Jung 1

Suyeon Jung
Professor Lori Bedell
CAS 137H/ Sec. 005
5 December 2014
Beauty Standard Paradigm Shift
Since the first Barbie doll was introduced, this item has been considered a popular toy
to stand for a beauty ideal (Pendergast 2000). Women often find unrealistic beauty standards
represented by the Barbie doll in the form of a slim, shapely, young blonde-haired woman
(The Oxford dictionary). In the context of women's higher status in society, their increased
desire for success warranted a push toward feminism, and due to the feminism, beauty
standards have shifted. In this situation, the Barbie doll has played an important role in
symbolizing beauty as a significant tool for success (2000). In the United States, between
1920 and 1990, for example, this transition in the concept of beauty has occurred as result of
the womens rights movement, pop-culture, and the power of media.
In the 1920s, beauty standards shifted to show femininity within gaining womens
rights. With support of both the Democratic and Republican parties, the 19th Amendment said,
The right of citizens of the United States to vote shall not be denied or abridged by the
United States or by any State on account of sex. Congress shall have the power to enforce this
article by appropriate legislation. This gave suffrage rights to women so that they could
slowly achieve their own goal of equality among the sexes to some extent, by participating in
the work force, burgeoning consumer economy and lowering the birth rate by using birth
control. This also made women experience more freedom than ever before. Since women
gained more freedom and rights, they no longer had to hide their femininities (Casey 2013).
Thus, within feminism, they tended to show their body silhouettes to prove that they did look
different from men based on both are equal to each other. Under the social changes, there was

Jung 2
a new fashion style introduced in the Roaring Twenties: flappers (Flynn 2003). These people
wore bobbed hair and short skirts while drinking, smoking, and enjoying more sexual
liberation than previous generations (2003). These women were against Victorian beauty
standards. Fashion has changed so that a slim silhouette in a chemise is ideal, and matronly
seems old fashioned. Women are dancing and doing sports, and they are no longer infatuated
with the Victorian ideal of being frail and sickly (Brumberg). That is to say, wearing a corset
and other types of Victorian beauty were newly considered as a hindrance to the new life
style. Along those social changes, with the impact of cinema, beauty standards also shifted
with famous actresses such as Louise Brooks and Clara Bow (Hess 2000). Wearing heavy
makeup also became a symbol of beauty. These changes in the 1920s were enough to show
that women emphasized their femininities due to gaining freedom and rights.
And by extension, in the 1930s, women highlighted their curvaceous bodies as a
symbol of femininity by enjoying their freedom in spite of their limited opportunities (Derks
2012). They were actively engaged in the economy even in the post-depression era. Their
active involvement in economic activities wiped away the possibility of women's losing
opportunities and freedom within economic struggle (Baughman, Bondi, Layman,
McConnell, Tompkins 2001). This change in the 1930s made it possible for women to gain
political powers. With social welfare services in the New Deal, for example, women gained
more power in politics. New Deal politician, Molly Dewson, said, The change from
womens status in government before Roosevelt is unbelievable (2001). Approximately
eleven million women (24.3 percent of all women population) were employed and 30 percent
of women were in domestic or personal service (2001). Thus, women in the 1930s also
highlighted femininity with power they gained. A Hollywood actress, Mae West, for instance,
influenced beauty standards in the 1930s the most. She emphasized her curved body by
wearing tight clothes. West said, Cultivate your curves. They may be dangerous buy they

Jung 3
wont be avoided (Bahadur 2014). Later in the 1930s, however, the media ended the sexual
content of the films and started to focus more on realistic body shapes of women. People
started to consider tall women with wide shoulders and narrow hips as beautiful; Katherine
Hepburn and Jean Arthur gained popularity in this way (Ludge 2011). Therefore, during that
time, curvaceous body and more realistic body were accentuated with popular actresses based
on the traditional ideal of femininity.
In contrast to the post-World War II era, women were not as feminine as those in the
1920s and the 1930s. World War II affected the 1940s beauty standards. Womens fashion
was not as showy as it used to be earlier because people were still having feelings of
depression from the death and casualties the U.S faced during World War II. Women thought
that the more masculine they were, the more beautiful they were (Bughman 2001). Therefore,
the 1940s focused more on practical and masculine styles with strict controls on womens
clothes as an impact of the war (2001). During World War II, women had to cover mens
positions because most men were drafted to the war (Lerner 2006). Wartime cloth restriction
and lack of materials also affected designers on their products, so their design was limited
with square shoulders and short skirts (Pendergast, Johnson, Carnagie 2013 ). As a result,
women started to slowly lose femininity, and they gained masculinity instead (Derks 2012).
In short, women wore clothes with padded shoulders to emphasize wide shoulders as a
symbol of power and knee-length hemlines to better fit in on the home front. Due to wartime
austerity and womens responsibility of being on the home front women became more
masculine than they were in the previous decades.
In the late 1940s, however, femininity came back with French designer Christian Dior.
Women were again attracted to femininity with the introduction of Christian Diors New
Look with a tiny corset, padded hips and billowing skirts that used more fabrics than they
were allowed to during wartime austerity (Wood). Within Diors new look, there was a

Jung 4
turning point in beauty standards that brought femininity in the next decades (Dior 2014).
That is to say, in the 1940s, Christian Dior played a significant role in beauty concept that
women experience femininity again, and those main actresses listed above introduced both
the external and internal beauties. To support this idea, there were also film actresses who
influenced beauty standards such as Vivien Leigh, Joan Crawford, Bette Davis and Rosalind
Russell. Those actresses highlighted different types of beauty, so there was more than one
beauty standard in the 1940s. For instance, Vivien Leigh emphasized innocence. She
portrayed a woman who looks so tough, but who is actually sensitive and ladylike inside
(Leigh 2007). However, Joan Crawford had more awe-inspiring beauty, with wide shoulders
and hips. She wore shoulder pads to highlight wide shoulders, which are manly, but later it
became known as Crawfords signature (Pardi 2000). While Vivien Leigh and Joan Crawford
highlighted physical beauty concept, other actresses showed inner-beauty. Bette Davis, for
example, was not a typical glamour girl in the 1930s and 1940s. She showed the nation that
personality is beauty, and good personality makes women attractive (Gateward 2000).
Similarly, Rosalind Russell emphasized excitement as a key to being pretty. She said Taking
joy in living is a womans best cosmetic(Russell). To her, if women wanted to be beautiful,
then there was nothing more important than enjoying their situation (Smith 2000). Those four
main actresses from the late 1940s emphasized all different matters as beauty standards, so
there was no uniform beauty standard in the 1940s.
When it comes to the 1950s, sexual liberation became a significant issue due to pin-up
girls as a beauty standard in mass-media images from technological development. Pin-up
girls represent feminism, sexuality, and popular culture in the 1950s (Lev 2007). With this
new change in women's beauty, there was also an emphasis on conformity and flaw
concealment in self-presentation with technological development, such as better lights. For
this reason, women started to consider their skin more due to better mirrors and better lights,

Jung 5
and this trend was shown in black women more than white women (Chaurasia 2013). This
means that black women preferred to look as white as possible by straightening their hair and
lightening their skin (2013). Furthermore, there was the newly invented teenage fashion style:
tight sweaters, pointed bras, and circular skirts with tight trousers and beatnik black (Wood).
In short, in the 1950s, women went through self-concealment with better mirrors and lights,
and faced sexual liberation and femininity with mass media production of pin-up girls (Lev
2007).
In the 1950s, there was an ideological shift in the traditional view of women as being
proper, inactive, and quiet--in short being ladylike. The curvaceous and sexual body
became the beauty standard with famous actresses, such as Marilyn Monroe, Kim Novak and
Jayne Mansfield. Marilyn Monroe, for example, was the refresher that society wanted from
the pressure of being ladylike (Pendergast, Johnson, Carnagie 2013). Marilyn Monroe was
naked, scandalous, and honest, but she was not ashamed. Women in the 1950s adored
Marilyn Monroe for enjoying sexual freedom and not being ashamed although she was
against traditional beauty. Marilyn Monroe changed the nations lens on womens sexual
liberation (2013). On the other hand, Grace Kelly was ladylike and introduced the dream of
becoming a princess to every little girl, which eventually led to the introduction of the Barbie
doll (Pendergast 2004). In sum, women challenged domesticity in the 1950s with actresses
such as Marilyn Monroe by liberating female sexuality.
Status characteristic became the key beauty standard in the 1960s. This beauty
concept is based on wealth and authority. For example, a movie director, Michaelangelo
Antonioni, showed status characteristic with David Hemmings and Vanessa Redgrave in his
movie Blow-up. Although the Civil Rights Movement of the 1960s focused on racial equality,
it also inspired feminism (Alvah 2003). It influenced women to express their sexuality in
order to embrace femininity and women gained power and rights. Women began to

Jung 6
accentuate their liberation through media and political actions. Betty Friedan wrote a book
The Feminine Mystique, which was remembered as the beginning of the second wave of
feminism in the United States (Loue, Sajatovic 2008). Women also formed liberation groups
along the East Coast, such as New York Radical Women and Redstockings (Napikoski). With
The Feminine Mystique, Betty Friedan gathered feminists to establish the National
Organization for Women (NOW) to support womens equality, and NOW was one of the
strongest and the most effective organizations. In addition, there were more women who
started attending universities and entering the workforce with temp agencies (2008). With the
second wave of feminism in the 1960s, young girls preferred flamboyant clothes rather than
modest, proper and concealed ones because better education enabled young girls to be
economically independent. For example, Mary Quant invented mini-skirts in 1964 (Wood). In
the 1960s, women experienced feminism due to the womens rights movement, economical
independence and a higher level of education.
With feminism in the 1960s, women were also seeking something that would separate
them from the role of housewives or/and mothers, so skinniness was accentuated. Twiggy
was a model who represented the new and modern with a skinny and boyish look (Bahadur
2014). Twiggy was different from other models. She always dressed in the latest fashion, so
most women adored Twiggy (2014). Twiggy was the one who would encourage women to
take breaks from being housewives or/and mothers by reminding women of the importance of
self-development (2014). Twiggy gained fame with her unique look. Using her popularity
Twiggy introduced a new kind of beauty: the skinny body and a boyish look (2014). Twiggy
was genetically skinny, but most women had a hard time becoming skinny as Twiggy. Plastic
surgery became popular in the modeling industry, and removal of the back teeth and lower
ribs were the most common operations (Wood 2014). Since, women were eager to be skinny,

Jung 7
diet and exercise became extremely important among the nation. Women were no longer
depending on corsets, and they shaped their body through exercise and diet (2014).
However, in the late 1960s and the early 1970s, womens endeavor to involve in
political actions experienced some failure, which allowed women to rebel against feminine
beauty (Napikoski). Women who wore miniskirts were called dollybird, so they gave up
femininity. The Oxford dictionary defines dollybird as an attractive and stylish young
woman, considered with reference only to her appearance. Women did not enjoy being
judged based on their appearance rather than their intellectual level, so they became less
feminine to highlight their intelligence more (Conway 1998). Young women started not to
wear miniskirts. In the early 1960s, miniskirts were a symbol of feminine liberation, however,
with political despondency and the use of the word dollybird, skinny jeans and maxi-skirts
replaced mini-skirts. Maxi skirts had the longest hemline since the 1920s, which implacted
the late 1960s and the early 1970s feminism experienced its lowest moment (1998).
In the 1970s, social movement, the punk rock movement, affected the beauty standard
by bringing previous fashion trends. The punk rock movement was combusted in the United
States with pioneers such as British rock music artists, Ian Dury, Dave Edmunds, and Nick
Lowe (Baughman, Bondi, Layman, McConnell, Tompkins 2001). The punk rock movement
was a counter-culture movement, against the mainstream of fashion, music, and culture in the
United States (2001). Female rock singer, Debbie Harry, wore miniskirts on stage because
punks tended to avoid mainstream of fashion (2001). Therefore, in the 1970s, the punk rock
movement brought miniskirts back in the culture. In the late 1970s, people started wearing
flared trousers and long hair due to punk. Japanese fashion designers, Kenzo and Miyake,
created the new fashion template including leotards, ra-ra skirts, leggings and tracksuits
(2001).

Jung 8
In the 1980s, the beauty standards revived feminism with Madonna. Since Madonna
was very popular singer, her fashion style, underwear-as-outerwear, became popular
(Webber-Hanchett 2005). Designers Cher and Kylie Minogue designed underwear-asouterwear as mainstream fashion by inspired from Madonna (Markowitz 2000). With
underwear-as-outerwear fashion style Madonna highlighted sexual appeal with femininity,
which was successful and controlled. Madonna had chameleon-like ability to transform her
own beauty style and redefine femininity (Webber 2005). She embraced the idea of sexism by
wearing boy-toy belt buckle. Later, however, feminists adored Madonnas sophisticated work,
which criticized the 1970s (2000). Unlike other celebrities, Madonna was able to use her
sexuality in media, so Madonna gained popularity. Madonna emphasized curvaceous body
and big hair as the beauty standard (2005). Since beauty focused on curvaceous bodies, there
were many models who had breast implant surgery in order to be curvaceous; although there
were much research and many reports of implant dangers (Angier 1993).
In contrast to the 1980s, the obsession of skinny body affected a beauty standard in
the 1990s. Reports on dangers of breast implant surgery eventually helped women to assure
beauty of being skinny (Loue, Sajatovic 2008). The mature, big-haired and big-breasted
look is out, and the short, waiflike and wafer-like look is in: girls like Carla Bruni, Kristen
McMenamy, and Kate Moss, who recently posed in a Calvin Klein ad with rap singer Marky
Mark and gave Jaye Davidson of The Crying Game a run for award as foxiest androgyne of
the year (Angier 1993). The quote stated that Kate Moss highlighted the underweight-like
look, which almost looked like a child, led to fascination with underweight models.
Therefore, in the 1990s, Marilyn Monroe, the beauty icon of the 1950s, was considered fat.
Women also became tired of flawless looks, so they found natural as symbol of beauty
(1993). Kim Chernin, a psychotherapist and author of The Obsession: Reflections of the
Tyranny of Slenderness found a pattern of beauty standard and she stated Whenever women

Jung 9
have made any social gains, whether its being accepted as athletes or moving into the
professions, its going to be contradicted with an image of woman as small, diminished,
reduced, brought back to a childish body (1993). Therefore, there were many women who
had made social achievements and gains in the 1990s, so beauty standard have shifted into
childish look. In the 1990s, cosmetic surgery received the spotlight (Wood). In the United
Kingdom, there were sixty thousand people who had plastic surgery annually, and the most
common operations were breast reduction, augmentation, liposuction, wrinkle removal, chin
reduction, cheekbone implants and lip augmentation (Wood).
In sum, beauty standards have shifted with the ups and downs of feminism, and those
famous celebrities in the decades. As feminism rises, curvaceous body was accentuated, and
as feminism reduced, the boyish look was pointed out. Since beauty standards changed over
the years, there were inventions such as mini-skirts and maxi-skirts as respond to those
changes. Some cultural movement brought old fashion trends back such as the punk rock
movement brought mini-skirts back. Therefore, beauty standards reflect time periods very
well specifically about significance of social and cultural movement and popular celebrities.

Jung 10
Refernce
Books:
Gateward, F. (2000). Davis, Bette (1908-1989). In S. Pendergast & T. Pendergast (Eds.), St.
James Encyclopedia of Popular Culture (Vol. 1, p. 661). Detroit: St. James Press. Retrieved
from http://go.galegroup.com.ezaccess.libraries.psu.edu/ps/i.do?id=GALE
%7CCX3409000625&v=2.1&u=psucic&it=r&p=GVRL&sw=w&asid=b15cb820e9fbca104c
f42120ab40ff47
Smith, K. (2000). Russell, Rosalind (1911-1976). In S. Pendergast & T. Pendergast (Eds.), St.
James Encyclopedia of Popular Culture (Vol. 4, p. 293). Detroit: St. James Press. Retrieved
from http://go.galegroup.com.ezaccess.libraries.psu.edu/ps/i.do?id=GALE
%7CCX3409002146&v=2.1&u=psucic&it=r&p=GVRL&sw=w&asid=336282aa9c34d7677
028cbd9402a0d7e
The Family in Times of Conflict and Change. (2006). In K. L. Lerner, B. W. Lerner, & A. W.
Lerner (Eds.), Family in Society: Essential Primary Sources (pp. 395-396). Detroit: Gale.
Retrieved from http://go.galegroup.com.ezaccess.libraries.psu.edu/ps/i.do?id=GALE
%7CCX2688300152&v=2.1&u=psucic&it=r&p=GVRL&sw=w&asid=593efc78a5d3bc3160
ea01bfaa7b3f4b
Leigh, Vivien (19131967). (2007). In A. Commire & D. Klezmer (Eds.), Dictionary of
Women Worldwide: 25,000 Women Through the Ages (Vol. 1, p. 1112). Detroit: Yorkin
Publications. Retrieved from http://go.galegroup.com.ezaccess.libraries.psu.edu/ps/i.do?
id=GALE
%7CCX2588813902&v=2.1&u=psucic&it=r&p=GVRL&sw=w&asid=53442b4cc3b2849f78
a68b70e9a34ef5
Pardi, R. (2000). Crawford, Joan. In S. Pendergast & T. Pendergast (Eds.), International
Dictionary of Films and Filmmakers (4th ed., Vol. 3, pp. 274-277). Detroit: St. James Press.

Jung 11
Retrieved from http://go.galegroup.com.ezaccess.libraries.psu.edu/ps/i.do?id=GALE
%7CCX3406801641&v=2.1&u=psucic&it=r&p=GVRL&sw=w&asid=3c17774a4811a25b22
7fa2d8cd429a40
Hess, M. (2000). Brooks, Louise (1906-1985). In S. Pendergast & T. Pendergast (Eds.), St.
James Encyclopedia of Popular Culture (Vol. 1, p. 365). Detroit: St. James Press. Retrieved
from http://go.galegroup.com.ezaccess.libraries.psu.edu/ps/i.do?id=GALE
%7CCX3409000341&v=2.1&u=psucic&it=r&p=GVRL&sw=w&asid=3353cd2737d61f7774
820cff8e63973a
Casey, P. F. (2013). Woman Suffrage Movement, 18481920. In I. Ness (Ed.), Encyclopedia
of American Social Movements (pp. 1297-1319). Armonk, NY: Sharpe Reference. Retrieved
from http://go.galegroup.com.ezaccess.libraries.psu.edu/ps/i.do?id=GALE
%7CCX7035400186&v=2.1&u=psucic&it=r&p=GVRL&sw=w&asid=490fa2b53d1c784761
41681df62281f0
Alvah, D. (2003). Civil Rights Movement. In S. I. Kutler (Ed.), Dictionary of American
History (3rd ed., Vol. 2, pp. 200-206). New York: Charles Scribner's Sons. Retrieved from
http://go.galegroup.com/ps/i.do?id=GALE
%7CCX3401800845&v=2.1&u=psucic&it=r&p=GVRL&sw=w&asid=b10b011e2149983fee
49cbf3ce0fec35
Feminism. (2008). In S. Loue & M. Sajatovic (Eds.), Encyclopedia of Aging and Public
Health (pp. 359-360). New York: Springer. Retrieved from http://go.galegroup.com/ps/i.do?
id=GALE
%7CCX3041600193&v=2.1&u=psucic&it=r&p=GVRL&sw=w&asid=dfca0a0d66d2a96bf7
284fa9f35f49e0
Lev, L. (2007). Pin-Ups. In F. Malti-Douglas (Ed.), Encyclopedia of Sex and Gender (Vol. 3,
pp. 1149-1151). Detroit: Macmillan Reference USA. Retrieved from

Jung 12
http://go.galegroup.com/ps/i.do?id=GALE
%7CCX2896200492&v=2.1&u=psucic&it=r&p=GVRL&sw=w&asid=c1d9cca05f829d8df5
c15063a442aaa0
Clothing, 194660. (2013). In S. Pendergast, T. Pendergast, D. D. Johnson, & J. L. Carnagie
(Eds.), Fashion, Costume, and Culture (2nd ed., Vol. 5, pp. 835-857). Detroit: UXL.
Retrieved from http://go.galegroup.com/ps/i.do?id=GALE
%7CCX2760000133&v=2.1&u=psucic&it=r&p=GVRL&sw=w&asid=404c358eeb2df97c56
d83971ef6e9216
Flynn, M. J. (2003). Flapper. In S. I. Kutler (Ed.), Dictionary of American History (3rd ed.,
Vol. 3, p. 381). New York: Charles Scribner's Sons. Retrieved from
http://go.galegroup.com.ezaccess.libraries.psu.edu/ps/i.do?id=GALE
%7CCX3401801531&v=2.1&u=psucic&it=r&p=GVRL&sw=w&asid=555bedea76e34fe498
947d3feaae4a64
Dior, Christian (19051957). (2014). In M. E. Snodgrass, World Clothing and Fashion (pp.
209-210). Armonk, NY: Sharpe Reference. Retrieved from http://go.galegroup.com/ps/i.do?
id=GALE
%7CCX7037600090&v=2.1&u=psucic&it=r&p=GVRL&sw=w&asid=357d83d4669c9dec1
4d2c9f5bf9016fb
Pendergast, S. (2013). Barbie. In T. Riggs (Ed.), St. James Encyclopedia of Popular Culture
(2nd ed., Vol. 1, pp. 205-209). Detroit: St. James Press. Retrieved from
http://go.galegroup.com/ps/i.do?id=GALE
%7CCX2735800189&v=2.1&u=psucic&it=r&p=GVRL&sw=w&asid=414c0569da8e3f06a2
f2c0a4c645d2ab
19301939. (2012). In S. Derks, Working Americans, 1880-2012 (2nd ed., Vol. 1, pp. [216]218). Amenia, NY: Grey House Publishing. Retrieved from http://go.galegroup.com/ps/i.do?

Jung 13
id=GALE
%7CCX1546000058&v=2.1&u=psucic&it=r&p=GVRL&sw=w&asid=9a8f5948e21e466989
3f6e4eea21b3c8
Chaurasia, Priyanka. "Beauty Standards." Encyclopedia of Race and Racism. Ed. Patrick L.
Mason. 2nd ed. Vol. 1. Detroit: Macmillan Reference USA, 2013. 216-220. Gale Virtual
Reference Library. Web. 17 Oct. 2014.
Kalof, Linda, and Lori Baralt. "The Sociology of Femininity." 21st Century Sociology: A
Reference Handbook. Ed. Clifton D. Bryant and Dennis L. Peck. Vol. 2: Specialty and
Interdisciplinary Studies. Thousand Oaks, CA: SAGE Publications, 2006. 116-122. 21st
Century Reference Series. Gale Virtual Reference Library. Web. 17 Oct. 2014.
Logio, Kim A. "Body Image." Encyclopedia of Social Problems. Ed. Vincent N. Parrillo. Vol.
1. Thousand Oaks, CA: SAGE Publications, 2008. 88-90. Gale Virtual Reference Library.
Web. 17 Oct. 2014.
Barbie. (2004). In S. Pendergast & T. Pendergast (Eds.), Fashion, Costume, and
Culture: Clothing, Headwear, Body Decorations, and Footwear through the Ages
(Vol. 5, p. 868). Detroit: UXL. Retrieved from http://go.galegroup.com/ps/i.do?
id=GALE
%7CCX3425500567&v=2.1&u=psucic&it=r&p=GVRL&sw=w&asid=3165d4d7
c93b0a0c98e28c6c7a60a5f7
Working Women in the 1930s. (2001). In J. S. Baughman, V. Bondi, R. Layman,
T. McConnell, & V. Tompkins (Eds.), American Decades (Vol. 4). Detroit: Gale.
Retrieved from http://go.galegroup.com/ps/i.do?id=GALE
%7CCX3468301237&v=2.1&u=psucic&it=r&p=GVRL&sw=w&asid=99ec2b46c
6c819cf9da69fe432efcb0e
1942 Economic Profile. (2012). In S. Derks, Working Americans, 1880-2012 (2nd

Jung 14
ed., Vol. 1, pp. 279-283). Amenia, NY: Grey House Publishing. Retrieved from
http://go.galegroup.com/ps/i.do?id=GALE
%7CCX1546000073&v=2.1&u=psucic&it=r&p=GVRL&sw=w&asid=dce69241
b1e313625237429adced9894
Pendergast, S. (2000). Barbie. In S. Pendergast & T. Pendergast (Eds.), St. James
Encyclopedia of Popular Culture (Vol. 1, pp. 171-174). Detroit: St. James Press.
Retrieved from http://go.galegroup.com/ps/i.do?id=GALE
%7CCX3409000173&v=2.1&u=psucic&it=r&p=GVRL&sw=w
KOLKEY, J. M. (2004). Lifestyles and Social Trends, 1920-1929. In C. Rose
(Ed.), American Decades Primary Sources (Vol. 3, p. 373). Detroit: Gale.
Retrieved from http://go.galegroup.com.ezaccess.libraries.psu.edu/ps/i.do?
id=GALE
%7CCX3490200529&v=2.1&u=psucic&it=r&p=GVRL&sw=w&asid=34fda8e4b
7e0b043923bbf44c36227f1
BARNETT, R. E. (2000). Ninth Amendment (Update). In L. W. Levy & K. L. Karst (Eds.),
Encyclopedia of the American Constitution (2nd ed., Vol. 4, pp. 1813-1815). Detroit:
Macmillan Reference USA. Retrieved from http://go.galegroup.com/ps/i.do?id=GALE
%7CCX3425001775&v=2.1&u=psucic&it=r&p=GVRL&sw=w&asid=aa9c605cb22b903b70
285387db1f75b4
The Punk Rock and New Wave Movements. (2001). In J. S. Baughman, V. Bondi, R.
Layman, T. McConnell, & V. Tompkins (Eds.), American Decades (Vol. 8). Detroit: Gale.
Retrieved from http://go.galegroup.com/ps/i.do?id=GALE
%7CCX3468302577&v=2.1&u=psucic&it=r&p=GVRL&sw=w&asid=548c69b7ea3faf2999
43019a88bad55e
Webber-Hanchett, T. (2005). Madonna. In V. Steele (Ed.), Encyclopedia of Clothing and
Fashion (Vol. 2, pp. 370-372). Detroit: Charles Scribner's Sons. Retrieved from

Jung 15
http://go.galegroup.com/ps/i.do?id=GALE
%7CCX3427500378&v=2.1&u=psucic&it=r&p=GVRL&sw=w&asid=0a5459e6208488e2f5
91433057547e97
Markowitz, R. (2000). Madonna (1958). In S. Pendergast & T. Pendergast (Eds.), St.
James Encyclopedia of Popular Culture (Vol. 3, pp. 235-237). Detroit: St. James Press.
Retrieved from http://go.galegroup.com/ps/i.do?id=GALE
%7CCX3409001553&v=2.1&u=psucic&it=r&p=GVRL&sw=w&asid=d8bdf4010e3de5ca6b
a40aca1ec49289
Websites:
Napikoski, L. (n.d.). 1960s Feminism: 8 Examples of Activities of the Movement. Retrieved
October 31, 2014.
History.com Staff. (2010). The Roaring Twenties. Retrieved October 27, 2014.
Fashion Revolution A History of the Miniskirt. (n.d.). Retrieved October 31, 2014.
Bahadur, N. (2014, February 5). It's Amazing How Much The 'Perfect Body' Has Changed In
100 Years. Retrieved October 31, 2014.
3.8 Health and beauty in the 1930s. (n.d.). Retrieved October 31, 2014.
Ruud, M. (2011, July 5). Western Standards of Beauty: An Illustrated Timeline. Retrieved
October 31, 2014.
Rudge, C. (2011, January 10). 1930s Beauty. Retrieved October 31, 2014.
Angier, N. (1993, April 10). Fashion's Waif Look Makes Strong Women Weep. Retrieved
October 31, 2014.
CONWAY, S. (1998, October 18). THE HISTORY OF... THE MAXI SKIRT: Down to the
ground. Retrieved October 31, 2014.
The Ideal Woman Through the Ages: Photos : DNews. (2012, December 12). Retrieved
October 31, 2014.

Jung 16
Preface to "What Are the Standards of Beauty?" (2010). In R. Espejo (Ed.), Opposing
Viewpoints. The Culture of Beauty. Detroit: Greenhaven Press. Retrieved from
http://ic.galegroup.com/ic/ovic/ReferenceDetailsPage/ReferenceDetailsWindow?
failOverType=&query=&prodId=OVIC&windowstate=normal&contentModules=&displayquery=&mode=view&displayGroupName=Reference&limiter=&currPage=&disableHighlig
hting=false&displayGroups=&sortBy=&search_within_results=&p=OVIC&action=e&catId
=&activityType=&scanId=&documentId=GALE
%7CEJ3010659102&source=Bookmark&u=psucic&jsid=c5ca35cc14b4fa3f2af1cda25a63ed
27
Wood, L. (n.d.). Perceptions Of Female Beauty In The 20th Century. Retrieved October 31,
2014.

Jung 17