surveyed using similar questions. However, rather
than presenting them with one white and one black doll, the children were surveyed based on a
series of illustrations of children which represented different point on a spectrum of skin
complexion. The children in the study represented two age groups: one group of 4 and 5-year-
olds, and another group of 9 to 10-year-olds. Despite the age level, the results were quite
similar. As expected, the overwhelming majority of white children had a white bias: they
associated lighter skin with more positive attributes and darker skin with negative
connotations. The children of color did hold the same white biases, but to a lesser degree than
that of their white counterparts. As Spencer assigned meaning to her findings, she indicated
that she believes that stereotypes are internalized both from exposure to stereotypes in society
and from what is taught at home.
"All kids, on the one hand, are exposed to the stereotypes. What's really
significant here is that white children are learning or maintaining those
stereotypes much more strongly than African-American children. Parents of
color, in particular, had the extra burden of helping to function as an
interpretative wedge for their children. Parents have to reframe what children
experience... and the fact that white children and families don't have to engage
in that level of parenting, I think, does suggest a level of entitlement. You can

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spend more time on spelling, math, and reading because you don't have that
extra task of basically reframing messages that children get from society."

Figure 3

Are younger children at a greater risk because of flawed representation? Are they much
less impacted when taught cultural appreciation within the home? While black children are
adapting to the racist world they live in, white children continue to believe in the stereotypes
presented to them. Ultimately the children are the truest reflection of the adults raising them.
These findings bring to light the lapse in visual representations and beyond—
representations which are the important role and responsibility of Public Relations campaigns,
as it is the job of a successful campaign to create true and favorable messaging. As White
America constitutes the majority of PR decision makers, these deeply-rooted stereotypes are
perpetuated in all forms of representation. And while children of color may be resilient, their
confidence may begin to fade as they grow into adults. And after years of continuously being
made to see that you are not preferred image, it is only natural that that feeling would be
validated

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The Paper Bag Test

The findings of the Clark doll experiment—and those similarly structured thereafter— suggest
that such biases and stereotypical beliefs are instilled in young individuals. It is important to
remember that biases are taught, meaning that certain beliefs are either instilled or rejected by
the adults who are raising them. What is unfortunate is that history notes that modern-day
segregation is based on colorism both within and outside of a culture.
The most common practice of colorism within a single culture is the Paper Bag Test: a
form of racial discrimination based on colorism that compares an individual's shade of
complexion to that of a brown paper bag. This test was used in the 20
th
century as a form of
admission into many black social institutions, most commonly in sororities and fraternities.
Harvard historian Henry Louis Gates Jr. recounts his introduction to "Bag Parties" and how black
people's failure to dismiss this practice only resulted in the adaptation of even worse practices:
"Some of the brothers who came from New Orleans held a bag party. As a classmate explained
it to me, a bag party was a New Orleans custom wherein a brown paper bag was stuck on the
door. Anyone darker than the bag was denied entrance. That was one cultural legacy that
would be put to rest in a hurry—we all made sure of that. But in a manner of speaking, it was
replaced by an opposite test whereby those who were deemed ‘not black enough' ideologically
were to be shunned. I was not sure this was an improvement."
The practice of this test echoes the sentiments of the times of slavery and the
internalized separation. Slave owners used systems to divide those they enslaved because they
knew if all were unified, it could result in outrage against them. On the other hand, if they

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created strife among the slaves, it would keep their plantation more focused on their own
division. The continued practice of such separation just solidifies the ancient practices in the
form of modern day segregation.
The Paper Bag Test was used in many settings, but it is most noted as a means to
determine acceptance into sororities and fraternities on historically black college and university
campuses. In an editorial obtained from 1928, Edward H. Taylor, a black man of color and
sophomore at Howard University, published an article in the student newspaper, "The Hilltop,"
which exposed the fraternities and sororities for their practice of black-on-black
racism/colorism with the use of the Paper Bag Test. In response to the article, a fellow student
spoke of their distress regarding this form of self-hatred, going on to say the following:
"We are not so surprised when we hear such
rumors and reports about institutions of learning [which
are] owned, controlled and attended by white people,
but it certainly comes as a great shock and causes a
feeling of shame when we hear such news about Negro
colleges. At first glance, it would seem incredible that
Negroes themselves—the victims of ignorant prejudice
and discrimination because of color—should follow the
lead of the Nordics. The lightest Negro in the United
States, if known as a Negro, will be Jim Crowed as quickly as one
possessing no Caucasian ancestry. There is nothing in a white skin to
Figure 4

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gloat over and nothing in a black skin to be depressed about. It is character, intelligence,
and virtue that count."
The Paper Bag Test is just one example of the post-slavery society still echoes colorism.
These notions are only validated to white counterparts when people of color continue to feed
into the practices rather than resist them.

Skin Whitening Industry
After years and years of children and adults being told that “White is Right,” at some
point the message becomes more than a familiar phrase—it becomes, rather, a sentiment you
believe. This idea that melanin isn't beautiful has led to many extremist practices which only
further the notion that having fair skin is the only way to be beautiful. For many people, it is not
the admiration of white people they seek, but rather the hopes of fairer skin—as fair skin has
proven to be associated with greater desire and privilege. It is this idolization of white
perfection which has funded the billion-dollar industry of skin whitening.
Skin whitening dates back to the Victorian Age when women painted their faces white
to appear as pure as possible. However, the innovation of topical skin whitening products was
first introduced sometime during the ‘50s when whiteness was used as a selling point! In the
years since, the industry has become a global phenomenon. In spite of the fact that many
countries have taken the extra step to ban the import of bleaching products, they continue to
be sold in less than legitimate ways. Skin whitening isn't just for black men and women, either.
This industry is equally popular in both Asia and Africa, with products such as Unilever's Fair
and Lovely available across Asia, Africa, and the Middle East.

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Figure 5 Figure 6
Today these products are just as popular. The only difference is that now they are sold
as “brightening creams” for dull skin! Why is it that in a culture as enlightened as we are in
2019, a simple rephrasing has us so convinced that dull skin isn't the same as dark skin? The
images in the ads themselves consistently tell the story: bright skin is white skin. For example,
two of the four current Olay collections are dedicated solely to WHITER SKIN.

Brightening serums are as common as the average eye crème, but to see a collection of
products fully dedicated to the whitening of one’s skin isn’t as common in the U.S.

Figure 6

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Figure 7

Figure 8
And while the wording of the labels might be a bit subtler, the images in ad campaigns
are a bit more blatant in their racism. Take Dove's 2017 Facebook Ad which lasted on social
media for less than 24 hours. The 13-second advertisement featured a black woman, wearing a
flesh-colored shirt, smiling ear to ear. The woman removes the shirt to reveal a white woman in
the same attire with an equally pleased grin. That's it, nothing more and nothing less to add to
this extremely disturbing display of ignorant advertising.

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Figure 11
Figure 12
Figure 9

Figure 10
Although the ad was immediately removed, and Dove went on to issue a statement
saying “Dove is committed to representing the beauty of diversity. In an image we posted this
week, we missed the mark in thoughtfully representing women of color, and we deeply regret
the offense that it has caused.”
Skin Whitening in the beauty aisle is perhaps something not so common to everyone’s
scope, but we do all graze by the magazine section and see our favorite celebrity or artist on
the cover. Have you ever noticed the few people of color
that you see displayed? And depending on the publication,
has the cover probably been lightened? This is the new age
of skin whitening, and it’s happening in everything from
film, print, and even in Instagram filters which visibly
lighten skin. Olay is one of the few companies not afraid to show its fondness for whiteness;
L’Oréal is equally insensitive. The brand released two prominent advertisements: one featuring
Beyoncé and the other featuring Frida Pinto, both women were visibly lightened in their
separate campaigns.

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Figure 14
Figure 13
Figure 15
Turn of the century Black-Fishing
Even more alarming —and more harmful to the psyches of children of color—is the
current trend of white bodies receiving far greater praise for adopting black features than a
black woman would ever receive for her own biological characteristics. There are many
examples of this. For some time now, the following conversations have been echoing among
black and brown women: "Doesn't it seem like everyone has fillers?" "Where were these trends
when I was coming to terms with how big my lips are?" and "I feel like my lips, and my hips
aren't big enough now!" Isn’t it strange that until very recently, these thoughts and the
adaptation of black features were titled “Blackfishing”?
The new trends in cosmetic surgeries include body sculpting, filling, and pinching, which
suggest the idea that if you flirt with blackness, it will equate to success. You can dip your toes
in the black pond, but never fully submerge. You can be white and inject an unnatural amount
of fillers—achieving a look that is clearly associated with ethnic features—and turn your
"beauty" into a million-dollar brand: a brand that only can credit its success to black culture.

The disproportionality comes in when black women do not receive equal praise for the
assets with which we were born. Yes, one might argue that a black woman with lighter skin still
receives more acceptance than a woman of darker complexion, but the one who receives the

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most praise is the white woman who customizes her body the way we customize our Starbucks
order. “Hi, I'll take my fair skin with a soft honey hue, a pinch of the waist, a double shot of ass
filler… and triple the lip filler, with a side of textured hair that I can wear whenever I want.”
Good for them that their adaptation of blackness is as easy as a few select procedures. But
would you also like a double shot of our struggle or our experience of being villainized for our
skin tone? Would you like to be ostracized by your own culture, or made to feel that men of
your same race prefer women who look like a lighter version of you? Being black in America
means waking up each day and confronting the fact that the rest of the world only loves parts
of you—but not the whole you. It means that growing up—at least for a little brown girl like me
in a school and neighborhood that was all-white and a family of many cultures—the ONLY
acceptance of my black beauty was graciously and tenderly passed down to me by my biracial
mother: a woman who never identified as mixed, but always as black!

Figure 16
News flash to the people that see at the new beauty standards as a trend, these practices
are USED, BLACK, and BORROWED.
THE ROLE OF PUBLIC RELATIONS IN THE EXACERBATION OF COLORISM

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Code of Ethics
Many might argue that representation is not the responsibility of the Public Relations
professional. However, having taken a close look at the PRSA Code of Ethics, I would have to
disagree:
“The Public Relations Society of America (PRSA) is committed to ethical practices. The
level of public trust PRSA members seek, as we serve the public good, means we have
taken on a special obligation to operate ethically.”
The Public Relations Society of America has established a core set of values as a foundation for
those who work in the field. The purpose of these values is to guide PR professionals in the
decision-making process as they design and promote their campaigns. The values are as
follows:
ADVOCACY; We serve the public interest by acting as responsible advocates for those
we represent. We provide a voice in the marketplace of ideas, facts, and viewpoints to
aid informed public debate.
HONESTY; We adhere to the highest standards of accuracy and truth in advancing the
interests of those we represent and in communicating with the public.
EXPERTISE; We acquire and responsibly use specialized knowledge and experience. We
advance the profession through continued professional development, research, and
education. We build mutual understanding, credibility, and relationships among a wide
array of institutions and audiences.
INDEPENDENCE; We provide objective counsel to those we represent. We are
accountable for our actions.

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LOYALTY; We are faithful to those we represent while honoring our obligation to serve
the public interest.
FAIRNESS; We deal fairly with clients, employers, competitors, peers, vendors, the
media, and the general public. We respect all opinions and support the right of free
expression.
These are among the many values and principles which all working PR professionals
encourage, and which they pledge to uphold. Although diversity and accurate cross-cultural
visual representation are not explicitly stated in these principles, they are strongly implied in
their commitment to fairness, advocacy, and loyalty! These principles should undergird every
one of the current campaigns, promotions, and branding efforts we see in the modern world.
It is hard to understand how the very professionals who have such a clear list of rules
could so blatantly and consciously ignore them. It brings to question: Why does it appear that
the rules are being ignored? Does this reflect that this is their truth? Or their ideal perceived
truth? Is there a lack of diversity in the profession? Is there a lack of social consciousness
among those who are in a position to make executive decisions? Lack of representation in the
decision-making process at that level inevitably parallels a lack of representation in print media,
film, fashion, music and many more sectors. It is undoubtedly the role and responsibility of PR
professionals to present truth which is both fair and accurate. In terms of complexion, that
translates to all the many shades of the many cultures and ethnicities represented among the
consumers whom they target in their campaigns.
In the following case studies, I will take a look back at the history of colorism and the
complexion struggle which still plagues the industry today, and comment from my own

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personal experience as a black woman in America. From this, I will construct an easy-to-follow
outline for Public Relations professionals to consider before releasing any future PR campaigns.
Through the illustration of my brown skin forced into "nude" tights that were of a pink hue , I
will demonstrate clear examples of the lack of acceptance in the field of professional ballet the
implications that inadequate PR has on brown dancers and the dance industry as a whole.
Through the analysis of beauty brands that have created the space for equal representation,
and acceptance of all shades of skin, consumers and PR practitioners can better understand
why diverse and inclusivity should be the new normal of representation. While the intersection
of dance and beauty might not seem, like parallel practices, these two fields are the
cornerstone of where I felt most beautiful and where society’s definition of beauty that was
provided to me.
CASE STUDY ONE:

For this study, I will focus on the mainstream dance companies: American Ballet
Theatre, New York City Ballet, and The Royal Ballet. This case study will include the
representation of dancers of color, the idolization of fair complexion in ballet fashion, the
notion of “nude” tights, the lack of diversity in ballet which has led to the creation of many
comprehensive dance companies who give opportunities to people of color, and finally, the
innovation of the black pointe shoe.

Background of Ballet

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The origins of ballet are far from simple and while there are many diluted versions,
knowing the origins of ballet as a whole contributes to our understanding of ballet as it is
practiced and performed today. Ballet emerged during the 1500s in the form of an intricate
performance which involved little movement but rather focused on opulent costumes. The
style of dance gained much prominence through Italian noblewoman Catherine de Medici as
she funded ballet in the French court. De Medici continued the tradition of decorative
performances and festivals which led to the growth of Ballet de Cour, a form which included
dance, theatre, costume, and music: essentially what is
expected of ballet today. It wasn’t until about 100 years later
that King Louis XIV elevated ballet to an art form which
required great skill and practice. He himself practiced and
performed many ballet roles. Ballet shortly made its way to the
stage in the 1680s through its incorporation in the Paris Opéra.
By the mid-1700s, Jean Georges Noverre believed that ballet
could stand alone and thus he created ballet d'action, the
storytelling form that most ballets identify with today. The
19th century provided the art form with some of its most
recognizable pieces such as Giselle and La Sylphide. It was also
at this time that dancing en Pointe was introduced. The technique that is still practiced today
was erected in this time period. Elements such as extensions, leaps, turns, and more complex
footwork were all born in the 19th century and can be found in every ballet from that point
forward.

Figure 17

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Figure 18
Much credit belongs to George Balanchine, the founder of the New York City Ballet.
Quite arguably the father of modern ballet, he pushed against the status quo of the dramatic
ballet and created a program which emoted feelings and whose expression became an
extension of the music itself.

Figure 19

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Although the artistry and execution of ballet have changed slightly over time, the one
thing that has not changed is the illusion of perfection that the industry strives to create.
Unfortunately, history proves that brown bodies are not included in that illusion or reality!

Leotards, tights, and pointe shoes OH MY!

Ballet is half what you do, and half what you wear. From the tiniest tots in beginning
ballet to the principal dancer in a world-renowned company, the way you dress for the
performance (and even for practices) is equally important as what your body is able to do in
performance. To clarify, this is not an issue of who has the best leotard; this is, in fact, a deeply-
rooted set of rules that cannot be broken. In many other styles, dancers are given set guidelines
for the type of leotard that should be worn, or whether or not loose clothing is permitted or
restricted. However, in ballet, the class dress code is not a set of guidelines; they are rules tied
to the white history of ballet. In any given ballet class, the requirements typically specify pink
tights, pink shoes of some variation of leather or satin toe, shoes according to skill level, a black
leotard with no visible undergarments, and hair neatly tied back in a bun. To any dancer, this
isn't foreign, and for many, it isn't problematic, but it is the historical references which underlie
this code that make this ancient practice disparaging to non-white dancers. The origins of the
tights we know and see today come from a predominantly white history of dance when they
were implemented to create a façade of modesty.
“Austrian ballet dancer Maria Viganó shocked Parisian audiences when she and her
brother Salvatore performed in sheer white muslin tunics, her legs covered by flesh pink
hosiery which gave the appearance of nakedness. At the time, the Paris Opéra banned
"nude pink" due to social concerns, but by the end of the 19th century, pink tights had

30
become the norm. The intent was to have both the hosiery and shoes disappear, and
back then, pink was as tastefully close to nude as they could get (Howard).”
The issue lies in the history of the practice rather than the repetition of it. Ballet is
considered an art of perfection no different than gymnastics. As the concept of perfection goes
hand in hand with the desire for uniformity, if a dancer were to appear on stage in natural
brown tights, it would cause a distraction from her peers in the corps. When on stage, a dancer
is to be the image of perfection: her shoes should be flesh-colored to give the appearance that
she is floating, and her tights should be "flesh-colored pink" to enhance the elegance of her
turns and developé. It's quite a contradictory message that you should appear as "nude," when
for some dancers, their version of nude is a departure from uniformity.
Tights are a sensitive subject for many dancers of color because they are the one piece
of the uniform which crosses into almost every style of dance. From jazz to modern, Broadway,
and ballet, nearly every dancer has been confronted with the notion of nude. There are many
rituals in dance that are foreign to anyone other than a dancer, but the challenge of searching
for flesh-colored tights, dying your shoes, ribbons, and thread… these tasks become daunting
for dancers of color. In an art form that is supposed to exude grace, beauty, and perfection,
dancers of color are repeatedly being told they do not belong. Although each company holds its
own set of rules regarding nude tights and shoes, it should be noted that the seamless line blur
of same color shoes and tights creates the imagery of one continuous line, something all
dancers strive for. When a dancer has dark shoes and light tights, or darker tights and pale
shoes, or (what's most commonly seen) pink tights on visibly brown skin—these can be
counterproductive to the end goal of the dancer. This lack of inclusion in the market is both a

31
failure on the part of the industry as a whole, but it also falls in the lap of unethical
representation and messaging for dancers of color. Neither of which are currently taken into
account in ballet and the consumer products that fuel the style of dance.
Ballet Dancers of Color

Dance is something closely associated with African American culture; it is also
something that is woven into Asian history. Yet when you look to the elite form of dance that is
classical ballet, you will find the absence of dancers other than white. The vast majority of
principal dancers are fair-skinned individuals. Many like to attribute this to the issue of cost and
accessibility to the practice; however, this is a delicate and deceptive cover-up. The absence of
"other" dancers comes most organically from the fact that this art form has simply sent a clear
message: "You're not welcome here." Ballet is often considered a blend between sport and art
because, at one and the same time, it embodies the emotional, creative aspect that is art while
it conforms to the strict guidelines of the perfection of a judged sport. Part of that perfection is
whiteness; why and how closely dance companies adhere to this age-old mindset is up to the
director.
Ironically, there is not an absence of dancers of color, but rather the absence of their
representation. Many ethnic dancers who have natural curves are excluded from modern ballet
because their body type is considered improper—despite equivalent training and ability. Many
black dancers are told that their curves are too much, their breasts are too large, their muscles
are too grand—all comments which have been made to Misty Copeland, quite arguably the
most recognized ballerina of the 21
st
century and the first black female soloist for the American
Ballet Theatre in over 20 years.

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Figure 20
Misty herself has said that “Ballet is different from a sport because it's subjective…it’s
up to someone else’s judgment.” Ans says that once ballet gains more exposure in general, the
industry as a whole will be pushed to make progressive changes.

Figure 21

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Figure 22
Unique and inclusive Ballet Companies

The absence of acceptance within the industry has led to the evolution of new and
progressive dance companies which specifically strive for a diverse cast of dancers. In these
companies, diversity is not only accepted but encouraged. Many of these companies have gone
on to create a national presence for themselves, but also win accolades and supersede their
traditional counterparts by establishing their presence outside of the dance world. Some
examples of these companies are the following:
BALLET BLACK
Ballet Black is a professional company that was created to give African-American and
Asian dancers opportunities in the dance world, with the hope of bringing ballet to a more
diverse background. Founded in 2001 by Cassa Pancho, Ballet Black has toured through various
parts of England, bringing awareness to the many facets of ballet, and Pancho has been
awarded the Freedom of the City of London for her work in diversity in dance. (balletblack.co.uk)

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Figure 23
ALVIN AILEY DANCE AMERICAN THEATER
Quite arguably the most popular of its kind, the Ailey Dance Theatre all started with a
single performance on March 1958 at the 92nd Street YMCA in New York City (alvinailey.org).
This company was the brainchild of dance legend Alvin Ailey, and although he passed away in
1989, his legacy continues. The 79 original ballets he created still remain in the company’s
impressive repertoire of 235 works by more than 90 choreographers. Under the creative
direction of Judith Jameson (selected by Ailey himself before his death), the company received
the prestigious honor of being designated as “a vital American cultural ambassador to the
world”—one which celebrates the uniqueness of the African-American cultural experience and
the preservation and enrichment of the American modern dance heritage. (alvinailey.org)

35

Figure 24
DANCE THEATRE of HARLEM
After more than 50 years in the industry, Dance Theatre of Harlem is one of the original
forefathers of diversity in dance. The company is also one of the first to incorporate skin-tone
tights and shoes in their costumes as far back as 1974. To this day, DTH’s commitment to
community enrichment and cultural diversity is evident in their statement of purpose: “The 17-
member, multi-ethnic company performs a forward-thinking repertoire which includes
treasured classics, neoclassical works by George Balanchine, and resident choreographer
Robert Garland, as well as innovative contemporary works that use the language of ballet to
celebrate African American culture.” (dancetheatreofharlem.org)

36

Figure 25

The Innovation of the Brown Pointe Shoe

Pancaking is the practice of painting traditional ballet shoes (made in original blush pink)
to a skin tone which is more natural for a dancer of color. This practice is widely known in the
dance world; however, it is also a practice which is ignored by the leading dance shoe
companies such as Bloch, Capezio, and Swan. While this is largely an ethics and inclusion issue,
it is equally an issue of PR. These companies are ignoring a market that they could not only sell
products to, but rather they are mission a creative and innovative angle of product
development that could set their brand bounds ahead of the competition. In other words, they
are completely ignoring a major audience segment!

37

Figure 26

Not all dancers of color wear skin-tone colored shoes. If the dancer is just in practice, or
not in peak performance season, these issues might not be as critical. However, but previously
mentioned, the desired look during a performance is achieved on when there is a seamless
sense of unity between foot and leg—and that look can only be created when both shoes and
tights are available in many shades. The greatest impact is felt not only by dancers of color who
are actively performing, but also those who are on the audition circuit and soloists in a
company. Some progressive companies ask their dancers to choose garments which match
their own skin tones rather than garments which match the color scheme of traditional ballet
companies; these companies are ones worth praising. However, when we realize that these
dancers are not offered the simple option of going to a local dance store to buy brown shoes, it
is clear that a gaping hole in the market remains. These dancers must pancake their shoes each
time they purchase them. It is normal for professional dancers to go through a pair of pointe

38
shoes in a single performance, and a good pair cost $85. If we consider the time and expense
involved in pancaking every pair of shoes, it costs more to be a dancer of color at every turn in
the road!
Ingrid Silvia, a prominent black dancer, once said, "A lot of people complain: It's a long
process, and it's expensive. The brand I use—Black Opal's ebony brown— is $11 a bottle, and
with that, I can do three shoes." She goes through an average of two pairs of shoes a week,
which translates to an expense of $770 a year just for the makeup for her shoes—a significant
sum, given dancers' low pay.
Many companies have declared their intentions to create a brown shoe, but other than
Capezio's short stint of supplying shoes to the Dance Theatre of Harlem, the rest has been
nothing more than chatter. That is until 200 years later, after the birth of the original pointe
shoe, a brown shoe has emerged. In the past, specialty black and red pointe shoes were
available, which just shows how rare and undervalued black dancers are, as companies would
rather create a costume shoe over an essential shoe for black and brown dancers. Freed of
London decided to break the barriers of the industry when they created shoes in both bronze
and brown. Their collection comes after that of Gaynor Minden who has been supplying shoes
of color for over a year. However, because Freed is a larger supplier, they are bringing more
awareness to the issue

39
.
Figure 27
Ultimately, the shoes don't solve everything; they need to be in more shades and more
styles. But in the world of ballet, this represents a monumental change. Virginia Johnson, the
artistic director of the Dance Theater of Harlem, describes the change as "a signal that the
world is open to you… This isn't about shoes; this is about who belongs in ballet and who
doesn't (Marshall).” There are many ways in which ballet has stuck to the rigid white history of
its origins, but progress starts from the foot up!

CASE STUDY TWO:

This study examines the innovation of Fenty Beauty by Rihanna and the inclusive space
it has created within the beauty industry. Additionally, I will analyze the concept of nude and
translucent in the industry, the naming of dark tones in makeup collections, and the analysis of
brands who attempted to create an inclusive business plan but failed to do so. With the
creation of Fenty Beauty, Rihanna has created a new standard for cosmetics and initiated a
dialogue about what this means for future brands.
Shades of Beautiful

40
To better understand the impact of Fenty, the history of colorism as it relates to makeup
should be clearly explained. In most makeup brands, each collection includes a primer,
concealer, foundation, highlighter, and setting powder. The primer, which determines the
consistency and longevity of your makeup application, is typically a lotion or gel that doesn't
have any tint and doesn't have any visible appearance on the face. The concealer is a
pigmented product to specifically correct or camouflage dark spots, blemishes, and uneven
tone. The foundation (where much of colorism plays out in the industry) is the pigmented
cream or powder formula that is intended to create the look of clear and even skin. The
highlighter is a formula created to catch the light and give the illusion of a glow on the face.
Although it comes in many shades, one color isn't specific to any range in complexion. And
finally, the setting powder is a ‘translucent' powder that provides a finished matte look to one's
face. As this powder is almost always white, it can leave a chalky appearance on people of
color.
Makeup is present in about every stage of world history, so it does come as a surprise
that inclusivity in the industry is a new concept. An inclusive line of foundations and concealer
is definitely an investment on behalf of any brand, but Fenty Beauty is one that has proven very
lucrative, earning "a staggering $100 million in sales within 40 days (Nnadi).” In many standard
product lines, those items which are considered translucent or neutral are, in fact, quite the
opposite for people of color. Setting Powder is considered to be universal across the spectrum,
but in very few brands do we find any variation of color. Romero Jennings, MAC Cosmetics'
director of makeup artistry, has said, "In many cases, deep, dark skin tones will need a bit of
tweaking."

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Figure 28

Figure 29

Figure 30
This is one area that would require just a slight adjustment – but it's a step that most
have not put forth the effort to take. This is further proof that the shades of beauty have less to
do with setbacks in technology and more to do with the absence of progressive inclusivity.
Brands that Failed at their Inclusivity efforts
There aren't many makeup brands out there selling only white foundation, leading to
the conclusion that most are trying to be inclusive. Nevertheless, the effort is just a bare
minimum, or worse—it completely misses the mark. Here are a few brands that have tried to
be inclusive, but didn't quite hit the mark.

42
KKW Beauty
Kim Kardashian West founded KKW Beauty in June of 2017. Its inaugural launch
consisted of $48 crème contour sticks to given fans access to her signature look. Over time,
Mrs. West went on to launch lipsticks, liners, and even mascara. From the beginning, the
collection never included a wide range of any complexion, but she offered fewer shades in
every skin tone. For example, her concealer comes in 4 shades of light, 4 of medium, 4 of dark,
and 4 of deep dark. Kim later added to the KKW megabrand by launching a collection of nude
lipsticks in 11 different variants. The main cause for concern lies in the fact that these shades of
nude are not nude at all.

Figure 31
All of KKW's shades mimicked everything but someone's skin tone, and to no shock at
all, the darker women are left with a chalky, unflattering "nude". This is a common occurrence
in cosmetics, but when it originates with Kim Kardashian, who pulls most if not all of her
inspiration from black culture, this lack of accurate inclusion is a slap in the face.

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Figure 32

Figure 33

Figure 34
Neutrogena
One of the most notable cosmetic giants, Neutrogena, is a division of Johnson &
Johnson. It has been around for almost 90 years and is one of the most accessible brands on the
market. With a wider audience walking into a store to buy their foundation off the shelf rather
than online or at a specialty store, it would seem almost obvious to create a foundation for all

44
shades of skin. Ironically, the megabrand has very little to offer beyond ten shades. Neutrogena
proudly boasts that it is a global brand in the company bio: "Neutrogena® is a brand of the
Johnson & Johnson Family of Consumer Companies. The #1 dermatologist-recommended
skincare brand, Neutrogena® offers some of the world's most loved beauty and skin care lines
and manufactures and markets products in over 70 countries (neutrogena.com).” Yet despite its
wide presence on the market, Neutrogena's best-selling Hydro Boost Hydrating Tint foundation
comes in six shapes of peach and only four in brown.

Figure 35
IT Makeup
IT cosmetics website states that “IT Cosmetics™ creates products that are game-
changing and when in the hands of real women everywhere, become life-changing. We believe
you’re an IT Girl™ the moment you try IT.” When the company released their Bye Bye
Foundation in January 2018, there was an immense amount of backlash due to the fact that the
foundation was only offered in 12 shades. With ten of those shades being dedicated to fairer
complexions, it is clear that the brand has chosen an audience to cater to and one to exclude.

45

Figure 36
Make Up For Ever
This industry giant has done almost everything right in terms of inclusivity; they just
haven’t had quite the same social impact as Fenty Beauty. Founded by Dany Sanz, Make Up For
Ever’s mission is “… to create, to educate, to elevate. The brand allows everyone access to all
products and benefits that the professional makeup artists enjoy. The brand has always worked
with professionals to stay on the cutting-edge of technological, formulistic, and artistic
advances.” Their mission statement explains why their brand has not extended much further
than makeup aficionados, the brand was created with the intention of bringing stage makeup
to the average consumer. Within the industry of film and stage makeup, wider ranges are more
common or created to accommodate the clientele. Make Up For Ever now offers this same
industry-level inclusivity to anyone who can access a Sephora.

Figure 37

46
The Naming of Dark Pigmented Products

Quite arguably the most common offense of colorism in cosmetics is the naming of
dark-toned products. Most brands tend to create a naming system across the board to
differentiate the shades of foundation, blush, concealer, and other products. The issue is most
glaring in their foundation products when lighter shades get names such as warm ivory, or
porcelain and darker shades are almost always named after a food or dark liquor. No one wants
to proudly say, “I’m wearing cognac” while their friends are wearing “lily.”

Figure 38

Figure 39

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Figure 40
Too Faced debuted a good range of shades within their “Born This Way Foundation”
collection. While the range in shades is greatly appreciated, why do the names range from
cloud and swan to spiced rum and sable? The brand that took this practice into uncharted
waters was ColourPop, the highly popular, affordable makeup brand that influencers promote
quite frequently. In June of 2016, the company released 12 shades of their ‘Sculpting Stix’
whose range in shades would have been predictable if it had come from most other brands. It
wasn’t the lack of diversity that got the brand in trouble; it was the product names which they
assigned to the shades:

48

Figure 41
News of this blunder was picked up right away and spread like wildfire through outlets
such as BuzzFeed. ColourPop responded right away, saying, "On behalf of ColourPop, we are
sorry and are extremely grateful for our customers’ feedback. We have taken immediate action
to change the shade names and review our naming process to ensure this does not happen
again (Smyth)." This is just one example of the lack of inclusivity in the industry. When PR
mistakes such as this one are made, it only leaves one to wonder: ‘Who missed the mark?’
‘Who didn’t realize the implications of such a decision?’ and ‘Who sat by and watched this
happen?’

Fenty
Fenty Beauty is the creation of none other than recording artist, business investor,
designer, and actress Robyn “Rihanna” Fenty. Highly anticipated by fans and makeup gurus

49
alike, the brand was launched in September of 2018 and met with instant success. Fenty
debuted with an extensive line of foundations, highlighters, bronzers, lipstick, and much more.
It leaped out of the gate with 40 shades of foundation and included women of all shades in its
advertising. Rihanna’s innovation was so groundbreaking that it was listed amongst Time
Magazine’s 25 top inventions of 2017, the only cosmetic brand on the list (Time.com). Evidence
of Fenty’s motto is visible in everything from the naming of products to the marketing of the
brand. Rihanna said, “Fenty beauty was created for everyone: for women of all shades,
personalities, attitudes, cultures, and races. I wanted everyone to feel included. That's the real
reason I made this line (fentybeauty.com)." Simple but so monumental, the choice of inclusion
of others is a new and profound concept, but it’s a necessary step.
Products
Foundation/ Concealer
Fenty products are all known for their ability to adapt cross-culturally, and their
foundation is at the core of that inclusive principle. One of Fenty’s key marketing tools has been
to take a more appropriate approach to identify their 40 original shades—offering a shade for
each consumer—by assigning numbers to the various shades rather than giving them
Eurocentric names.

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Figure 42
Setting Powder
As mentioned above, setting powder is normally one of the few cosmetic products that
has no variation in tone. Fenty, of course, has 13 different shades of setting powder, giving the
consumers the luxury of having something that is specifically translucent for their skin tone.

Figure 43
Lipstick

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Lipstick has always been a tough subject to address for women of color as some shades
are made with undertones which are only flattering to white skin. Black and brown women
have been continuously told to avoid any shades of red. Fenty’s five shades of “stunna lip” are
universally flattering on all shades of beautiful and the marketing went on to prove so.

Figure 44

Figure 45

Figure 46

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Figure 47

Figure 48

Figure 49

Why It Worked
Fenty worked because Rihanna took what was a personal struggle for herself and
leveraged it into the foundation of her brand. “As a black woman, I could not live with myself if

53
I didn’t do that…. But what I didn’t anticipate was the way people would get emotional about
finding their complexion on the shelf, that this would be a groundbreaking moment (Nnadi).”
Many of the brands listed above only geared their products toward those consumers who were
highly represented In greater numbers? Not every CEO of a major cosmetic brand will be a
black woman, but each brand should create products on the full spectrum, assuring their
appeal to all men and woman, not just those on the cover of magazines and billboards.

Figure 50

The Standard It Has Created in Beauty
Fenty beauty has done more than create a space for the acceptance of dark-skinned
individuals. Indeed, more importantly, it has created a place where they feel beautiful. The
industry where young women specifically seek validation, affirmation, and inspiration
consistently tells dark girls, “You are not accepted,’ “You are not beautiful,” “Your white
counterparts are lilies, and you are deep sand.” Fenty Beauty has set a new standard which
assures women that every shade—from the pinkest of pinks to the richest of browns—has a
place. Choosing a shade of makeup should be a simple task in the grand scheme of things, but
for someone who doesn’t fit in the standard twelve shades, Fenty is their answer.

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Figure 51

Figure 52

Figure 53

Figure 54

55
Fenty has set a new standard of excellence for all other beauty brands. The skyrocketing
sales should have been enough for every cosmetics line to get back in the lab and start creating
a foundation for every shade of beauty. While many want to credit the success of Fenty to its
connection to Rihanna, the real PR ticket here is the ability of every consumer to purchase
Fenty without concern as to whether he or she will be able to find something flattering. The
brand found a gap in the industry, offered a solution, and exceeded expectations.

The Social Implications of Race Representation
Being a person of color in America should come with a label warning "no matter how
good you are at anything, you'll always be black/brown/Asian first"—whether you’re mixed,
half, or whatever you want to refer to yourself as being non-white in America is a horse pill-
sized dose of reality!
Take that for what you want, because that can be both a beautiful statement of cultural
pride, but it can also be the harsh reality that ethnic people aren't really seen beyond the color
of our skin. Most of us received the message of this warning label engraved in our heads right
around the same time we were learning to tie our shoes. Just as our parents wanted to make
sure we didn't trip over our laces, they wanted to make sure we don't stumble on the low
expectations set before us by society, and the high-pitched "Ohhh, wow, good for you!" when
we surpass the accomplishments of our white counterparts. I will never forget the moment I
stood before my dance teacher as she put red lipstick on me, the same shade she put on all the
other girls on my competitive team. The color was clearly unflattering, and from the bleachers, I
heard “D’Ana, come here.” And there was my Mom – my hero, there with makeup wipes and a

56
deeper rouge that better suited my caramel skin. Although my teacher treated us all like cattle,
aggressively swiping our lips with crimson, she didn’t think twice about the color of my skin or
the fact that she had made me look clownish. Some might argue that “she didn’t see color,” but
I know that she saw color, and it wasn’t enough for her to just see it, she needed to
acknowledge it! This same teacher ordered nude tights that never matched my skin – and
charged us for them! That meant that my mom and I had to bounce from dance store to dance
store, looking for shoes and tights closest to my skin tone. This same teacher required hairstyles
that my natural hair just couldn’t conform to.
I was 2 years old when I put on my first ballet shoe, 5 when I realized I had to use more
bobby pins than my friends to keep my naturally curly hair in a “neat bun,” and 8 when I
realized that “nude” wasn’t my skin color. In fact, it was ash on me. I was only 8 years old, and I
already knew that my skin wasn’t meant to fit in the world. This was my first encounter with
colorism, and it wouldn’t be my last.
To be honest, I think for most of my life I was blissfully oblivious it, because the same
way that my mom the superhero swooped down from those bleachers with a tool belt to
combat the colorism that came my way, she continued to keep a tool belt of solutions to help
me find my footing in a world that wasn’t ready for a little brown girl.
What happens when those same little girls are forced to assimilate and accommodate
all their young lives? The young women who only receive recognition of the beauty that comes
from within and form our superheroes? Eventually, the message of the world seeps in, and
although we continue to fight, the outer message is still there. Little African America, Latina,
Asian, and Middle Eastern girls don’t see themselves on TV, in magazines, or on the movie

57
screen. They see men and women who look like whiter versions of themselves. Whiter, lighter,
smaller features—they see a version of themselves. Why is it that the more Eurocentric version
of every race is the only aspect we see? I am a black woman with many ethnicities in my
background, and while mixed-race America is the trend of the century, I recognized my
blackness first. I grew up seeing individuals on magazines and billboards with a likeness of me,
but never quite like me. I would see someone with my skin color, but never my hair texture,
someone with my hazel eyes but never my caramel skin. Little children are still receiving the
same message today: Only parts of your ethnicity are okay, and only when it is on white bodies!
This is the reason that Kim Kardashian can boast the features of a black woman and be
considered curvy, it’s the reason she can wear pink hair and be edgy, wear a grill and be stylish,
have one sex tape and three husbands under her belt and be a #feminist! She can take the
attributes of black culture and do far greater damage to her personal brand than any other
black celebrity and be praised for it. It’s the reason Ariana Grande can wear a weave longer
than her torso and write a hook to a song about it, and yet a black woman – where the weave
phenomenon started – still lives in shame. Why? It’s because when we wear extensions, it's
assumed that we just don’t have hair. It’s the reason Kylie Jenner has an entire empire built on
the appropriation of black features—the same features that for centuries black people were
ridiculed for. It’s the reason that Viola Davis and Lupita Nyong’o, though immensely talented,
will always only be the lead in a movie based in Africa or based upon struggle. Enough is
Enough. With the addition of shows such as Blackish, Fresh Off the Boat, and films like Black
Panther and Crazy Rich Asians, America wants to give itself a round of applause. Though all four
are a great addition to the cinematic industry, it’s just the same pattern repeating itself. Ethnic

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groups are overlooked and excluded, and out of that exclusion comes the innovation of film,
clubs, and organizations that are by us and for us.
The Responsibility of Public Relations
If this isn’t a call to action for PR professionals left and right, nothing will be! There is
money in the market of inclusion! Beyond the monetary aspect, there is an ethical code for PR
professionals who want to authentically represent consumers, to create mutually beneficial
messages and to accurately identify their target market. These are the simple things that are
consistently overlooked. It's 2019. There’s no room for brands that think exclusivity is the way
to notoriety. And it is no longer acceptable to have a tweet dedicated to apologizing for
thoughtless marketing. While each brand and each situation varies, here are 10 suggestions for
PR professionals who desire to go down the path of accurate and appropriate representation.
1. Create an Inclusion Committee
• This can range from interns and new hires to high-level employees. This
committee can identify marginalized groups who have either been excluded
from the narrative of the product or service you are promoting or who may
be interested in making sure they are not disregarded by that product or
brand.
2. Seek Clients with an Inclusive Business Model
• Fenty isn’t the only brand that includes others and represents all shades of
beautiful, but these brands aren’t the norm. And without Rihanna as the face
of the company, such brands go unrecognized. Be an innovative practitioner
by seeking the unordinary and promoting those brands.

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3. If a Brand Is Built on Inspiration, Give Credit Where It’s Due
• Many of the concepts in which brands are built upon today are inspired by
certain aspects from marginalized cultures. While it is a beautiful concept to
bring awareness to these cultures, it is only beneficial when proper credit is
given. Make sure that in the formation of new ideas that all clients give the
necessary acknowledgement to those cultures in which their ideas or
inspiration is borrowed from.
4. Invest in Cross-Cultural Experts
• It’s okay not to know everything about every culture, every group, or every
trend, but you can hire someone who specifically does. If you are working
with a client who is representative of a specific ethnic group, hire someone
who understands that particular target market and consult with them to
make sure your approach is suitable.
5. Test Campaigns More Broadly Before Their Launch
• Micro aggressions or cultural misconducts may be overlooked by those in the
creative department, but it might be noticed by someone in legal or
someone in HR. This might be the extra effort and time you don’t want to
spend, but in the long run, I’m sure Pepsi, Dove, and H&M wish they had
taken that extra step.
6. Reject Clients Who Don’t Promote Inclusivity
• Simply leave no room for elitist brands. After all of your efforts to be
inclusive, you need to make sure your clients meet these expectations or are

60
willing to adapt. PR practitioners have vocally turned down cigarette brands
or companies that pollute; why not reject clients that actively ignore
inclusivity?
7. Create Relationships with Networks and Publications Geared Towards an Ethnic
Market.
• There are markets for every group. Your first step toward authentic
representation is to make sure that brands communicate within and beyond
their community. These relationships can also help to create true and correct
representation. A few Publications that would be ideal are; Ebony Magazine,
Cosmo Latina, HOLA!, Black Enterprise, AList, and Mochi Magazine.
8. Hire – or Promote -- Non-White Executives
• White privilege has afforded some the ability to understand their culture and
their culture only. By hiring the higher-ups of many ethnic backgrounds, you
create a diverse group of overseers and decision makers.
9. Educate, Educate, Educate!
• Most PR firms have made a blunder or two. Use these instances to educate
yourself and your team on the tactics that work and the mistakes to avoid.
Learn about underrepresented audiences and seek ways to be inclusive in
your messaging.
10. Conduct Proper Research
• Researchers should spend less time focusing on how undesirable women of
color are and how marriage rates are that much lower than our white

61
counterparts and focus more on the psychological implication of little brown
and black girls who have very few black women to call beauty icons. We may
have political figures and activists, but the next generation deserves to see
and hear ethnic woman be called beautiful!
CONCLUSION
There isn’t always going to be a blueprint for every PR campaign for cultural inclusion;
there isn’t a guarantee that someone won’t be offended. But PR is responsible for creating
mutually beneficial messaging for both the brand and the consumer. It is the responsibility of
the PR professional to understand the many aspects of representation in each culture and to
represent all shades of beauty equally. Given that society recognizes the spectrum of sexuality
and the variety of pronouns which are an acceptable form of identification, there is no reason
that skin tone has to be so black and white. It is 2019, and there is no reason why all cultures
cannot be adequately and properly represented.

62
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Asset Metadata

Creator Smith, D'Ana Cymone (author)

Core Title Complexion vs. culture in a postmodern society and the failure of accurate representation in public relations messaging

Contributor Electronically uploaded by the author (provenance)

School Annenberg School for Communication

Degree Master of Arts

Degree Program Strategic Public Relations

Publication Date 04/25/2019

Defense Date 04/24/2019

Publisher University of Southern California (original), University of Southern California. Libraries (digital)

Tag Ballet,beauty,colorism,OAI-PMH Harvest

Format application/pdf (imt)

Language English

Advisor Floto, Jennifer (committee chair), de La Fuente, Jennifer (committee member), Turner, Miki (committee member)

Creator Email Danacsmi@usc.edu,dcsmith623@gmail.com

Permanent Link (DOI) https://doi.org/10.25549/usctheses-c89-143509

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Identifier etd-SmithDAnaC-7239.pdf (filename),usctheses-c89-143509 (legacy record id)

Legacy Identifier etd-SmithDAnaC-7239.pdf

Dmrecord 143509

Document Type Thesis

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Rights Smith, D'Ana Cymone

Type texts

Source University of Southern California (contributing entity), University of Southern California Dissertations and Theses (collection)

Access Conditions The author retains rights to his/her dissertation, thesis or other graduate work according to U.S. copyright law. Electronic access is being provided by the USC Libraries in agreement with the a...

Repository Name University of Southern California Digital Library

Repository Location USC Digital Library, University of Southern California, University Park Campus MC 2810, 3434 South Grand Avenue, 2nd Floor, Los Angeles, California 90089-2810, USA

Abstract (if available)

Abstract The journey to discovering your own beauty is often filled with trials and triumph. Now imagine that journey is riddled with flawed representation, lack of acceptance, and internal crisis which create a divide within your culture. Colorism helps to perpetuate all of the above, and for a person of color, it can be a great detriment to the development of one’s self-worth. ❧ Public Relations plays a hand in the continuation of a post-segregated reality by only representing Eurocentric aspects of many cultures, diluting their differences to be more palatable to a mass audience. In 2019, it is time for colorism to die out and to make way for a new and more vibrant representation of all cultures. This paper will focus on the way in which a deeply-rooted history of exclusion still plagues society today, present the power of inclusion, and highlight the responsibility of Public Relations to make the important shift from one position to the other.