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"The Black Aesthetic" (Doubleday, 1971), by scholar Addison Gayle, are essays that call for black artists to create and evaluate their works based on criteria relevant to black life and culture. Their aesthetics, or the values of beauty associated with the works of art, should be a reflection of their African heritage and worldview, not European dogma, the contributors stated. A black aesthetic would embolden black people to honor their own beauty and power.

Popular Culture

Prior to the mid-1960s, African Americans appeared in popular culture as musical entertainers, sports figures, and in stereotypical servant roles on screen. Empowered by the black cultural movement, African Americans increasingly demanded more roles and more realistic images of their lives, both in mainstream and black media. Black journalists used the talk-show format to air community concerns. Television programs featuring black actors attracted advertisers who tapped into a growing black consumer base.

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Nearly 575 recognized Native American tribes, including the Choctaw, Cherokee, Sioux and Navajo Nations, populate the United States today. These original inhabitants of this land continue the traditions and maintain the culture that their ancestors established before Christopher Columbus and other Europeans colonized the Americas.

In other words, society/culture conditions us into conforming to beauty standards. When we conform, we become the conditioners, compounding the conditioning for those within our personal spheres of influence. That conditioning radiates outward from us as individuals, through our private and personal networks, and into social networks, organizations, the general public, and finally, the culture. It comes full circle.

When we participate in toxic beauty culture, we perpetuate toxic beauty culture. We make it harder for our fellow human beings to opt out. We ensure that future generations will have to deal with this shit, too.

It\u2019s a beautiful sentiment. She\u2019s not wrong. Yes, she\u2019s been conditioned by beauty standards. Yes, it\u2019s her choice to aesthetically alter her face and body. But\u2026 through that choice, Kardashian offloads the \u201Cconstant pressure\u201D she feels onto the rest of the world. It\u2019s a \u201Churt people hurt people\u201D kind of thing.

It may be helpful to think of beauty culture like an MLM (Multi-Level Marketing company): Beauty standards (the product) are produced by the powers that be: patriarchy, white supremacy, capitalism, colonialism. They\u2019re then distributed by high-level executives: Corporations, brands, editors, influencers, dermatologists, aestheticians, reporters, celebrities. Individuals buy into these beauty standards and, in turn, \u201Csell\u201D those standards to their communities, creating a \u201Cdownline.\u201D The standards are now everywhere, as ubiquitous as a pair of LuLaRoe leggings.

Yes, we need brands to stop marketing these standards. We need an overhaul of the media. We need to bring psychology and therapy into the beauty industry \u2014 because in my experience, it\u2019s run by a lot of people in a lot of pain, who truly believe that helping consumers better adhere to beauty standards is the best way to heal the hurt that beauty standards cause. We need a version of \u201Cnon-toxic\u201D beauty to address the toxic effects of beauty culture: anxiety, depression, body dysmorphia, disordered eating, low self-esteem, self-harm, suicide. We need so much at the higher levels.

But we also need to hold ourselves accountable, recognize our own responsibility, and \u2014 if and when we have the mental and emotional capacity to do so \u2014 opt out of beauty standards on an individual level. We need to stop buying the products. We need to stop booking the procedures. We need to stop clicking the links. We need to stop promoting the diets. We need to stop using the filters. We need to stop editing the photos. We need to give the industry incentive to change.

Divesting from beauty culture isn\u2019t easy. It isn\u2019t a \u201Cdrop everything right now!\u201D kind of thing, either. The emotional trauma caused by beauty culture is very real, and we need to be gentle and patient with ourselves. If we aren\u2019t able to leave the house without foundation, or post a picture without a filter, or eat the goddamn cookie without worrying about our weight, we need to give ourselves grace.

But let me remind you: So is the Sisyphean task of conforming to Western beauty standards, which are \u2014 by design and definition \u2014 impossible to meet. What if we took all the time, money, and effort we invest in beauty culture and used it to divest from beauty culture, instead?

I am achingly aware that this is an incomplete analysis of beauty culture. This conversation demands nuance and intersectionality and so, so much more time. Please don\u2019t assume that this article is my \u201Cfinal word,\u201D or that it covers everything, or that it represents all of my thoughts and research on the subject. (You can read more on of my thoughts/research on this here and here.) Consider it an introduction, a conversation to have with yourself and your community, a collection of thought-starters:

Known for their distinctive red tribal dress and unique musical tradition where there are no instruments, only singing and dancing, the Maasai culture is beautiful yet wistful. Their presence serves as a fragment of our anthropological past, still preserved yet under constant threat from modernisation.

The images depict the countrys unique culture and aim to capture the principles behind the nations commitment to Gross National Happiness  its signature quality-of-life indicator, which prioritizes civic contentment, cultural preservation and environmental sustainability above material development.

Hearing Dr. Thurman describe a very pure Buddhist culture among the beautiful mountains and valleys of the Himalayas  a place he portrayed as The Land of the Thunder Dragon  made it sound like a kind of Shangri-La, Shaffer said.

Coming off the plane the first time was just like nothing I could have ever thought actually existed, Shaffer said. It was so unique, like a wonderland  majestic, tranquil and stunningly beautiful.

There are these stories of violence in East LA, but at the same time there are also beautiful stories of teenagers in love. There was a sexual energy that existed at the time that we felt so good about.

I remember stepping out of the house with friends, walking up and down the street just to see what would happen. Boys in cars would turn around and want to talk to us. We'd come back home with our pockets full of little pieces of paper with telephone numbers. Things like that were really beautiful.

I started the archive with my own images, and then I opened it up to become a community-generated project where other women could share their own photos and stories. It became a chain reaction where one woman would post a story and then another person would respond, "Oh my god, that story reminds me of my own story."

My other archival project, "Map Pointz" captures the music and the rave culture among Chicano youth in the 1990s. When people think of raves, they often think of white people, but in reality, it was very mixed. I remember going to raves and sometimes I didn't see a single white person there.

Pixo culture is similar to modern graffiti, centered on the tag with the purpose of getting your name up. And they use many of the same tools, like aerosol cans, rollers on the top of sticks, ladders, and bucket paint sprayers. But they blanket entire skyscrapers in Runic and heavy metal inspired typography. It has its own history separate from America, and the pixos are adamant about graffiti being a separate scene.

Pattern Magazine has the pulse on Indianapolis style. The magazine hosts meetups, launch parties, and trade shows throughout the year, bringing the community together to discuss photoshoots, style trends, and more.

This is a poster for a Chris Ofili exhibition at the Tate Britain in 2010. Winner of the Turner Prize, Ofili is an acclaimed Black contemporary artist whose paintings combine the sacred with the profane, the historical with pop culture. Marshall is creating a Black iconography by including his contemporary.

Photographer and photojournalist Natalia Ivanova has begun an ambitious project she calls "The Ethnic Origins of Beauty", or Les origines de la beaut. She seeks out the ideal natural beauty that symbolizes every ethnicity, and photographs them in an identical position. The 100s of photos she has taken show the wide diversity that humans consider to be the classic beauty.

Elise Hu\u2019s Flawless: Lessons in Looks and Culture from the K-Beauty Capital of the world looks at how this understanding of the face as a fixable problem has become foundational to the Korean culture and economy. Some of that culture is the wages of colonialism, some is connected to Korean discourses of modernization, some of it has to do with a stubborn persistence of deeply patriarchal values. But none of it is exclusive to Korea. Instead, we can think of K-Beauty as a lens through which to see the imperatives of global beauty cultures more clearly. 006ab0faaa