Framing Theory and Women’s Beauty Standards in Beauty Product Commercials Research Proposal
- Vivienne Cookmeyer
- May 21
- 10 min read
This is a research proposal I wrote while seeking my Master's degree in a communication theory class. I proposed a qualitative content analysis of three different beauty brands.
Framing Theory and Women’s Beauty Standards in Beauty Product Commercials
Multi-media advertising has become omnipresent in today’s society for a variety of industries, but especially for beauty products. For decades, the media has shaped cultural expectations of femininity and beauty standards that have seemed unattainable to many. With the rise of social media advertising, there has been increasing concern about these unrealistic standards targeting women and affecting their mental health.
Beauty commercials often frame women’s appearance in narrow and idealized ways, which reinforces unrealistic beauty standards. In order to understand why these beauty commercials are framed in this way and how it influence viewers’ perceptions of themselves, this study will use framing theory to do a content analysis of commercials for L’Oreal, Maybelline, and Fenty Beauty. The purpose of this study is to analyze the framing strategies used in contemporary beauty product commercials and how they reinforce unrealistic women’s beauty standards. While there are many studies on print advertising and specific beauty campaigns, there is little qualitative research using a content analysis on these specific brands in current times.
Media plays a significant role in shaping contemporary beauty standards, influencing perceptions of femininity, attractiveness, and body image through emotional appeals and idealized lifestyle imagery. These representations draw on long-standing historical shifts in beauty ideals, reinforcing unrealistic norms that evolve yet remain consistently exclusionary. Through the lens of framing theory, media frames guide viewers toward particular interpretations of beauty by repeatedly emphasizing certain visual cues, narratives, and emotions, ultimately normalizing specific standards as desirable or necessary. This repetition reinforces social norms and contributes to the promotion of unattainable ideals, affecting women’s self-esteem, body image, and purchasing behaviors. Although many modern campaigns employ empowerment-oriented messaging, they often contradict themselves by simultaneously pressuring women to conform to prescribed aesthetic expectations. As a result, beauty becomes a commodified aspect of identity shaped by gendered expectations within an increasingly media-saturated culture, where ideals of femininity are constructed, marketed, and continuously reinforced.
Literature Review
Framing Theory
Framing analysis or framing theory is a communication theory originally created by Erving Goffman that explains how communicators shape the way that people understand society by emphasizing certain aspects of a message while minimizing others (Goffman, 1974). Later, this was further developed by Dietram A. Scheufele in regard to media effects affecting how certain audiences interpret messages (Scheufele, 1999). This is even more of an issue in today’s society, since the media is omnipresent and available to access from anywhere at any time. For decades, commercials and advertisements have portrayed unrealistic beauty standards for women and framed women as perfected, transformed, desirable, or empowered. The media, such as these commercials, influence how women think about themselves and how society views them. This can lead to mental health issues and a lack of confidence in many women because of a standard and cultural norm that is never fully achievable. Through narratives, language, themes, and images, audiences are guided towards certain interpretations.
Matthes et. al. (2016) examined gender-role portrayals in global television advertising and found that while cultural shifts have occurred, the majority of female representations remain narrowly focused on caregiving and beauty. On the other hand, authoritative roles are still largely occupied by men, underscoring a continued pattern in media that privileges male dominance in public spheres while situating women within the private sphere.
Pryor and Knupfer (1997) extended this analysis by exploring how advertising techniques reinforce gender stereotypes and subtly shape societal expectations. They demonstrated that the repetition of such portrayals contributes to a cultural feedback loop, influencing how audiences perceive the appropriate roles for men and women.
L’Oreal “Because I’m Worth It” Campaign
Early on, L’Oréal shifted the way it framed its haircare product campaigns to a more feminist approach that was empowering for women at the time. The original 1973 commercial showcased a woman confidently justifying her decision to use L’Oréal hair dye, not for a man or out of pressure to conform, but because “I’m worth it” (Baxter, 1973). It marked a shift from male-gaze advertising to a first-person, female-centered voice. While empowerment was framed through beauty and self-care, it was still tied to consumer choices. The campaign positioned self-worth as something validated through purchase. While the commercial was empowering in some ways, the messaging ties self-value directly to appearance and reinforces societal beauty norms as a woman’s central concern. By featuring a woman speaking directly to the camera, the commercial disrupted typical advertising trends that objectified women for male viewers.
The L’Oréal campaign emphasized that women’s beauty and self-worth belonged to them, shifting the message from pleasing others to empowering oneself. By promoting self-affirmation, it reframed beauty products as expressions of independence and confidence. This strategy set a precedent in advertising, making empowerment a defining feature of women’s consumer identity. However, the “Because I’m Worth It” campaign had a message of empowerment that was not universally accessible, and it ignored the ways that race and class shape access to beauty products and social power.
“Maybe She’s Born With It, Maybe It’s Maybelline” Campaign
In the 1990s, Maybelline changed ownership and changed its campaign slogan to “Maybe she’s born with it, maybe it’s Maybelline,” and forever made an impact on beauty culture (Wischhover, 2015). The slogan pushed the idea that you could be naturally beautiful with Maybelline products. This further proves the argument that beauty companies have commodified empowerment and influenced women’s purchasing habits and beauty standards. This framing positioned makeup not as corrective, but as an essential tool for achieving an idealized version of natural femininity. Through its commercials, Maybelline reinforced beauty standards that equated femininity with flawless skin, balanced features, and effortless perfection only through the consumption of Maybelline products. The campaign both normalized product dependency and commodified the idea of empowerment, presenting self-enhancement as a form of confidence and agency. In doing so, Maybelline contributed to a broader cultural shift in which beauty standards were subtly but powerfully shaped by advertising narratives that encouraged women to define self-worth through aesthetic achievement supported by consumer goods.
Fenty Beauty – Beauty For All
Fenty Beauty has become a defining force in reshaping how beauty standards are framed, largely due to its explicit commitment to diversity and inclusivity. From its launch in 2017, the brand positioned itself as a direct challenge to the narrow standards long upheld by the cosmetics industry. Its groundbreaking 40-shade foundation range, later expanded, served as a framing device that redefined whose beauty mattered and who deserved representation (Fetto, 2020). Fenty Beauty commercials and campaigns emphasize that beauty is not limited to a single skin tone, facial structure, or cultural background; instead, they showcase models of various races, genders, body types, and identities. Through this imagery, the brand frames beauty as accessible and rooted in authenticity rather than conformity. This strategic framing positions inclusivity as an empowering, desirable norm.
Research Questions
How do beauty product commercials frame women’s appearances and identities?
What cultural values or norms are emphasized through these frames?
How do these frames reinforce or challenge traditional beauty standards?
What implicit messages are communicated about femininity, self-worth, and desirability?
Method
Sampling
The unit of analysis will be commercials that are sampled from YouTube for three major brands: L’Oreal, Maybelline, and Clinique from 2021 to 2025. The sampling size will be three commercials per year per brand. There will be 15 commercials analyzed for each brand, which means that there will be 45 commercials analyzed in total. The codebook I plan to use is based on the codebook that Roedl (2010) used when analyzing Dove advertisements and the categories used in past studies.
Coding Categories
Each commercial will be coded for 25 categories, including categories based on demographic and beauty ideals. Intercoder reliability will be established using Cohen’s kappa, which is a statistical measure to assess the agreement between the two coders. Coders will be instructed to collect identifying data, including brand, commercial length, number of people in the commercial, and commercial date first. To ensure validity and that all possible variables are considered, categories were based on previously published research from Wasylkiw, Emms, Meuse, and Poirier (2009). The categories also included descriptions of the models: age range, ethnicity, hair color and length, body type, pose, action, skin color, eye color, wrinkles, and blemishes. Categories such as role and physical position were based on previous research from Baker (2005) and action was also based off of previous studies (Harden et. al, 2002; 2005). The appeals category was found in research done by Pollay (1983) The category for framing uses themes derived from framing theory such as problem frame, empowerment frame, and transformation frame.
Coder Training
The two coders will be researchers who have experience in a variety of research and who have coded for a qualitative research paper based on communications before. They will also receive hard copies of the codebook and have access to a computer to watch the commercials on. Coder training will help reduce subjectivity and increase intercoder reliability. The training will require the coders to look at a different set of commercials for these brands and code them using the provided coding system for the study. The operational definitions will also be supplied to the coders in a hard copy format for any clarification needed during the analysis. Once the coders agree on each category, the commercials will be divided in half and split up amongst the two coders.
Limitations/Suggestions for Future Research
Since the study has a sample size of 45 commercials total and there are many other beauty brands, this study has a limited sample size. While this study focuses on three major brands, there are many other major brands to consider and smaller or indie brands that were not considered at all. This study is also limited to regular commercials and does not include brand deals or influencer marketing, which has become increasingly popular on streaming platforms and social media. In the future, researchers could study other beauty brands in the same way or alter the study to focus on influencer-driven beauty framing on platforms such as TikTok and Instagram. They could also compare beauty commercials across decades, as the rise of streaming services has changed the way audiences receive commercials.
References
Baker, C.N. (2005). Images of women‘s sexuality in advertisements: A content analysis of
Black- and White-oriented women‘s and men‘s magazines. Sex Roles, 52(1/2) 13-27.
Baxter, M. 2014. L’Oreal “Because You’re Worth It” - 1973. YouTube.
Fetto, F. (2020). How Fenty Beauty changed the state of play in the beauty industry.
Goffman, E. (1974). Frame analysis: An essay on the organization of experience. New York:
Harper Colophon.
Hardin, M., Lynn, S. Walsdorf, K., & Hardin, B. (2002). The framing of sexual difference in
Sports Illustrated for Kids editorial photos. Mass Communication and Society, 5, 341-
360.
Hardin, M., Lynn, S., & Walsdorf, K. (2005). Challenge and conformity on ―contested terrain‖:
Images of women in four women‘s sport/fitness magazines. Sex Roles, 53(1/2), 105-117.
Matthes, Jörg, Michael Prieler, and Karoline Adam. 2016. "Gender-role Portrayals in Television
Advertising Across the Globe." Sex Roles 75 (7–8): 314–327.
Pollay, R.W. (1983). Measuring the cultural values manifest in advertising. In J.H. Leigh & C. R.
Martin (Eds.), Current Issues in Research and Advertising (pp.71-92). Ann Arbor, MI:
University of Michigan Press.
Pryor, Debra, and Nancy Nelson Knupfer. 1997. Gender Stereotypes and Selling Techniques in
Television Advertising: Effects on Society. EBSCOhost.
Roedl, S. J. (2010). Campaigning for Real Beauty or reinforcing social norms? An analysis of
the correlation of the Dove Campaign for Real Beauty and advertisements in fashion
magazines (Order No. 3440342). Available from ProQuest Dissertations & Theses
Global. (854330647).
theses/campaigning-i-real-beauty-reinforcing-social/docview/854330647/se-2
Scheufele, Dietram A. (1999). Framing as a Theory of Media Effects. Journal of Communication
49 (4): 103–22.
Wasylkiw, L., Emms, A. A., Meuse, R., & Poirie, K. F. (2009). Body Image: Are all models
created equal? A content analysis of women in advertisements of fitness versus fashion magazines. Body Image, 6, 137-140.
Wischhover, C. (2015). 100 years of Maybelline ads show how little has changed in beauty.
Appendix A: Operational Definitions
Code | Categories & Definitions |
Framing | Perfection Frame – flawless skin, slim bodies, symmetrical features. Empowerment Frame – confidence, inner beauty, self-expression. Transformation Frame – “before/after,” product ncorrecting flaws. Desirability Frame – beauty linked to attraction or social approval. Natural Beauty Frame – minimal makeup, authenticity. |
Body Size (Wasylkiw et al., 2009) | Unhealthily thin-skeletal; protruding bones and veins Stereotypically thin (ectomorphic)-lean Neither fat nor thin (mesomorphic)-average, athletic Larger than average (endomorphic)-slightly overweight Obese-excessive fat markers, such as double chin or apple shape body Can‘t tell |
Skin Tone (Roedl, 2010) | Fair/Light-pale, peach tone Medium-medium skin tone, multi-ethnic, olive Medium Dark/Dark- deep tone Can‘t tell |
Hair Color (Wasylkiw et al., 2009) | Blonde-primarily yellow hued Brown –primarily brown hued Red-primarily red hued Black-primarily black hued Grey/White-primarily grey, white, or a mixture None-no hair Can‘t tell Other- any other hair color not listed above (ex. blue, purple, etc.) |
Hair Length (Wasylkiw et al., 2009) | Short-ear length or shorter Medium-between ear and shoulder length Long-longer than shoulder length None-shaved or bald Can‘t tell |
Model’s Role (Baker, 2005) | Professional-wearing business attire or suit or in a business setting Spouse/partner-interacting with someone of the other sex, e.g. kissing/hugging Decorative object-having no function other than to look attractive Product User-using the product being advertised Mother-interacting with a child, pregnant Recreational-engaged in recreational or physical activity No defined role |
Physical Position (Baker, 2005; Wasylkiw et al., 2009) | Standing-model upright Sitting-upper body upright, lower body resting Lying down-reclining, prone position Bending forward-bent at the waist Other- ex. kneeling, swimming, etc. Can‘t tell |
Action (Hardin, Lynn, & Walsdorf, 2005; Hardin, Chance, Dodd, Hardin, 2002) | Active-moving, playing, acting on an object Passive-posed, appears motionless, only neck up Can‘t tell |
Attire (Roedl, 2010) | Active wear-sports apparel, sweat suits, athletic shorts Street Clothes-casual apparel, jeans, sweaters Business wear-business apparel, suits Formalwear-evening wear Intimates-underwear, swimwear, lingerie, pajamas No clothes |
Appeal (Pollay, 1983) | Rational-focuses on utility value, benefit Emotional-focuses on social, emotional value |
Appendix B: Coding Instrument
1. Coder
2. Brand
1. L’Oreal
2. Maybelline
3. Clinique
3. Date of Commercial
[Enter as mm/dd/yy]
4. Commercial Length
1. 15 seconds
2. 30 seconds
3. 60 seconds (1:00)
4. 90 seconds (1:30)
5. 120 seconds (2:00)
5. Text
1. Yes
2. No
6. # of Models
1. 1
2. 2
3. 3
4. 4
5. 5
6. 6
7. 7
8. 8+
7. Gender of Model
1. Male
2. Female
3. Non-Binary
8. Which frame does the commercial best fit under?
1. Perfection Frame
2. Empowerment Frame
3. Transformation Frame
4. Desirability Frame
9. Body Size
1. Unhealthily thin
2. Stereotypically thin (ectomorphic)
3. Neither fat nor thin (mesomorhpic), athletic
4. Slightly overweight (endomorphic)
5. Obese
6. Can‘t tell
10. Race/Ethnicity
1. White
2. European American
3. African American
4. Asian
5. Latino
6. Multiethnic
7. Can‘t tell
11. Skin Tone
1. Fair/Light
2. Medium
3. Medium Dark/Dark
4. Can‘t tell
12. Eye color
1. Blue
2. Green
3. Brown
4. Black
5. Can‘t tell
13. Hair Color
1. Blonde
2. Brown
3. Red
4. Black
5. Grey/White
6. None
7. Can’t Tell
8. Other
14. Hair length
1. Short
2. Medium
3. Long
4. None
5. Can’t Tell
15. Wrinkles
1. Yes
2. No
16. Blemishes
1. Yes
2. No
17. Age
1. Under 20
2. 21-30
3. 31-40
4. 41+
18. Model’s Role
1. Professional
2. Spouse/partner
3. Decorative object
4. Product User
5. Mother
6. Recreational
7. No defined role
19. Physical Position
1. Standing
2. Sitting
3. Lying down
4. Bending forward
5. Other
6. Can’t Tell
20. Action
1. Active-moving, playing, acting on an object
2. Passive-posed
3. Can‘t tell
21. Body Parts
1. Head only
2. Head/shoulders only
3. Waist up
4. Hips up
5. Knees up
6. Full body
7. Fragmented
22. Attire
1. Activewear
2. Street Clothes
3. Businesswear
4. Formalwear
5. Intimates
6. No clothes
23.Type of Appeal
1. Rational
2. Emotional
3. Both
24. Product Type
1. Cosmetics
2. Skin Care
3. Hair Care
25. Product Visible
1. Shown
2. Not Shown
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