Beauty Is Back! - The Return Of European Classical Beauty And Hollywood Allure As DEI Disappears

Alicia Marvin was a beautiful child, and all the old ladies of Groton Long Point fawned over her, marveled at her silken blonde hair, her cornflower blue eyes, and perfect features.  God had made an Eve, the very essence of feminine grace and symmetry; and Mrs. Farquharson never stopped talking about The Miracle on Lincoln Street, the wonder child, National Velvet come to Connecticut.

'Be careful it doesn't go to her head', Mrs. Farquharson said to Alicia's mother, a beauty in her own right who had been discovered by Vogue and spent her time on the cover for many years before retiring from the spotlight to manage her family's estate, a hundred acre property with a Birchfield home overlooking Long Island Sound. 

The old lady needn't have worried because the young girl came into her own at a time when her particular beauty - classic, white,  European, and stunning - was out of favor and in its place was 'inner beauty', the intelligence, generosity, and compassion hidden within...well, might as well call a spade a spade...ugliness. DEI might have had its principles of universality and progressive values, but anyone watching the Parade of The Other could only see an aberration from the norm. 

Beauty is not in the eye of the beholder, but an objective constant, painted and celebrated since antiquity.  Symmetrical features, luminescent eyes, full lips, and luxuriant hair all express health, wealth, and well-being as well as being pleasing to a natural sense of geometrical order (the golden mean is universally appealing), and sexual appeal.  

The ideal of feminine beauty has not changed in millennia; and statues, masks, frescoes of Egyptians, Greeks, Romans, and Persians have portrayed the same perfectly proportioned face.  Whether such perfectly formed features and their harmonious composition signified health, wealth, and well-being; or whether there was some innate human appreciation for and valuation of harmony, the historical record is clear.  While some women because of some unusually outstanding feature or a sense of presentation and theatre might have been considered attractive, they are anomalies. 

Alicia's bone structure, facial symmetry, and the classical features that have been admired ever since antiquity would single her out as one in a million.  Her genes were configured with bits of her ancestors who were not themselves particularly handsome or beautiful, but who had physical traits which when combined with others, would contribute to Alicia’s golden mean.  The almond shape of her eyes, her aquiline nose, her fine mouth would all come from relatives long forgotten, but it was some other Mendelian miracle that sorted them out in perfect proportion. 

The arguments against universal standards are based on a more general philosophy of relativism.  There is no such thing, say proponents of this theory, of universal anything – no all-inclusive morality, ethics, intelligence, or beauty.  A priori has no meaning, no relevance, and no purpose other than to promote a particular, Euro-centric world-view.  Even the most casual look at history belies this notion.

And so it was that in the face of historical determinism and the persistent, undeniable, unequivocal standards of female beauty, American progressives created an alter-image of female appearance, one which deliberately and aggressively promoted 'un-beauty' and the idea that if America got used to the new version of allure - that defined by unseen but presumed intelligence, wit, class, and ability - the old white, stereotypical images would not only fade from view but would be discredited. 

Un-beauty would become the new norm, and no longer would blonde, blue-eyed starlets take center stage.  

The most radical of these social reformers insisted on stretching the limits, defying rather than simply dismissing old notions of the feminine ideal, and photographs of large, high-shelved, aggressively obese black women began to appear in the legacy media, all without comment or observation.  These women were to be taken for their whole selves, their inner value.  Physical appearance was insignificant and irrelevant, and bold images of deliberately unattractive women were the whole point. 

Even farther-fetched was the promotion of transgenders as the new sexual being - a transformative evolution of the whole notion of beauty and sexuality.  Championing the butch tough-girls of Bernal Heights, ugly as sin in work boots and flannels as America's new woman was not enough.  Progressives felt the need, the urgency to take the paradigm to its logical conclusion - bearded, hung truck drivers turned frilly girly girl. The public was to suspend disbelief, and to ignore the telltale signs of masculinity and look at these figures no differently than they would look at Marilyn Monroe or Scarlett Johansson. 

And then it happened - Sydney Sweeney, a beautiful, young, blonde, blue-eyed model appeared in a Levi's commercial saying, 'I have great jeans' a playful double-entendre playing on her obvious physical beauty, her great, inherited genes - a statement that white, traditional, universal standards of beauty were back. 

 

The contrivance of the Left, the fantastical promotion of everything but white, female beauty, a socio-political statement at the core of progressivism was suddenly outed.  It only took a few months of the Trump presidency to call out the deviousness of the agenda, to once and for all reclaim history.  

The standards of female beauty which have remained unchanged for millennia, and the most expressive modern version of that ideal - the young, blonde, blue-eyed, lithe and alluring woman -  would be on full display.  All men - black, white, and in between - want that woman, want to have her, taste her, take her. 

And so it was that Alicia Marvin joined the Trump White House, and became part of the new zeitgeist of alluring feminine beauty.  It was the Twenties again, Gatsby-esque parties on the South Lawn, young women coming and going, transforming the White House from a menagerie to a place of classic beauty. 

The tables were turned, and just as the Biden Left wanted ugliness to demonstrate inner worth, the Trump Right wanted to show that beauty and brains were not incompatible, and that when you looked for one, you often got the other. 

The touted, criticized, vilified whiteness of it all was the point.  There was no denying Americans' European heritage.  The country itself was a child of the Enlightenment, heir to kings, queens, cavaliers, courtiers, and great civilization.  Not only was the relativistic posturing of the Left wrong - all cultures, African and European among them were not all equal in importance and achievement - but the supremacy of Western European culture was primus inter pares. It was not to be derogated, but championed. 

So just as the Left had conflated goodness with ugliness, the Right linked whiteness and Europeanness.  It was not the racist, Nazi-era sentiment assumed by progressives who saw their shibboleths fall one after the other, but a statement of equivalence.  

Alicia thrived during the Trump years, was finally appreciated if not honored for her 'great genes', her gift of remarkable beauty.  Her MIT PhD and internship at Bell Labs was not unusual - there are plenty of smart women in America - it was her stunning beauty that everyone remembered and remarked upon.  Sexist, as progressives claimed, a residual misogyny?  Hardly.  Beauty was finally back and out in the open.