The Beauty Script in Fairy Tales: From Cultural Ideals to Disney’s Universal Standard

The Beauty Script in Fairy Tales: From Cultural Ideals to Disney’s Universal Standard[1]

Beauty is one of the most powerful and persistent social scripts imposed on women. Across cultures and throughout history, beauty has been idealized and treated as a defining measure of a woman’s worth. According to Naomi Wolf in The Beauty Myth: How Images of Beauty Are Used Against Women, beauty is “the last one remaining of the old feminine ideologies” that continues to control women (10). This control operates both socially and psychologically, dictating not only physical ideals but also acceptable behaviors and aspirations for women. These standards are deliberately unattainable, constantly shifting to ensure that women remain in a cycle of self-surveillance and self-doubt. As a result, many experience anxiety, insecurity, and even psychological distress, mainly when their natural bodily features or aging prevent them from meeting society’s expectations. Despite these harmful effects, the idealization of beauty remains deeply embedded in literature, film, and media, reinforcing its power across generations.

Fairy tales have played a crucial role in shaping beauty norms, particularly in the way they associate physical attractiveness with virtue, success, and love. Stories such as Snow White, Cinderella, Sleeping Beauty, and Beauty and the Beast present beauty as a woman’s most valuable trait, often determining her fate. The transition from traditional fairy tales to Disney adaptations intensified this beauty script. While early fairy tales contained varying, culture-specific beauty ideals, Disney standardized them, presenting a singular, Westernized model of feminine beauty. Disney's films transformed beauty into a universalized, global expectation by repeatedly depicting princesses with large eyes, delicate features, and impossibly tiny waists.

This paper argues that while beauty in traditional fairy tales was not a fixed, universal norm, Disney’s adaptations have imposed a rigid and unattainable standard. By commercializing this ideal through mass media and merchandise, Disney has reinforced a beauty script that pressures women to conform, ultimately benefiting the beauty industry. Through an analysis of classic fairy tales and their adaptations, this study examines how these narratives have shaped modern perceptions of female beauty and the lasting impact of these ideals on women’s lives.

Women are relentlessly judged by their appearance, regardless of their education, skills, or achievements. Although they now have access to higher education and professional opportunities, their physical attractiveness remains a key factor in shaping their social status. As Rita J. Freedman states in Beauty Bound, “beauty is not a gender-neutral trait” (1). She argues that societies overwhelmingly associate beauty with women, reinforcing that attractiveness is their primary duty. This expectation is deeply ingrained, shaping how women are perceived and how they perceive themselves. One striking example is the Miss America pageant, a competition that evaluates women primarily on their physical appearance. No similar event exists for young men in which their looks are the main focus, highlighting a gendered disparity in how personal worth is assessed. This suggests that, among the many qualities a girl can develop, beauty remains the most socially celebrated and rewarded.

The modeling industry further reinforces this narrow definition of beauty, pressuring young girls to conform to unrealistic and often harmful standards. Many resort to extreme dieting, excessive exercise, or cosmetic interventions to fit within an industry-defined size range—one that is usually unnatural for their age or body type. The consequences of this pressure can be severe, with eating disorders such as anorexia and bulimia becoming increasingly common among young women striving to meet these expectations. While male models are also subject to certain physical ideals, they are not expected to jeopardize their health to the same extent. The demand for thinness, perfection, and flawlessness is far more extreme for women, illustrating how beauty functions as a form of control rather than mere aesthetic preference.

As a powerful social script, beauty is transmitted through various cultural channels, particularly literature. From childhood, individuals internalize ideas about gender roles and expectations through the stories they are exposed to. Fairy tales, in particular, play a crucial role in shaping perceptions of femininity and beauty. Bruno Bettelheim, in The Uses of Enchantment: The Meaning and Importance of Fairy Tales, argues that fairy tales “offer meaning on so many different levels and enrich the child’s existence in so many ways, that no one book can do justice to the multitude and diversity of the contributions such tales make to the child’s life” (12). He identifies fairy tales as a key medium through which younger generations absorb social norms. Since fairy tales are among the earliest stories introduced to children, they play a foundational role in constructing beliefs about identity, morality, and self-worth.

Children are naturally curious, but physical and material constraints often limit their real-world experiences. Fairy tales offer an escape from these limitations by immersing children in boundless imaginary worlds. Through these stories, children can imagine themselves in dense forests, atop high mountains, or conversing with wolves and fairies while lying in their beds. This ability to transcend reality makes fairy tales deeply appealing and influential.

Beyond mere escapism, fairy tales also help children navigate their emotions, particularly fears and anxieties. Children learn resilience and problem-solving skills by encountering characters who face and overcome hardships. In Structural Fabulation: An Essay on Fiction of the Future, Robert Scholes describes this process as sublimation, an essential function of good fiction. He argues that “[fiction] takes our worst fears and organizes them in a form charged with meaning and value” (5). Similarly, Paul L. Harris, in his chapter “Fictional Absorption: Emotional Responses to Make-Believe,” highlights the concept of fictional absorption, explaining that it allows individuals to “temporarily adopt a point-of-view situated inside the make-believe world rather than the real world” (342).

By entering this fictional state, both children and adults can experience life from multiple perspectives, something otherwise impossible in reality. This unique ability enables readers to live beyond their immediate experiences, simultaneously engaging with their worldview while exploring new ones through literature. That is why fairy tales are not just stories but powerful tools that shape how individuals understand themselves and the world around them.

Children absorb essential life lessons through fairy tales, including social expectations, gender roles, and ideals of the perfect man or woman. These stories also teach survival strategies, helping children understand how to navigate the real world. As Jack Zipes states in Fairy Tales and the Art of Subversion, “fairy tales enchantment as though their bedtime manner can always be put to soothe the anxieties of children or help them therapeutically to realize who they are” (1). This suggests that fairy tales serve as entertainment and a means of reinforcing cultural values. Studying them is therefore crucial in identifying the origins of deeply ingrained social patterns—such as the emphasis on beauty in women’s lives.

When a particular social norm is repeated across numerous fairy tales, it becomes deeply embedded in children’s minds, shaping their understanding of the world. In Why Fairy Tales Stick: The Evolution and Relevance of a Genre, Zipes argues that due to their frequent retelling, well-known fairy tales become part of our subconscious, “as if we were born with them, and yet, we know full well that they have been socially produced and induced and continue to be generated this way through different forms of the mass media” (1). Because these messages are absorbed at such an early age, altering them in adulthood can be difficult—if not impossible.

Among the most persistent themes in fairy tales is the glorification of beauty. These stories—such as Snow White, Beauty and the Beast, Sleeping Beauty, and Cinderella—have been passed down through generations and adapted across cultures. In many of these tales, beauty is not just a trait but a central narrative force. In Beauty and the Beast and Sleeping Beauty, for instance, the very titles of the stories reflect how beauty defines the protagonists and drives the plot forward. This repeated emphasis reinforces the idea that a woman’s value is inseparable from her physical appearance.

In Snow White, as Maria Tatar notes in The Classic Fairy Tales, the Brothers Grimm version of the tale begins with Snow White’s mother wishing for a child who would be “as white as snow, as red as blood, and as black as ebony” (83). Even before her birth, Snow White’s worth is defined by her physical appearance, reinforcing that beauty is a princess’s most valuable trait. Later in the story, her unparalleled beauty becomes the source of conflict. When Snow White is only seven years old, she is described as being “as beautiful as the bright day,” which makes her stepmother intensely jealous, as the queen’s greatest desire is to be recognized as the most beautiful woman in the world (83). Her obsession with surpassing Snow White’s beauty drives her to attempted murder, illustrating the extreme consequences of placing beauty at the center of female identity.

A similar dynamic appears in Cinderella. Her beauty provokes hostility from her stepmother, who forces her into household labor, while her stepsisters—described as ugly—are allowed privileges. At the royal ball, Cinderella’s appearance is emphasized above all else: “everyone was dazzled by her beauty” (Tatar, The Classic Fairy Tales 115). The prince, similarly, is captivated solely by her beauty and refuses to dance with anyone else. Her charm, intelligence, or kindness are secondary—what makes her worthy of love and status is her physical perfection.

Sleeping Beauty follows the same pattern. At the princess’s christening, the fairies bestow gifts upon her, but the most valued one comes from the youngest fairy, who wishes for her to be “the most beautiful person in the world.” Another fairy complements this by granting her gracefulness in ‘her every movement’ (Tatar, The Classic Fairy Tales 123). No wishes are made for wisdom, strength, or leadership, reinforcing the passive role assigned to princesses in these stories. Their beauty, rather than their actions, determines their fate. They do not need abilities or skills—they simply wait, sleep, or even die in their castles until a brave, wealthy prince rescues them with a kiss.

Similarly, in Beauty and the Beast, the protagonist is introduced as the youngest daughter of the family, admired by everyone for her beauty. In her village, she is called “the beautiful child” and is even called Beauty because of this trait (Tatar, The Classic Fairy Tales 39). Although the story mentions other positive attributes—such as her kindness and virtue—none are significant enough to define her name or identity. Her beauty distinguishes her and ultimately determines her role in the narrative. These examples, drawn from some of the most well-known fairy tales—primarily in their Brothers Grimm versions—demonstrate how beauty is repeatedly glorified as an essential and defining characteristic of female protagonists.

Beyond these examples, fairy tales often associate beauty with other positive traits such as kindness, responsibility, and a gentle temperament. Beautiful heroines are physically attractive and morally virtuous, reinforcing the idea that inner goodness is reflected in outward appearance. For instance, Cinderella resembles her deceased mother, who was “the finest person possible,” and inheriting her father’s sweet temperament and kindness (Tatar, The Annotated Classic Fairy Tales 30). Despite being mistreated, she remains compassionate, even helping her stepsisters prepare for the ball. Later, after marrying the prince, she forgives them and allows them to live with her in the castle.

Similarly, in Beauty and the Beast, Beauty is the most physically attractive of her siblings and the most charming, hard-working, and kind (Tatar, The Annotated Classic Fairy Tales 61). Unlike her vain sisters, she remains humble despite her family’s wealth and treats others with generosity—even showing kindness to the Beast. Snow White follows the same pattern. Though only seven years old when she flees the palace, she is remarkably skilled in domestic work. She maintains the dwarfs’ home, efficiently performing household chores, reinforcing the idea that beauty and domesticity naturally go together.

However, beauty in these tales is not merely an attribute—it functions as a crucial narrative tool. It determines the course of events and directly influences the heroines’ fates. In Snow White, beauty first places the protagonist in danger, as the Queen’s envy drives her to murder, but it also saves her—the huntsman spares her life because she is too beautiful to kill (Tatar, The Annotated Classic Fairy Tales 83). In Cinderella, the prince initiates a kingdom-wide search for her solely because of her beauty. In Beauty and the Beast, Beauty is chosen to remain in the Beast’s castle precisely because of her appearance, while in Sleeping Beauty, the prince willingly undertakes significant challenges to awaken the enchanted princess. These examples show that beauty drives the plot forward, shaping the heroine’s destiny.

All of these stories send an explicit message to their audiences: beauty is a rare and valuable gift, and is inherently tied to virtue and success, it is a quality that is expected only of women and heroines do not need to display intelligence, skill, or agency to overcome obstacles—beauty alone is often sufficient. From childhood, girls are socialized to prioritize their appearance, learning that physical attractiveness is key to receiving love, admiration, and social reward. These patterns are not confined to literature; they are continuously reinforced in other forms of media, shaping gender expectations beyond the world of fairy tales.

Fairy tales have been part of human storytelling for centuries, but their influence on children has changed over time. Scholars such as Tatar and Zipes have studied how these stories evolved, and both argue that Walt Disney played a major role in reshaping their themes and impact. One of the most significant changes introduced by Disney is how beauty is portrayed in fairy tales.

There is ongoing debate about whether beauty is a universal concept shaped by culture. What people consider beautiful often depends on their experiences, traditions, and social influences. Some things—such as gold, diamonds, snow, or daylight—are widely admired for their beauty, while others, like blue eyes, blonde hair, or makeup, are valued differently across cultures.

Even though beauty is mainly shaped by culture, physical appearance still plays a significant role in setting social expectations. Before Disney’s adaptations, fairy tales often described beauty broadly or symbolically rather than focusing on specific features. In traditional versions, beauty was seen as a sign of goodness rather than a fixed physical ideal. For example, in Snow White, the description “as white as snow” or “as red as blood” provided a general idea rather than a detailed image, allowing children from different backgrounds to imagine the character’s beauty in ways that fit their own cultural norms. Unlike modern versions, these early tales did not establish a strict standard of what a beautiful princess should look like.

However, while fairy tales always emphasized beauty, they did not push a single, universal standard the way Disney later did. The shift from oral storytelling to written literature had already structured these tales, but Disney’s animated films took this further, creating a globalized image of fairy tale beauty. By giving princesses similar physical traits—such as large eyes, delicate features, and slim figures—Disney set a new expectation for how beauty should be perceived. This shift had a lasting impact, especially on young audiences who grew up watching these adaptations.

Zipes, in Fairy Tales and the Art of Subversion, argues that Walt Disney was one of the most influential figures in shaping how children imagine fairy tales in the twentieth century (193). In The Great Cultural Tsunami of Fairy-Tale Films, he explains that Disney’s use of advanced technology and professional artists helped the company take over the fairy tale market. By the late twentieth century, Disney’s versions had become the most dominant, often replacing earlier cultural traditions. As a result, many children and adults today think of Disney’s interpretations as the “original” versions of these tales, even though they were heavily altered to fit modern ideals.

By the early twenty-first century, Disney had become a major part of many children’s lives—not only in the United States but also across Europe and parts of Asia. Disney extended its influence far beyond films through the merchandising of toys, clothing, and princess-themed accessories, as well as the creation of theme parks. However, Disney’s role was not limited to adapting fairy tales into visually appealing movies; it also reshaped the genre by reinforcing traditional feminine scripts. The female protagonists in Disney’s adaptations are often more passive and domesticated than those in earlier printed versions of fairy tales. Additionally, their beauty follows a standard that aligns with Western ideals rather than reflecting diverse cultural representations.

In other words, Disney universalized the concept of beauty by turning it into a fixed, idealized generic model for mass audiences. The studio established a distinct pattern of beauty, which was repeated across multiple films. Disney princesses are typically depicted with large blue eyes, long straight hair, delicate hands and feet, and tiny waists. By standardizing these features, Disney created a narrow, highly specific beauty ideal that gradually replaced more culturally flexible interpretations.

This transformation led to the establishment of unrealistic beauty norms, presenting specific facial and body features as universally desirable while dismissing the natural diversity of beauty. As a result, Disney princesses became powerful role models within the beauty script, shaping how young girls viewed attractiveness and self-worth. In these films, beauty alone often determines a character’s success. Ordinary yet conventionally attractive girls are rewarded with love, wealth, and social status—usually by marrying a rich and charming prince. This combination of beauty and marriage scripts, reinforced by the myth of happiness, strongly influences children’s perceptions of gender roles.

Before Disney’s influence, characters like Aurora, Belle, Cinderella, or Snow White could be imagined differently depending on cultural interpretations. However, these characters became visually fixed after Disney’s adaptations with specific, Western-centric appearances. Children who once heard or read about Belle being “the most beautiful girl in town” would now see her in Disney’s Beauty and the Beast and be presented with a singular, rigid image of what that beauty should look like. The same applies to other fairy tale heroines. If a fairy in a story grants the “gift of ultimate beauty” to a baby, Disney films visually define what that beauty means, shaping children’s expectations of attractiveness.

As children grow, this conditioning intensifies. At first, they may enjoy dressing up as princesses, wearing costumes and accessories. However, as they mature, many seek ways to resemble the beauty standards portrayed in these films physically. This often leads to a frustrating and endless pursuit of unattainable beauty.

The beauty industry thrives on this cycle. According to Forbes, the beauty and personal care market in the U.S. alone was valued at $102.73 billion in 2023 (Grand View Research). However, this figure excludes cosmetic procedures, which have become a growing industry sector. In 2016, Americans spent approximately $16 billion on cosmetic surgeries and minimally invasive procedures. By 2023, this number had risen to over $26 billion, reflecting a more than 60% increase in just seven years (American Society of Plastic Surgeons). The surge in demand highlights how media-driven beauty standards continue to push women toward more drastic measures to achieve the idealized appearance seen in films.

To sum up, idealized beauty standards constantly pressure women, making them feel they must always maintain a specific appearance. Girls learn this beauty script from an early age through fairy tales and media, shaping their self-image. As they grow, they become consumers of the beauty industry, investing time and money to meet unrealistic expectations. Even those who fit the ideal at some point struggle to keep up as trends shift or as they age.

Disney’s adaptations have had the most significant impact on shaping beauty ideals among all versions of fairy tales. These films visually immerse children in the stories, making Disney’s version of beauty feel universal. By repeating the same features—big eyes, tiny waists, and delicate features—Disney has replaced diverse cultural beauty norms with a narrow standard. As a result, beauty has become more expensive, time-consuming, and emotionally demanding.

At first, young girls may enjoy dressing up as princesses, but as they grow older, they may feel pressure to meet the beauty standards they see on screen. Some may even seek cosmetic procedures to achieve perfection when simple beauty routines are insufficient. As long as media and fairy tales continue to define beauty, one question remains: will women ever be valued for more than their appearance?

Works Cited:

Bettelheim, Bruno. The Uses of Enchantment: The Meaning and Importance of Fairy Tales. Knopf, 1976.

Freedman, Rita J. Beauty Bound. Lexington Books, 1986.

Grand View Research. “U.S. Beauty and Personal Care Products Market Size & Share Report, 2030.” Grand View Research, 2023, www.grandviewresearch.com/industry-analysis/us-beauty-personal-care-pro….

Harris, Paul L. “Fictional Absorption: Emotional Responses to Make-Believe.” The Oxford Handbook of Philosophy and Literature, edited by Richard Eldridge, Oxford UP, 2014, pp. 342-357.

Scholes, Robert. Structural Fabulation: An Essay on Fiction of the Future. U of Notre Dame P, 1975.

Sorvino, Chloe. “Inside the $445 Billion Beauty Industry.” Forbes, 17 May 2017, www.forbes.com/sites/chloesorvino/2017/05/17/inside-the-445-billion-bea….

Tatar, Maria, editor. The Annotated Classic Fairy Tales. W.W. Norton & Company, 2002.

Tatar, Maria. The Classic Fairy Tales. W.W. Norton & Company, 1999.

The American Society of Plastic Surgeons. “Plastic Surgery Statistics Report, 2023.” ASPS, 2023, www.plasticsurgery.org/documents/News/Statistics/2023/plastic-surgery-s….

Wolf, Naomi. The Beauty Myth: How Images of Beauty Are Used Against Women. HarperCollins, 1991.

Zipes, Jack. Fairy Tales and the Art of Subversion. Routledge, 2006.

Zipes, Jack. The Great Cultural Tsunami of Fairy-Tale Films. Taylor & Francis, 2019.

Zipes, Jack. Why Fairy Tales Stick: The Evolution and Relevance of a Genre. Routledge, 2006.

[1] Written version of the talk delivered at the 14th Biennial HUSSE Conference.