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ID × beauty: the intersection of design, beauty, and our performative identities

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ID × beauty: the intersection of design, beauty, and our performative identities

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Content ID x BEAUTY
The Intersection of Design, Beauty , and Our Performative Identities
by
Zoe Biao Marshel Polonus
A Thesis Presented to the
FACULTY OF THE USC ROSKI SCHOOL OF ART AND DESIGN
UNIVERSITY OF SOUTHERN CALIFORNIA
In Partial Fulfillment of the
Requirements for the Degree
MASTER OF FINE ARTS
(DESIGN)
August 2020
Copyright 2020 Zoe Polonus
ACKNOWLEDGMENTS
First, I would like to express my most profound appreciation to my family for your
encouragement in all my endeavors. It is truly the support system you created that has allowed
me to feel safe exploring all aspects of my identity , ultimately leading to this thesis. Each of you
has challenged me both intellectually and in how I live my life, making me a stronger woman,
empathetic friend, and caring daughter and sister. You all have made it easy for me to become
the best version of myself. I could not have wished for a better and more loving place to call
home and people to call my family .
In addition to my family at home, I would like to recognize my family at Roski, my
committee: Alexis Zoto, Sherin Guirguis, Osvaldo Trujillo, and Eric Junker. Completing this
thesis would not have been possible without the dedication and guidance that each of you has
given me. I have known some of you since I first stepped foot on USC’s campus five years ago; it
is hard to believe how quickly that time has passed. Others, I have met more recently during my
time at Roski. You too have made a lasting impact which I will carry with me from this day
forward. It is a privilege to call each of you my mentor, my friend, and my colleague. The
profound advice and feedback you have given me throughout this process, both personal and
academic, is truly unparalleled, and I will never take that for granted.
Lastly , special thanks go out to my mentor Dean Haven Lin-Kirk, Penelope Jones, my
advisor, Jahtm Flores, Annie Watanabe, Jean Lee, Cindy Tsukamoto, my fellow students, and the
rest of the Roski faculty and staff. Each of you has welcomed me with open arms, genuinely
embodying the Trojan Family Spirit. I cherish all the moments we have had together and will
make sure to visit often. Your positive attitudes and smiling faces always cheer me up, especially
when I have been most stressed. Thank you all for making my experience at USC better than I
could have ever imagined.
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TABLE OF CONTENTS
Acknowledgements .................................................................................................. ii
List of Figures ......................................................................................................... iv
Abstract .................................................................................................................... v
Preface ..................................................................................................................... vi
Introduction ............................................................................................................. 1
Chapter 1: CULTURE & BEAUTY ....................................................................... 3
Understanding Pressure ...................................................................... 5
Hello World ......................................................................................... 9
Chapter 2: DESIGN & INDUSTR Y .................................................................... 11
Beautiful Monster .............................................................................. 13
Form vs. Function ............................................................................. 15
Chapter 3: RACE & REPRESENTATION ......................................................... 18
Relatability ........................................................................................ 23
Who Says? ......................................................................................... 24
Chapter 4: IDENTITY & INDIVIDUALITY ..................................................... 26
Our Shared Experiences ...................................................................... 26
Let’s Put on a Show ............................................................................. 27

Findings ................................................................................................................. 31
Works Cited ........................................................................................................... 33
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FIGURES
Figure 1. “Mind Map” image by Zoe Polonus ....................................................... xi
Figure 2. Who Am I T oday? by Zoe Polonus .............................................................. 8
Figure 3. Who Am I T oday? by Zoe Polonus .............................................................. 8
Figure 4. Who Am I T oday? by Zoe Polonus .............................................................. 9
Figure 5. The True Cost of Makeup by Zoe Polonus .................................................. 14
Figure 6. Color Wheel Eyeshadow Palette by Stila Cosmetics .............................. 17
Figure 7. “Your Skin, Your Story” by L’Oréal Paris .............................................. 21
Figure 8. Bounce™ Liquid Whip Long Wear Foundation image via Huda
Beauty .................................................................................................................... 22
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ABSTRACT
Supported by my in-vivo experiences and my research into others’ relationships with
identity , this thesis will consider the contexts of race, sexual orientation, gender, and access.
Understanding that the connection with ourselves is continually advancing, I have focused on
uncovering the historic American and Asian influences on feeling beautiful and how it exists
outside of myself. ID x BEAUTY represents the cumulative ideas drawn from investigating the
intersection of design, beauty , and performative identity . ‘ID’ represents the design and identity
aspects of this exploration of how they each inform the concept of beauty as prescribed by
current society . I utilized a focused group of works, including self-portraits, video, a series of ad
campaign posters, and package designs, to study identity's performative nature through design. In
doing so, this research resulted in questions related to the cultural intersectionality of beauty
standards. Specifically , I will examine the exaggerated standards between the US and Chinese
markets as these relate to my American nationality and Chinese ethnicity . From full lips in
America to pale skin in Asian countries, both are avenues a society uses to gauge one’s level of
beauty . Then, by researching and combining other artists’ and designers’ practices and
experiences, I will seek to draw informed conclusions on design’s role historically and how it
currently drives our outlook on cosmetics and the pressure beauty places on us as individuals.
This well-rounded investigation will then allow us to begin to break down the complexity of self-
image and beauty .
Keywords: beauty standards, consumerism, cosmetics, design, makeup, multi-cultural intersection,
performativity , personal identity .
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PREFACE
Attempting to understand how we see and recognize beauty is complicated. The word
‘beauty’ alone creates confusion because there is no singular definition; it is subjective. That is
why we continue to find it necessary to question what is considered beautiful. It is a journey that
may take our whole lives to explore. For some, we can create a version of ourselves that satisfies
specific needs in the fast-paced life we live in, but for some, it will be a lifelong struggle. We are
able to draw upon our unique life experiences, nonetheless challenged to connect these to an
authentic identity . As a female growing up in today’s society in the United States, this internal
conflict is very familiar to me. It appeals to me as an adopted Chinese baby raised in an urban
midwest White American household that emphasized the multi-cultural intersection of my
identity . I have found that over the years, growing up in such an environment, one that afforded
me a liberal-arts education from a young age, I was able to embrace all possible aspects of my
interests. I was supported in finding my individuality . However, it was only through my
undergraduate collegiate experience that I fully understood the uniqueness of my life
experiences. Being one of only a few students identified as a ‘person of color’ in my entire K-12
school presented a special set of challenges. However, I was fortunate to benefit from open and
honest discussions of race and ethnicity , as well as family and cultural structures (my status as
adopted) at home and at school. This supported my discovery of self, and an early , conscious
exposure to social relations, racial and otherwise.
As children, we are taught to build relationships upon acceptance and mutual respect.
Typically , this involved mutual interests. Differences that made us ‘special,’ could be quite
complicated, resulting in positive or negative reactions. When we begin developing our own
opinions and asking questions we are exposed to the differences within our cohort. These
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stereotypes only worsen as puberty turns into adolescence, and the friendships we have created
become bargaining chips in who would be part of the popular group. Many of my unique
experiences of identity were impacted by others, who affirmatively exploited my minority race,
and my physical differences, to marginalize me. However, the micro-, and macro-aggressions,
cyberbullying, negative comments, and negative comparisons eventually helped me to become a
stronger individual. I now understand that it was the combination of many different aspects of
my upbringing that allowed me to take those most painful of experiences and use them to help
me develop into a unique self representation.
I am grateful to have attended a ‘progressive liberal-arts’ school that sought to provide a
well-rounded education, which included global history and cultural studies. The curriculum
mission statement was to create a safe and inclusive environment for open discussion to all
students. However, I am continually fascinated that the majority-white, affluent, privileged
students frequently chose to use their privilege to target other students who identified differently .
Personal attacks were unfortunately common. Attackers would rationalize, “It was just a joke,”
and, “but, you are different.” I eventually came to understand these comments were made
primarily because of inherent biases that exist despite educations and our own conscious efforts
to see each other as equals. This is the difference between ‘not racist’ and ‘anti-racist,’ where our
culture has defined the term, anti-racist, to reflect the active efforts needed to combat ongoing
oppression as opposed to being non-participative. Interestingly , those who claim that they are ‘not
racist’ often hold many unconscious, inherent biases towards others. This knowledge is critical to
our ability to strive for improvement as we are continually finding a disconnect between viewing
ourselves and how others view us. For example, I have very dark brown hair, but I receive from
Whites a typical observation: “your hair is black, like all Asians.” The idea that an objectively
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observable aspect of myself can be corrupted and openly voiced by others as different from
reality suggests the inherent biases and stereotypical ideas in others around me.
I can remember vividly sneaking into my mom’s bathroom to play with her makeup,
seeing all the different products and colors, and figuring out how to apply them. Even thinking
about it now, I recall the nostalgic vibrant berry colored lipstick and purple eyeliner she still wears
every day . I watched her apply her signature ‘look’ every time she went out to dinners or to see
the ‘Mob,’ a group of my brother’s friend’s moms. It was from her that my makeup curiosity
began. Seeing the shiny , luxurious packaging and colors she embraced as part of her identity , I
carefully observed and quickly developed a fascination with makeup application. I was about 12
and starting to embrace my creative talents, drawing, and painting, but, unfortunately , I was also
experiencing insecurity with my looks for the first time and the newfound pressure of social
popularity and physical development. I began this change much earlier than most of my peers,
which resulted in my body and mindset advancing at a rate faster than most of my friends. I
scrutinized magazines and Youtube videos to find answers. However, I had to start questioning,
“Why do I not see people on television or in the media that look like me?” and, “How can I be
seen as attractive if I do not see any sort of visual similarities to strive for?” Even more puzzling
was why I still wanted to mimic the portrayal of women all around me. At the time, MAC was
regarded as the ‘it’ makeup company bringing professional industry quality products to the
commercial consumer. MAC made it possible for everyone to access the transformative power of
makeup. Celebrating the true artistry of the cosmetic industry were icons like Bobbi Brown and
Kevyn Aucoin. Aucoin, evolutionary for his time, was:
Setting new standards for innovation in modern fashion makeup...largely because he
always felt ugly . Kevyn adores women and wants to help them extract the inner beauty
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he feels they all possess. He says the confidence we gain from liking what we see in the
mirror makes us feel more beautiful and gets us closer to our own personal truths. Kevyn
lures us from practical reality into inspirational fantasy , celebrating makeup’s magic
potential. (Beker, “The Art of Kevyn Aucoin”)
It is important to note here that much of his success was during the 1990s. Since then many
others have adopted a similar approach to makeup. Still, drawing similarities between some
aspects of his philosophy and my own beliefs made me eagerly anticipate my first visit to a
makeup store. After that visit, I had found an everlasting passion that transcended superficial
necessity . I experience joy of the endless possibilities of makeup. I use the application process as
a form of meditation. I allow my creativity to flow; unlike many others who seem to have anxiety
about the experience and see it as a chore.
This relationship with the world's perspective on beauty has only become more enriched
over time. Moving from Chicago to one of the most superficial ‘trend’ cities in the world, Los
Angeles, and attending a university with a diverse campus experience, I was exposed to new
realities that I could only imagine before witnessing it firsthand. Realities like an emphasis on a
sexy physique and cosmetic upgrades were subjectively correlated with status, both economically
and socially . These new observations added to my knowledge base and helped me begin to
understand those around me. With the aid of my design and marketing education, I was able to
start interpreting the underlying psychological issues of ‘aesthetically pleasing' packaging,
advertising, and branding, through deconstruction and analysis, thus resulting in the development
of this thesis. Starting to see these new relationships was only furthered by the shift in industry
expectations toward ‘real’ and inclusive beauty standards in mainstream culture, motivated by
our developing understanding of our identities. By weaving together my point of view and
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educating myself with other people’s experiences, I hope to spark curiosity amongst all who are
forward-thinking individuals, allowing the integration of many different relationships and
perspectives to understand the complexity of self-image and beauty (Fig. 1).
x
xi
Fig.1.Self, “Mind Map”
INTRODUCTION
This thesis will define the correlation between the power that design and makeup hold in
the narrative of multi-cultural ideals of beauty and its effect on our performance of identity .
Each individual’s identity is an evolving relationship with ourselves affected by infinite differences
and lived experiences. Then, by sorting through those differences and experiences, we can make
decisions, specifically in regards to appearance. Furthermore, by critiquing our intentions, we can
elucidate the critical role design plays in fulfilling our aesthetic fantasies. Design has helped
reinforce cultural ideals of beauty through branding, packaging, and advertisements. These
create a fantasy that we require additional products to be seen as beautiful. However, just in the
last ten years, we are experiencing a shift from the traditional international conglomerates
towards smaller, socially conscious brands that focus on inclusivity and individuality . We are now
seeing consumers reimagining standards, asking the cosmetics and other industries to see their
concerns and cater to their unique intricacies. As a result, the larger brands are critically
reassessing branding to stay relevant.
For example, in 2016 Covergirl partnered with revolutionary campaign face famous
beauty , Youtuber James Charles, who actively challenges gender norms (Andrews, “CoverGirl’s
First CoverBoy”). Covergirl used this relationship to upgrade ingredients in products, such as
Revlon did in 2015 (“Revlon to Reformulate”). In these changes we see attempts towards more
ethical practices. A large part of this forward movement is due to increased knowledge of design
and accessibility to tools, like Adobe Creative Suite, which provide resources to under-
represented groups seeking equity through better representation and inclusion that celebrates
aspects of all people.
1
Utilizing design tools and thinking to approach these long-standing issues in a new way to
initiate change, mainly via social media, and hold accountable the companies that have
previously held all the power. Through investigating the effects that my multi-cultural upbringing
and design perspective have lent to my relationship with makeup and ideals of beauty , I choose to
use my lived experiences as a starting point. At the same time, I have studied others’ experiences
to explore the shared disconnect between personal identity and how we perform identity .
Specifically , my interest lies in the difference between how we 'see' ourselves and how others view
us. I hope to add my narrative to the collective conversation of institutionalized beauty and hope
that anyone who may resonate with even a part of my experience may benefit.
2
CHAPTER 1: CULTURE & BEAUTY
Beauty is, and has long been, one of the most contested aspects of popular culture
throughout the world. Encompassing both genetic and cosmetic traits, both the beauty industry
and society , at its core, tells us we alone are not enough. One way to explain the sometimes
corrupted expectations and pressures that society places on us is through the history of how these
standards have changed. Priyanka Chaurasia posits that racial difference and the color of our
skin, among other physical attributes, provide an unreliable basis for beauty , as these standards
are obviously not fit for everyone. Explaining that, “Beauty standards are locally specific and may
shift based upon economic and political contexts. The United States has a complicated history in
terms of the relationship between skin shade and beauty standards…mentioning attributes of
whiteness as important parts of the cultural standard of beauty , often mentioning blonde hair
and blue eyes as beautiful.” She continues to draw corollary recognition of lighter skin across
multiple cultures, such as Latin America and Asia. Traditionally , light skin equals higher status;
the lighter the skin, the more affluent one may be, and the more opportunity one may have. This
American and Eurocentric narrative reinforces to young people that the models seen in print and
on screens are what we are expected to be (“Beauty Standards”). This so-called ‘achievable’
beauty standard can sometimes only be created through extreme digital manipulation and with a
host of beauty products. However, consider the true definition of beauty , “the quality or
aggregate of qualities in a person or thing that gives pleasure to the senses or pleasurably exalts
the mind or spirit” (Merriam-Webster). This understanding neither exhibits the idea that there
should be a universal standard nor does it state that physical beauty should be used as a basis for
differentiation. In Mandarin Chinese the character měi, 美, alone, does mean beauty , but it is not
the only way to understand this character's meaning. Given a specific context, měi has many
3
meanings, and even the opposite of beauty may be communicated with this character. In her
book, Bodies in China: Philosophy, Aesthetics, and Politics, Eva Kit Wah Man combines traditional and
post-modernist theories of beauty as they relate to “Chinese female bodies and gendered bodies
in general.” She explores theorists, such as Judith Butler, to explain “how male and female are
not just biological categories but historical and cultural constructions” and uses Chinese
philosophy to understand “beauty .” Man explains that similarly to Western culture in China,
there is no singular definition of beauty , but rather that even the cultural standards of beauty that
date back to ancient dynasties are subjective. In this particular section of her book she chooses to
focus on two issues that pertain to the:
Feminine ideal in China:1) how this development can be understood within the
particular historical and cultural context in China and how it can be related to various
factors such as economic and political situations; and, (2) with the male as the expression
of the Chinese patriarchal system, how male imaginations (especially those represented
by the literati) construct the ideal and the aesthetic quality in woman as the projection of
their wishes or regrets and of the various forms of their fantasies. Of particular interest is
the continuance of male originated beauty constructions even as the status and roles of
females in Chinese society has radically changed.
Man analyzes the Confucius teaching, Mencius, and explains: Beauty refers to the good qualities
and positive dispositions of personality that define a human being. Female beauty refers to those
attributes that define a good woman. When beauty is used to describe a moral saint, a righteous
minister, or a kind emperor, it has transcendental moral and social meanings (that is, ensuring
happiness and peace in a country); when it is used to describe a woman, it is subject to social
norms. The old Chinese teachings for women in the Han dynasty say that:
4
A man is great because of his strength, a woman is beautiful because of her
weakness” (from nǚjiè ⼥誡 ). The term weakness, in Chinese, means humility in human
relation. Other words used to describe female beauty are róu 柔 (gentleness), ruǎn 軟
(softness), and zhì 稚 (innocence), all of which imply the feeling of superiority involved
when one is involved with women of these qualities. (Man, 119)
Understanding this cross-cultural parallel provides further evidence that beauty is subjective, and
supports the notion that, in actuality , all people possess the equal potential to be seen and feel as
such.
Understanding Pressure
For years, product manufacturers have utilized marketing tools to sell ‘self-improvement’
as this relates to beauty . A consistent message has been that cosmetics are necessary to achieve
this goal. Retailers exploit societal standards and expectations for beauty and conformity , thus
generating sales, although the word beauty itself, as noted above, does not require the addition of
anything other than our being honest and authentic. Recognition of this disconnect, especially as
the world increasingly shrinks through the use of social media and the internet, is crucial to
seeing the increase in pressure we feel to meet created expectations. The challenge to empower
ourselves as unique individuals in the face of added standards of identifying as 'women in society'
is becoming more and more complex, particularly for females. As Priyanka Chaurasia states,
“beauty standards affect women differently than they do men because “in gendered systems of
representation, women are defined by beauty” (qtd. in “Beauty Standards”). This reality is often a
reflection of a degree of discontentment with ourselves. Increased awareness of this, and our
5
collective experiences, largely online, hopefully exposes the need to deconstruct the institutional
power of gender norms and beauty . We are now observing escalating global movements
regarding these social issues, punctuated with the stories of individuals who work to be seen as
equals, regardless of the categories to which they have been assigned. Outside of performed
gender, sexual orientation, race, there is a universal demand for equality .
The cosmetic and fashion industries have always been under scrutiny for inclusivity/
exclusivity issues and the focus on profits over the more profound needs of their consumers.
Many long-standing companies have forgotten what matters most: the individual. Unfortunately ,
these larger cosmetic and beauty brands are slow to react and empathetically address these needs.
Their marketing on trends and creating a particular fashion puts increased pressure on
consumers. Skin clarity , trying to look a certain way , and making oneself appear more youthful
are all issues that people deal with daily . However, the social climate is now pushing another
agenda; a need for self-expression and individuality . This is being expressed most aggressively
through the ‘Indie’: i.e., smaller independent, and famously socially conscious brands that focus
their marketing efforts towards equal representation of models, inclusive products, and
enhancing our natural beauty . Enabled by social media, consumers are now reconnecting with
some of their power to define themselves, and their 'look.' Through their platforms activists,
celebrities, influencers, and everyday people contribute to this discourse of beauty from within.
The emergence of this trend highlights the need for brands to reassess their advertising methods
and mission statements. By covering issues such as gender identity and racial bias, consumers are
no longer settling for what they can get, but demanding what they deserve, equality .
The inception of global fashion and industries, only recently made possible by the
internet, creates a platform to expose the flaws within a system that has existed since the
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acknowledgment of multiple cultures. In this paper I will expand on the ideals of accessibility ,
equal representation, and the excessive nature of living in a fast fashion and trend-based world.
With the rise of social media and individuals willing to speak to such issues, movements like the
“Power of Makeup” originated by Youtuber Nikkie de Jager, whose video has amassed almost 42
million views, speaks to the notion that there is so much stigma around the use of makeup that
individuals are equally being shamed for wanting to use it as a form of creativity as it masks our
natural appearance. However, her message is clear by stating that, “by no means…if you have
insecurities, should you slap on makeup and feel better and not feel content with yourself. I want
people to know that makeup is fun, and there are no rules to makeup” (de Jager, “The Power of
MAKEUP!”). deJager asks us to consider that even though beauty enhancement can be seen
from the perspective of being ‘extra,’ it can also be used as a tool to express oneself. I have found
that in my day-to-day life, I often get caught up in this catch-22. The relationship between
makeup and self-image shows that, on the one hand, we are seen as continually needing to
change a part of ourselves. On the other hand, when we authentically love ourselves or express
self-confidence, and we make ourselves up, we are often viewed as delusional. This is the core of
what I am always challenged by as someone passionate about makeup and cosmetics. I know
what it is like to feel the transformative power of makeup, from masking insecurities and
enhancing assets to blending color and working to create a new look just because; I feel
reconnected with myself. I embrace how I can use my face as a canvas at any time of day ,
allowing me to temporarily express certain parts of myself and then start all over again. (Fig. 2, 3,
& 4)
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Fig. 2. Self, “Who Am I Today?” 2019.
Fig. 3. Self, “Who Am I Today?” 2019.
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Fig. 4. Self, “Who Am I Today?” 2019.
The feeling of temporal inhibition of a different form of my identity was the basis for my
work: Who Am I T oday?. A short timed video which consists of step-by-step photos from the final
look to my bare face. The looks in this project are a creation of what I was gravitating towards
that day . From a bright eye-enhancing avant-garde look to a sultry dark-toned punk-inspired
look, I let myself explore all avenues. In doing so, I only provided myself with one rule, which
was to make this application right before bed on a night without intentions of seeing anyone else.
This parameter was essential to offset the pressure of performing for others. I found myself free
from expectations, pushing my creativity , improving my application process, and celebrating
myself feeling beautiful, and confident, in all looks, including my own, without any makeup.
Hello World
Globalization, a concept coined in the early 1800s, had existed long before it had a name.
However, current levels of globalization were catalyzed by the internet and the widespread
economic growth seen in recent years. It is “the process by which businesses or other
organizations develop international influence or start operating on an international
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scale” (Oxford University Press). This gave power to mainstream culture from which populations
derived ideas of ‘normal.’ There is not an industry today that has not adopted this formulaic
approach to tackling societal needs. Cosmetics, being one of the more significant examples of
this shift, seeks to create a need where there isn’t one in order to make a profit. The beauty
industry was valued at $72.6 billion in 2019, with the expectation to reach $89.3 billion by 2025
(Shahbandeh). As this number grows, so can the manipulation of this industry’s consumer and
the blurring of ethical lines to sell products. Today , conglomerates research cultural
characteristics to create seemingly unique marketing strategies and products to appeal to various
countries. The world, to marketers, is separated into four primary markets: “ Asia, Europe, North
America, and Africa, The Orient, and Pacific Region as a collective (“L’Oréal International
Marketing Strategy .”).” Each sector is targeted separately , slightly tweaking its international
campaigns to align with ‘local’ cultural standards of beauty , creating targeted advertisements,
timelines, copy , and package design to further entice its consumer. For example, a light coverage
foundation may be considered a ‘luxurious luminizing’ finish in the US and European markets,
but ‘dewy’ in the Asian market, as this implies a natural aspect to the finish. These subtle, and not
so subtle, differences are conscious decisions created by clever marketing teams to sell virtually
the same product to various consumers promising to provide the buyer beauty by their given
cultural standards. The selling of products that cater to our needs is not so much the problem,
but there are other issues. For example, manufacturers promote a never-ending need to buy
multiples of virtually the same products. The 'seasonal' release of ‘new’ products, are often
simply repackaged items from years before. There is also the environmental impact of millions of
product units, all encased in throw-away packaging.
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CHAPTER 2: DESIGN & INDUSTR Y
Design has often been considered to have the power to speak in a universal language.
Through the carefully curated creative decisions that speak beyond written language, it speaks to
its viewer. The alignment of a poster, or the color choices of a book, shows how design uses all
elements to attract an audience. As utilized by designers Stefan Sagmeister and Jessica Walsh in
their exhibition, “beauty is a combination of shape, form, color, composition, material, and
texture to the aesthetic senses, especially the sight (Oxford University Press qtd. in “Sagmeister &
Walsh: Beauty”). This enables design with the power of influence, which can dictate popular
culture and the ability to exist outside the “norm.” We often find ourselves challenged by its
complexities and ability to break through the limits of our expectations. In a similar sense, so
does the existence of our identities. Inherent biases can help in explaining this phenomenon. An
important perspective is that we do not alone hold control over our beliefs, but we must critically
challenge our logic and understanding within ourselves. I feel that these two complementary
factors, the universality of design and internal conflicts, are how the beauty industry continues to
entice us, the consumer. Preying on our unavoidable vulnerabilities and insecurities, many of the
cosmetic conglomerates design product line that are meant to mitigate these concerns. Some
examples are Smashbox Photo Finish, emphasizing a flawless blurred look, or Urban Decay
Stay Naked, promoting a “no makeup makeup look.” We frequently find that older companies
still follow trends to create a fantasy . However, company’s who are doing the exact opposite,
catering to our individual needs and celebrating humans, are getting increasing market traction.
In particular, the January 2020 issue of The Global Cosmetic Industry journal suggests this change is
driven by the,
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Spirit of entrepreneurship radiates from many indie beauty brands, and their founders
don’t tend to be boxed in by corporate bureaucracy or red tape. New brands are
emerging, offering a new generation of benefits, claims, and philosophies. This signals
that the changes indie brands have made to the structure of the industry will only
continue to grow and evolve with the market. (Doyle, “How the Beauty Industry is
Evolving Around Indies”).
They are thus providing support to the notion that these newer independent companies can
freely explore all means to create positive brand loyalty , which better correlates with society’s shift
towards real beauty . Glossier is a perfect example of that. It was founded in 2014 by a former
Vogue employee, Emily Weiss, who was inspired to create a company which sought to make
people happy through products that performed well and were functional. Inspired by the word
‘dossier’ the company treats each product with care. A core value of the company is to include
their customers as co-creators when developing each product (Canal, “How This Former
Assistant at ‘Vogue’ Is Building the ‘Nike of Beauty’”). Another source quoted Weiss talking
about Glossier’s success, “One of our points of distinction is that we are a very controversial
brand that lives only digitally but we're not speaking primarily through advertising… Most of our
growth has been through owned, earned, peer to peer traffic. We're serving the woman who
wants to look like the best version of yourself – not like someone else” (S. S., “The Beauty
Industry Gets Better”). Companies such as Glossier strive to provide a quality product line
without sacrificing aesthetic or ethics in order to work towards the enhancement of our natural
beauty rather than codified beauty standards. This is best articulated in the company’s mission
statement, “Our mission is to give voice through beauty , and our team is proud to work at
Glossier to help democratize an industry that has forever been top-down” (“Life.Glossier.”).
12

Beautiful Monster
Makeup intends to make us feel beautiful. On the surface, this comes across as a positive
and empowered relationship. Upon further analysis, this simple statement contains more issues
than it provides solutions. It provides cover for us to make excuses for the flawed notion that our
being is not singularly enough to be beautiful. Instead, we are told to use products to change the
way we look, but at what cost? Driven by wanting to find out more, I created The True Cost of
Makeup (see Fig. 5). An adapted take on a “Youtube tutorial,” which did not speak to the products
being used, but instead criticized more significant issues: the sheer number of products required,
the financial expense associated with achieving such beauty , and the extensive amount of time it
takes to transform ourselves. Countless hours and with significant investment, which many people
of color, in particular, may not be able to make, I still find my relationship with makeup
conflictual. As I have explained, I find joy in embracing the artistry of makeup and frequently
purchase the constant new releases, despite knowing and acknowledging that cosmetic
conglomerates sometimes fabricate this ‘newness’ in order to make sales. I do not believe that the
cosmetics industry is simply corrupt; my goal is a change in our mindset when considering our
interactions with makeup. My wish is for all who choose to use makeup to see the power of
makeup being used as an extension of our identities, one that is a representation of all its
consumers, and satisfies their needs rather than wants.

13
Fig. 5. Self, “The True Cost of Makeup” Web. https://www.youtube.com/watch?
v=vogG4chQeu8&list=PLn5G-Er5Ks1Ta1SRzZNy9jQO5eCiWKtHd.
One brand, in particular, comes to mind when I think about progress towards inclusive
beauty; Fenty Beauty by Rihanna. An article published by Forbes Magazine talked about
Rihanna’s success and her makeup line, Fenty Beauty , explaining that the company “has
differentiated itself in another way , releasing 40 shades of foundation, far more than the handful
of hues sold by other brands” (Robehmed 2019). That “it challenged the standard convention
that you only needed a very defined set of shades to satisfy a market. Not only did [Fenty Beauty]
achieve meaningful sales, but it potentially changed the industry permanently” (qtd. in “How
Rihanna Created A $600 Million Fortune”). It is companies like Fenty Beauty that we need to
have at the forefront, turning the makeup industry into the inclusive creative space it should be.
14
Form vs. Function
So far, we have touched on the relationship between design and beauty , but I would like to
further provide cases that exemplify the way design is woven into the cosmetics industry and how
it can aid evolution to inclusive beauty . Examples include cases of brand identity , advertisements,
product packaging, and how designers are reimagining beauty .
We cannot talk about beauty and design without mentioning Sagmeister & Walsh’s Beauty.
Beginning as an exhibition and later becoming a book, the author's write, “Beauty as the height
of aesthetic achievement had fallen out of favor… wanting to explore why & learn what they
could do to reverse it” (“Sagmeister & Walsh: Beauty”). Through their work, designer duo, Stefan
Sagmeister and Jessica Walsh,
Remind us that beauty still can and should please the senses. However, it's equally
capable of engaging the intellect. When designers disregard beauty , end-users suffer.
Irony serves a purpose. But Beauty makes a strong case for balancing the criteria of art
and design between aesthetic appeal and practical functionalism. From the supermarket
to the stratosphere, beauty isn't bound by the laws of business or of gravity .
Sagmeister and Walsh prove tangibly , convincingly , that beauty lies deeper than blemish-
free skin (Gruel, “How Beauty Transcends Pore Count”).
Gruel’s review perfectly summarizes the aspects of Beauty’s work which relates to my own
conclusions of beauty and design. That is, design and beauty should co-exist to create balance
and meaning in our society . Further, there is also a social responsibility . Both the design and the
cosmetics industries have to be conscious of the environmental impact of their creations.
It is also essential to look at the packaging and how form meets function, especially when
it comes to high-end makeup. In this case, when talking about the form, I correctly mean
15
aesthetic, “giving or designed to give pleasure through beauty” (Oxford University Press).
Understanding that the design of the packaging sells the product, we must find the balance
between being aesthetically pleasing and the functionality for the consumer. We often see that the
more luxurious the product, the higher the focus on aesthetics in design, selling the brand name
to the buyer. In contrast, products commonly seen in the ‘drugstore’ price range use similar, and
familiar, components in order to keep costs down.
A 2012 article discusses one of Stila Cosmetics exciting approaches to package design.
Designer Jill Toandl’s engineering background informs her process in creating some of the most
iconic retail makeup packaging. She explains that her background in industrial packaging and
fashion design education were able to join together once she became a part of the team at Stila
Cosmetics. She worked on many of the company’s critically acclaimed designs such as the “Color
Wheel'' Palette (see Fig. 6) awarded the 2011 HBA International Package Design Awards. She
claims that:
One of the critical criteria for creating unique packaging is to use interesting materials. It
is important to utilize packaging to communicate the marketing message for the product.
I strive to create a visually impactful design for the blockbuster palette, so it stands out in
the highly competitive retail environment during the season. The packaging allows the
product to become part of the design.
Toandl explains her approach as being functional, integrating the product with the overall design,
as it is innovative and aesthetically pleasing. Her work is a strong representation of the influence
that packaging has on creating allure and ultimately sells the product.
16
Fig. 6. Stila Cosmetics, “Color Wheel Eyeshadow Palette” https://i.pinimg.com/564x/
36/71/5f/36715f397175d53512049f28b99d4c5a.jpg
17
CHAPTER 3: RACE & REPRESENTATION
The scrutiny of beauty standards reflects the fact that historically most standards only
regarded a single type of person as beautiful within each culture. As the standards have evolved,
so has the image of the person it depicts. These images take into consideration attributes such as
figure, skin tone, hair, and eye colors, clean face or caked with makeup, or the undeniable status
that inherent cultural privileges carry . However, today the world we live in consists of more than
one type of beauty . This is where race and representation come into play . Both aspects challenge
us to consider a broader range of attributes in our definitions of beauty . This supports the idea
that at the very least, all persons and their varied characteristics should be seen to possess the
equal potential to feel and be recognized as beautiful. By celebrating those unique attributes, we
can finally take steps towards a mindset that beauty emerges from all things and is subjective to
our individual preferences. It is vital that we, as people, understand that beauty on its own is
nondiscriminatory . Most of the issues lie within the broader context of how society has used
beauty to discriminate against some and give privilege to others. We should see ourselves first for
the beauty that exists within rather than that skewed perspective of the world we live in. Adding
to our previous sections, where we discussed beauty in the context of society and design, I began
to look at the lack of representation of various races, specifically in product development and
advertisements.
One campaign I looked at was L'Oréal, the world’s leading manufacturer in the beauty
industry generating an overall revenue of $33.43 billion in 2019, a 10.9% increase from 2018.
Holding popular cosmetic companies like Maybelline New York, NYX Professional, Urban
Decay , and many more under its umbrella, they are a major player in the global market (“Top 10
Largest Beauty Manufacturers.”). Specifically , I chose one product, L'Oréal Paris True Match
18
Foundation, to analyze variation through target marketing across sectors and design variations.
L'Oréal first introduced the “True Match Line” in the US Market in 1994, which at the time was
revolutionary in shade-matching technology available for the first time to the commercial
consumer. In 2012, the company expanded its initial collection to include, “calibrated
foundations that represent a universe of skin color for our most precise match, 100%
guaranteed” ("L'Oréal Paris Debuts New True Match Campaign”). At the time a shade range so
expansive was almost unheard of, setting L’Oréal apart from its competitors. Then most recently
in 2017 the company launched a new campaign,
“Your Skin, Your Story ,” that celebrates the intrinsic worth and beauty of everyone.
From an artist and artisan native to Nepal, to an American transgender model, actress
and writer, to a travel and food lifestyle blogger from Hawaii, to a millennial male model
of Caribbean descent, each of the individuals featured share their unique heritage and
skin story . ("L'Oréal Paris Debuts New True Match Campaign”)
Seeing the leader in the cosmetic industry showing genuine progress towards inclusive beauty
only adds to one’s identity and sense of one's own beauty .
By celebrating all people, L’Oréal,
Casts actresses, young creatives, change makers and models, all embodying a strong sense
of self-worth and empowerment. L'Oréal Paris global spokeswomen, actress Blake Lively ,
and models Lara Stone, Alexina Graham, and Xiao Wen Ju are featured along with
newcomers model Darnell Bernard and lifestyle influencer Cipriana Quann.
Additionally , advocates for progress in body diversity , Sabina Karsson and Marquita,
along with transgender model and trans rights activist, Hari Nef, are featured in the
campaign.
19
This is a great example of how brands are recognizing the need to have empathy for their
customers rather than expect them to alter themselves to meet unattainable standards. To this,
Blake Lively expresses,
Because I'm worth it' is an iconic belief that resonates with so many , for good reason.
Now more than ever, that simple phrase is a powerful reminder to us all as people are
coming together, rising up, and standing for their value. We are worth it. We are different
shapes and sizes. We are different colors. We are beautiful inside and out. We are kind.
We are brave. We are vulnerable. We are flawed. We are perfect. We are worth it. And
we each have a story to tell. Which is why I was so moved by the 'Your Skin, Your Story'
campaign. It's a beautiful illustration that we are in this together. And we are listening to
one another and celebrating each other for both our similarities, and our differences.
Now THAT'S beautiful. (qtd. in ”L'Oréal Paris Debuts New True Match Campaign”)
This campaign and the voices it represented surprised me (Fig. 7).
20
Fig. 7. L’Oréal Paris; “Your Skin, Your Story”; ad campaign, 8 Jan. 2027, https://
www.prnewswire.com/news-releases/loreal-paris-debuts-new-true-match-campaign-your-skin-
your-story-300387365.html; print advertisement.
I expected to be let down by what I would discover, but instead I was impressed to find
that even internationally famous companies, like L’Oréal, are moving in the right direction.
Although there is still an immense amount of exclusionary practices, the cosmetic industry is
clearly showing promise that they are willing to hear its audience and begin to alter their
messages.
It is examples like Fenty Beauty and “Your Skin, Your Story” that showcase the
progressive shift towards inclusivity , but it is presumptuous to say that these two accurately
represent the entirety of all the companies involved. However, not only are there companies that
are blatantly ignoring the expectation of equal representation in their product lines, but some
21
companies have struggled to affect change positively . For example, the launch of Beautyblender’s
first makeup product, foundation, in 2018 marked the launch of Latina owned cosmetic brands
first makeup product, Bounce Foundation. This product showed an innovative package design
custom made to function with the brand’s iconic beauty sponge. However, the product itself
faced tremendous pushback on social media. Initially launching with an impressive 32 shades, it
became a source of criticism due to the lack of shades’ deep’ range (see Fig. 8), despite describing
the range as being, “created by and for multi-cultural women” (Collins, 2018). Claiming, “Half
the shades are formulated for a range of brown skin tones and offer a wide variety of
undertones” (qtd. in “Beautyblender Introduces Its First Makeup Product — Foundation”).
Fig. 8. Huda Beauty , 2018. https://d2hy56m2o6qi9y .cloudfront.net/wp-content/uploads/
2019/02/26193703/MR7A1155_1.jpg
This is a representation of social media’s influence over product success, but it shows that
even within companies there lies a catch-22, especially when it comes to racial inclusivity . We see
that, despite conscious efforts to cater to a specific need for inclusivity in the market, as defined by
22
the company’s CEO, many consumers still felt as if they were being left out. This supports the
notion that we will continue to hold brands accountable for truly representing all its consumers.
Relatability
Equality is hard to come by , especially when it comes to race and representation. We say
we are progressing, and sure there is truth to that statement, but we are continually finding
ourselves living in a world that, for so many years, is fighting the same fight. Every step forward
results in taking steps back. Why is that? In particular, the United States suggests that individual
rights matter more than the collective. We see these sorts of acts every day , especially during this
time of COVID-19, where people selfishly choose to risk their exposure at the expense of others.
As human beings, we are supposed to be able to understand others and have sympathy and
empathy for others’ experiences. Despite this fact, people are fighting every day for their deserved
human rights and equality . To be oblivious to this fact is a passive act of privilege, and it is crucial
to educate ourselves to better understand the issues at large across the world. This is not to say
that we should or can even adapt to other people’s experiences as our own, however, it is our
responsibility to do our best to learn and expose ourselves to as many experiences as possible. As
a result, my research led me to the Combahee River Collective Statement drafted by Barbara
Smith, an African-American, lesbian, feminist author in 1977, who wrote:
We are actively committed to struggling against racial, sexual, heterosexual and class
oppression, and see our particular task the development of integrated analysis and
practice based upon the fact that the major systems of oppression are interlocking.” (qtd.
in Encyclopedia of African-American Writing)
23
This statement is mainly speaking to black women during the civil rights and feminist
movements. It is in the statement that the idea of identity politics comes into play:
Focusing upon our own oppression is embodied in the concept of identity politics. We
believe that the most profound and potentially most radical politics come directly out of
our own identity , as opposed to working to end somebody else’s oppression… We believe
that sexual politics under patriarchy is as pervasive in black women's lives as are the
politics of class and race. We also often find it difficult to separate race from class from
sex oppression because in our lives they are most often experienced simultaneously .” (qtd.
in Encyclopedia of African-American Writing)
This supports the idea that in order to understand does not require one to adopt others’ issues
but rather see and recognize the coexistence of all people’s identities and how these are
connected.
Who Says?
As exemplified by the previous resources provided, cultural standards of beauty are also
clearly affected by racial biases as they relate to our identity . As one of the only biological parts
of our being that holds less connectivity with the performative nature of our identity than factors
such as cosmetics, there are minimal options for manipulation. This is not to say that
performance does not play a role, but that it tends to be subconscious and often subjective to the
opinions of those around us. I remember experiencing this in fourth grade, during our studies of
ancient Egyptian culture, where we performed a play for the entire school. As my dad was
helping me get ready for the show I vividly remember many of the parents “complimenting” me
on how exotic I looked. It became clear to me that, being Asian, my racial performativity was, to
24
others, seemingly fluid. This has stuck with me as I commonly get questions regarding my
ethnicity . I often hear guesses of Korean, Japanese, Hawaiian, even Hapa, but rarely do people
guess Chinese. I don't know if it's the way I present myself in combination with my race, or the
result of my white American upbringing. However, I cannot remember a time when I did not
identify as Chinese despite being adopted at such a young age. This is one area in which I will
continue to question and wonder about the disconnect between my internal pride in my ethnicity
and how others perceive it.
25
CHAPTER 4: IDENTITY & INDIVIDUALITY
Throughout this thesis, I have covered topics such as the cosmetic industry , equal
representation of all, especially as it relates to race, and how design can be the thread that ties
them together. In the application of identity to my thesis, I have rooted my understanding in two
sources.. The first is the dictionary definition of the word, identity, “the characteristics
determining who or what a person or thing is” (Oxford University Press). The second is an
extraction from reading Judith Butler’s, Gender Trouble, where she describes, importantly , how our
identities are performative. Butler explains that “there is no gender identity behind the
expressions of gender; that identity is performatively constituted by the very “expressions” that
are said to be its results”(22-33). That is to say we are not meant to identify with gender; it is a
performance by which we should not aim to describe, but rather see as an expression as we are
only that thing because we do present ourselves as its opposite. By combining the dictionary
definition and Butler’s theory , I have created a framework to establish a focus within this section
of the thesis.
Our Shared Experiences
From before we are born, we are already being put into categories of who we are going to
be: boy or girl. Unfortunately , that is only the beginning of claims made to whom we are
expected to become. It is then up to us to educate ourselves in as many experiences as possible to
form empathy for those we may never experience, but will help us to find our own unique
identity . Finding our individuality can also be hard at times. Sometimes it can manifest through
recognizing how we are different from others, but it can also be felt through the mutuality of
intimate moments of our shared experiences. For example, thinking back to my middle school
26
experience I was able to find individuality through my advanced creative skills setting me apart
from my peers. However, I was also able to find individuality through mutuality by meeting a new
Chinese-Canadian transfer student who is now one of only a few people I keep up with from my
high school. It was through sharing our experiences that I was able to see similarities I had with
her that I did not previously have with any of my other friends. I distinctly look back on a
moment in seventh grade when my friend and I were getting ready for our school dance. We
were putting on makeup and sharing our eye make up techniques since the diagrams on the back
of the packaging were not reflective of the proportions of our monolid. This one similarity
helped me realize how much I did not know about my ethnic culture and how assimilated I was
into American white culture. Finding ourselves is an ongoing ‘work in progress,’ resonating with
the person we see looking back at us takes time. It is a process that starts with building trust. Trust
in that we are, or are not, who others assume us to be, or trust in knowing that we are better off
believing in our own informed opinions rather than following in the footsteps of the collective.
However, once we are able to start that investigation we can start to see the beauty in ourselves.
Let’s Put on a Show
It is through exposing our vulnerabilities that we can use our discoveries as a foundation
to build upon and makes us stronger. One great example of this is Youtube’s personality , Natalie
Wynn. Wynn uses their channel, “ContraPoints,” to break down and question conservative
politics by using their own experiences to explain liberal ideals. They touch on many
controversial subjects infusing humor and sarcasm to perform a debate. In doing so, they have
established multiple characters influenced by the drag community to create a persona that
expresses their passion for wanting to understand the various topics covered in their videos
27
(Marantz, 2018). Their work, and that of like-minded others, show the unapologetic nature of
performing one’s identity , which allows them “to be capable of being physically or emotionally
wounded” (Merriam-Webster) and can utilize that power to embrace themselves. Although
traditionally thought of as a biological existence that could not be changed, gender is a clear
example of how makeup has played a pivotal role in progressive thinking. As we now consider
‘sex’ as a biological distinction between male and female, gender has become far less defined.
The drag community , by using the transformative power of makeup to create alter-egos, is just
one of the first to challenge the limits of gendered stereotypes. In a study conducted by Heidi
Levitt, who shares insight into the history of drag and the perception of drag gender experienced
by the gay and queer men who perform, Levitt reasons that there is an ongoing conflict within
the conceptualization of gender through drag performances. Arguments for both the destruction
and perpetuation of binary concepts seem to be an ongoing interest in drag. She offers the
explanations as follows,
Some drag performers strive for perfection in popular female standards of beauty and
performance (e.g., imitating female media figures). Other performers adopt genderqueer
expressions in drag to challenge binary gender expressions (perhaps wearing a dress, wig,
and makeup, but showing hairy arms, masculine chests, or evidence of male genitalia),
sometimes called radical, spit or half drag…Unlike genderqueer drag, camp and
baroque drag performers do not employ gender-blending, but instead present a comical,
exaggerated parody of femininity that often serves as an implicit critique of gender
norms” (Levitt, “Drag Gender”).
Even in performative gender identity , a more profound concept is that such performances each
have their own identity too. There is no correct way to emulate identity . This community is only
28
one part of countless creatives who push the boundaries of gender roles, and performative parts
of our identities significantly influenced gender fluidity .
By embracing self-manipulation on levels from temporal makeup, tattoos, prosthetics, and
cosmetic surgery , humans have been able to render a visual identity entirely . I observed this by
looking at the creative practices of artists and designers such as Stefan Sagmeister, Nikki Lee,
Cindy Sherman, Annie Liebowitz, and Carlee Fernandez, just to name a few. All of these people
use various avenues to perform identity . In particular, I resonated with Kip Fulbeck. His practice
addresses the multiracial experiences of being hapa, which originated from “hapa haole,” a term
that originally represented Hawaiians with partial European descent after colonial contact in the
1850s. Since then, it has evolved and is more commonly used about people who are partially
Asian or Pacific Islander. Although I do not identify as such, Fulbeck draws on experiences in his
book Part Asian 100% Hapa which I see paralleled in my own experience. In particular is the
notion that his project is, “giving an “opportunity” for hapas to “show their image and respond in
their own words to the question that accompanies the lives of us in-betweens like a second skin
[What are you?]” (Fulbeck via. Picturing the Mix”). I have empathy for finding the balance
between my racial identity and my adopted cultural identity . It was a journey that took years to
accept. Although I am not traditionally Chinese-American, nor do I see myself fully a part of the
Caucasian-American experience around me, I do relate to both experiences that form my own
identity .
In the interest of uncovering the various influences on my existence as a female and my
upbringing, I used the medium of photography to experiment with capturing myself through
portraiture. Through a collection, a photo series, I began unpacking a vision of myself in a
vulnerable state. At first, using makeup artistry exercises, it became apparent that there is a
29
significant disparity between how I see myself and how I wanted to be seen by others. It showed
me there was much more to unpack than I initially thought. I see the influences of aesthetics and
performative identity and how that dictated even my subconscious decisions. One example would
be my fascination with filling-in and shaping my eyebrows, feeling like I was a completely new
person with just that makeup step. In reality , whenever I mentioned it, almost none of my friends
noticed nor did it seem to make an impact on them. By the fourth series titled, “Rolled Out of
Bed,” I was challenging myself to create imagery without my security blankets such as makeup
and calculated editing. Understanding and evaluating these differences that exist in my
vulnerability has changed how I see myself. Discovering the love I have for myself without those
things as equally compelling to the added confidence it affords me when I feel criticism creeping
in. This work is only a starting point for opening up the exploration of the continuous pressures
of beauty and societal standards within myself. With the ongoing research of others’ perspectives,
I will continue to unravel the relationship between outside influences and how we are perceived.
30
FINDINGS
The process of exploring the intersection of design, beauty , and identity is quite
complicated. However, by critically thinking about it, we can gain tremendous insight into
ourselves. Through examination of how we perform various functions related to our appearance,
we can become informed on how we identify with ourselves. This allows us to break through
cultural and societal standards. We are then able to move past the superficial aspects of
cosmetics. The process of examining these social and cultural issues has shown that design has
the power to create solutions. My journey manifested itself in many forms, such as packaging and
visual campaigns, self-portraiture, videography , and daily documentation of my personal
experiences, and reflections on beauty and its relationship to my identity . I am hopeful that this
research and the resulting projects allow and encourage critical investigation beyond myself, to
include others. I conclude that:
1. The cosmetic industry must continue its drive towards inclusivity, both in representation
and design aesthetics, to reduce the disparity between expectation and reality. Improving
this disconnect in combination with our discontent with how others see us can only result
in a more inclusive society for all people.
2. Design is critical to the undoing of the unrealistic beauty standards that culture expects
from us. Tools for design are now more than ever more accessible; people are equally
responsible for enacting change. To this end, I hope to study packaging and the notion of
‘luxury’ versus ‘drugstore.’ Using model companies like Glossier and other clean beauty
brands, I believe it is possible to discover packaging that is functional, aesthetically
pleasing, and better for the environment.
31
3. The need for makeup is unnecessary to be beautiful. However, I propose that it can be
reframed as a positive form of expressing oneself.
4. Even though we are unable to live others’ experiences, it is vital to do our best to have
empathy and intention towards understanding each other better.
5. Conscious knowledge of our performative identities leads to a better understanding of
self. After this thesis, I will continue my active efforts towards getting to know myself
through my designs and my day-to-day life. I hope to create work that inspires myself
and others, to share experiences, even when these do not seem relatable. I wish for all of
us to acknowledge all we have to offer, both mentally and physically, and to cherish those
aspects that make us beautiful.
32
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Abstract (if available)

Abstract Supported by my in-vivo experiences and my research into others’ relationships with identity, this thesis will consider the contexts of race, sexual orientation, gender, and access. Understanding that the connection with ourselves is continually advancing, I have focused on uncovering the historic American and Asian influences on feeling beautiful and how it exists outside of myself. ID x BEAUTY represents the cumulative ideas drawn from investigating the intersection of design, beauty, and performative identity. ‘ID’ represents the design and identity aspects of this exploration of how they each inform the concept of beauty as prescribed by current society. I utilized a focused group of works, including self-portraits, video, a series of ad campaign posters, and package designs, to study identity's performative nature through design. In doing so, this research resulted in questions related to the cultural intersectionality of beauty standards. Specifically, I will examine the exaggerated standards between the US and Chinese markets as these relate to my American nationality and Chinese ethnicity. From full lips in America to pale skin in Asian countries, both are avenues a society uses to gauge one’s level of beauty. Then, by researching and combining other artists’ and designers’ practices and experiences, I will seek to draw informed conclusions on design’s role historically and how it currently drives our outlook on cosmetics and the pressure beauty places on us as individuals. This well-rounded investigation will then allow us to begin to break down the complexity of self-image and beauty.

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Asset Metadata

Creator Polonus, Zoe Biao Marshel (author)

Core Title ID × beauty: the intersection of design, beauty, and our performative identities

School Roski School of Art and Design

Degree Master of Fine Arts

Degree Program Design

Publication Date 07/27/2020

Defense Date 06/22/2020

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

Tag beauty standards,Consumerism,Cosmetics,Design,makeup,multi-cultural intersection,OAI-PMH Harvest,performative identity,performativity,personal identity

Language English

Contributor Electronically uploaded by the author (provenance)

Advisor Zoto, Alexis (committee chair), Guirguis, Sherin (committee member), Junker, Eric (committee member), Trujillo, Osvaldo (committee member)

Creator Email zmpolonu@usc.edu,zopo.design@gmail.com

Permanent Link (DOI) https://doi.org/10.25549/usctheses-c89-344101

Unique identifier UC11665936

Identifier etd-PolonusZoe-8797.pdf (filename),usctheses-c89-344101 (legacy record id)

Legacy Identifier etd-PolonusZoe-8797.pdf

Dmrecord 344101

Document Type Thesis

Rights Polonus, Zoe Biao Marshel

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