
Beauty is often presented as though it were an objective truth, a quality that naturally belongs to certain faces and bodies. Yet the history of beauty reveals something far more complicated. The question of who “deserves the crown” is rarely determined by physical appearance alone. Beauty is interpreted through cultural values, historical circumstances, social hierarchies, economics, media institutions, and systems of power. The crown, therefore, is not merely placed upon the head of the most beautiful woman; it is often awarded by those who possess the authority to define beauty in the first place.

For centuries, societies have created standards that distinguish desirable appearances from undesirable ones. Ancient civilizations developed their own ideals concerning proportion, complexion, hair, body shape, youth, and ornamentation. Classical Greek aesthetics emphasized symmetry and proportion, while other cultures developed standards reflecting their own environments and social values. There has never been one universal definition of beauty shared equally across humanity. What is considered beautiful is partly shaped by culture and historical experience.
The modern beauty industry transformed these cultural preferences into commercial institutions. Cosmetics, fashion, advertising, photography, film, television, and eventually social media created enormous markets around the human desire to become more attractive. Beauty ceased to be merely an aesthetic judgment and became an economic system. Naomi Wolf famously argued in The Beauty Myth that modern societies could use beauty standards as a mechanism for disciplining women even as women gained greater social and political freedoms (Wolf, 1991). The crown could therefore become both a prize and a form of social control.
Race profoundly complicates the question of beauty. European colonialism established racial hierarchies that frequently associated European physical characteristics with civilization, refinement, and social superiority. These ideas did not disappear with the formal end of colonial rule. They continued through cultural institutions, advertising, entertainment, education, and social conventions. Consequently, the question “Who is beautiful?” cannot be separated from the historical question of “Whose appearance has been granted authority?”

For Black women, the politics of beauty have been particularly complicated. Features historically associated with African ancestry—dark skin, tightly coiled hair, broad noses, fuller lips, and certain body types—have frequently been stigmatized within societies influenced by Eurocentric standards. At the same time, Black women have continually created their own traditions of beauty, fashion, hair artistry, adornment, and self-definition. The history of Black beauty is therefore not simply a history of exclusion; it is also a history of resistance.
Colorism adds another dimension to this struggle. Within and across racial communities, lighter skin has sometimes been associated with greater beauty, privilege, desirability, or social status. Research on skin-tone bias has documented associations between complexion and social outcomes, including perceptions of attractiveness and social treatment (Hunter, 2005). The result is a troubling hierarchy in which Black women may be judged not simply according to whether they are considered beautiful, but according to where their complexion places them within a racialized beauty spectrum.
Hair provides another example of how beauty standards can become social expectations. Black women’s natural hair has historically been subjected to scrutiny, regulation, and discrimination. Straightened hair has sometimes been interpreted as more professional or socially acceptable than natural Afro-textured hair. The contemporary natural-hair movement has challenged this assumption by asserting that tightly coiled and textured hair does not require transformation to become legitimate. The crown, in this context, becomes symbolic: Who gets to appear as herself without modification?
The entertainment industry has also played a powerful role in determining which women receive widespread recognition for their beauty. Film studios, magazines, advertising agencies, television networks, and fashion institutions historically had disproportionate influence over which faces became internationally recognizable. When particular racial groups were underrepresented, audiences were exposed to a narrower definition of attractiveness. Representation matters because repeated visibility can influence perceptions of what is considered normal, desirable, aspirational, or beautiful.
Yet representation alone does not eliminate hierarchy. A society can increase the visibility of Black women while still rewarding particular forms of Black beauty over others. The preferred Black woman may be lighter-skinned, younger, thinner, more racially ambiguous, closer to Eurocentric facial proportions, or more commercially marketable. This produces an important distinction between representation and liberation. Being permitted into the beauty hierarchy is not necessarily the same as dismantling the hierarchy itself.
Age introduces another contradiction. Women are frequently told that beauty is timeless, yet commercial culture overwhelmingly associates feminine desirability with youth. Older women may become increasingly invisible within advertising, fashion, entertainment, and romantic narratives. Gray hair, wrinkles, changing bodies, and mature facial features are often treated as problems to conceal rather than evidence of a life lived. The older woman therefore confronts a different question: Can she possess the crown without pretending she is still young?

Class also influences beauty. Maintaining the appearance celebrated by contemporary culture can require substantial resources. Professional hairstyling, skincare, cosmetics, dental care, fashionable clothing, cosmetic procedures, fitness programs, photography, and other forms of appearance management can be expensive. Consequently, beauty standards may appear universal while being easier to achieve for people with greater economic resources. The crown can therefore conceal a financial barrier.
Social media has intensified these dynamics. Platforms built around photographs and short-form video have created unprecedented opportunities for ordinary people to participate in beauty culture, but they have also expanded exposure to filters, cosmetic editing, algorithmic recommendations, influencer marketing, and highly curated images. Research has associated social-media exposure and appearance-focused comparison with body-image concerns among some users (Fardouly & Vartanian, 2016). The contemporary beauty contest is no longer confined to a stage; it can occur every time someone opens a phone.
Algorithms introduce an additional complication because they can amplify particular forms of attractiveness. Images that generate engagement may receive greater visibility, while beauty characteristics that do not perform as well commercially can become less visible. This creates the possibility of an automated beauty hierarchy—one in which technological systems appear neutral while reproducing patterns embedded in their training data, user behavior, and commercial incentives. The crown can therefore become increasingly difficult to locate because the judges are no longer visibly sitting at a table.
Beauty pageants themselves illustrate the tension between individual achievement and institutional judgment. A contestant may possess intelligence, charisma, confidence, talent, physical beauty, and community commitment, yet the title still depends on a judging system. The winner does not become objectively more beautiful because a crown is placed on her head. Rather, she becomes the person whom a particular institution selected according to particular criteria at a particular historical moment. The crown establishes recognition, not metaphysical truth.
This distinction matters because declaring someone “the most beautiful woman in the world” sounds definitive even though beauty cannot be measured with the precision of temperature or blood pressure. Researchers can study facial symmetry, averageness, sexual dimorphism, skin quality, and other features associated with attractiveness judgments, but human attraction remains influenced by culture, familiarity, individual preference, context, and social meaning (Rhodes, 2006). Science can investigate patterns in attractiveness; it cannot legitimately appoint one woman as humanity’s objectively most beautiful person.
There is also a psychological cost to constantly ranking women. When women are encouraged to see one another as competitors for a limited supply of beauty, another woman’s attractiveness can become a threat to one’s own perceived worth. This creates a scarcity model of beauty: if she is the most beautiful, perhaps I am less beautiful. If she receives the crown, someone else must remain beneath it. Such thinking transforms beauty from a form of human appreciation into a hierarchy of female value.

The true crown comes from the Most High.
Perhaps the most important question, therefore, is whether anyone deserves the crown at all. Deserving implies that beauty is a competition in which one woman can legitimately outrank billions of others. But human beings possess radically different forms of beauty. One woman may possess extraordinary facial symmetry; another may possess striking eyes; another may have an unforgettable smile; another may become more beautiful with age; another may possess a presence that cannot be captured in a photograph. Beauty is multidimensional, and the attempt to compress it into one winner inevitably leaves something out.
For Black women, rejecting a single crown can be particularly liberating. It means that dark-skinned women do not need to prove that they can compete with lighter-skinned women; women with natural hair do not need to demonstrate that their texture can imitate another standard; older women do not need to defeat younger women; and Black women do not need institutional approval before recognizing their own beauty. The goal is not to replace one hierarchy with another but to question why beauty must function as a hierarchy at all.
This does not mean that preferences cease to exist. Human beings will continue to find particular faces, bodies, styles, and personalities attractive. Individuals are entitled to aesthetic preferences. The problem emerges when personal preference becomes institutionalized as universal truth. When one group’s preferences determine who receives social respect, romantic desirability, employment opportunities, media visibility, or cultural prestige, beauty becomes something more consequential than taste.
Perhaps, then, the crown belongs to no single woman. Or perhaps every woman has a crown that cannot be transferred to another person because beauty is not a finite resource. The woman with dark skin does not become less beautiful because another woman has lighter skin. The older woman does not become invisible because a younger woman is radiant. The woman without expensive clothing does not become less worthy because another woman can afford designer fashion. Beauty does not become smaller when it is shared.
The real crown may therefore belong to the person who refuses to surrender her humanity to the beauty hierarchy. She understands that attractiveness can be celebrated without becoming a measure of worth. She can admire another woman’s beauty without diminishing her own. She can acknowledge cultural standards without allowing them to determine her identity. And she can recognize that the most important question is not “Who is the prettiest race?” but “Who gave anyone the authority to decide?”

Ultimately, the crown is a symbol of power. Whoever controls the definition of beauty can elevate some appearances and marginalize others. That is why the beauty question deserves serious examination rather than superficial celebration. The future of beauty may not require a new winner; it may require a new understanding. Instead of asking which woman deserves to stand above all others, perhaps society should learn to recognize beauty without constructing a throne beneath it.
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References
Fardouly, J., & Vartanian, L. R. (2016). Social media and body image concerns: Current research and future directions. Current Opinion in Psychology, 9, 1–5. https://doi.org/10.1016/j.copsyc.2015.09.005
Hunter, M. (2005). Race, gender, and the politics of skin tone. Routledge.
Rhodes, G. (2006). The evolutionary psychology of facial beauty. Annual Review of Psychology, 57, 199–226. https://doi.org/10.1146/annurev.psych.57.102904.190208
Wolf, N. (1991). The beauty myth: How images of beauty are used against women. William Morrow and Company.








