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Before the introduction of Botox and hyaluronic acid dermal fillers in 2002 and 2003, respectively, aesthetic work was serious, expensive. Nose jobs and face lifts required general anesthesia, not insignificant recovery time, and cost thousands of dollars (in 2000, a facelift was $5,416 on average, and a rhinoplasty $4,109, around $9,400 and $7,000 adjusted).

In contrast, the average price of a syringe of hyaluronic acid filler today is $684, while treating, for example, the forehead and eyes with Botox will put you out anywhere from $300 to $600

We copied the beautiful and the rich, not in facsimile, but in homage.

In 2018, use of Botox and fillers was up 18% and 20% from five years prior. Philosophies of prejuvenation have made Botox use jump 22% among 22- to 37-year-olds in half a decade as well. By 2030, global noninvasive aesthetic treatments are predicted to triple.

The trouble is that a status symbol, without status, is common.

Beauty has always been exclusive. When someone strikes you as pretty, it means they are something that everyone else is not.

It’s a zero-sum game, as relative as our morals. Naturally, we hoard of beauty what we can. It’s why we call grooming tips “secrets.”

Largely the secrets started with the wealthy, who possess the requisite money and leisure to spare on their appearances

Botox and filler only accelerated a trend that began in the ’70s and ’80s and is just now reaching its saturation point.

we didn’t have the tools for anything more than emulation. Fake breasts and overdrawn lips only approximated real ones; a birthmark drawn with pencil would always be just that.

Instagram Face, on the other hand, distinguishes itself by its sheer reproducibility. Not only because of those new cosmetic technologies, which can truly reshape features, at reasonable cost and with little risk.

built in to the whole premise of reversible, low-stakes modification is an indefinite flux, and thus a lack of discretion.

Instagram Face has replicated outward, with trendsetters giving up competing with one another in favor of looking eerily alike. And obviously it has replicated down.

Eva looks like Eva. If she has procedures in common with Kim K, you couldn’t tell. “I look at my features and I think long and hard of how I can, without looking different and while keeping as natural as possible, make them look better and more proportional. I’m against everything that is too invasive. My problem with Instagram Face is that if you want to look like someone else, you should be in therapy.”

natural looks have always been, and still are, more valuable than artificial ones. Partly because of our urge to legitimize in any way we can the advantages we have over other people. Hotness is a class struggle.

As more and more women post videos of themselves eating, sleeping, dressing, dancing, and Only-Fanning online, in a logical bid for economic ascendance, the women who haven’t needed to do that gain a new status symbol.

Privacy. A life which is not a ticketed show. An intimacy that does not admit advertisers. A face that does not broadcast its insecurity, or the work undergone to correct it.

Upper class, private women get discrete work done. The differences aren’t in the procedures themselves—they’re the same—but in disposition

Eva, who lives between central London, Geneva, and the south of France, says: “I do stuff, but none of the stuff I do is at all in my head associated with Instagram Face. Essentially you do similar procedures, but the end goal is completely different. Because they are trying to get the result of looking like another human being, and I’m just beautifying myself.”

But the more rapidly it replicates, and the clearer our manuals for quick imitation become, the closer we get to singularity—that moment Kim Kardashian fears unlike any other: the moment when it becomes unclear whether we’re copying her, or whether she is copying us.

what he restores is complicated and yet not complicated at all. It’s herself, the fingerprint of her features. Her aura, her presence and genealogy, her authenticity in space and time.

Dr. Taktouk’s approach is “not so formulaic.” He aims to give his patients the “better versions of themselves.” “It’s not about trying to be anyone else,” he says, “or creating a conveyor belt of patients. It’s about working with your best features, enhancing them, but still looking like you.”

“Vulgar” says that in pursuing indistinguishability, women have been duped into another punishing divide. “Vulgar” says that the subtlety of his work is what signals its special class—and that the women who’ve obtained Instagram Face for mobility’s sake have unwittingly shut themselves out of it.

While younger women are dissolving their gratuitous work, the 64-year-old Madonna appeared at the Grammy Awards in early February, looking so tragically unlike herself that the internet launched an immediate postmortem.

The folly of Instagram Face is that in pursuing a bionic ideal, it turns cosmetic technology away from not just the reality of class and power, but also the great, poignant, painful human project of trying to reverse time. It misses the point of what we find beautiful: that which is ephemeral, and can’t be reproduced

Age is just one of the hierarchies Instagram Face can’t topple, in the history of women striving versus the women already arrived. What exactly have they arrived at?

Youth, temporarily. Wealth. Emotional security. Privacy. Personal choices, like cosmetic decisions, which are not so public, and do not have to be defended as empowered, in the defeatist humiliation of our times

Maybe they’ve arrived at love, which for women has never been separate from the things I’ve already mentioned.

I can’t help but recall the time I was chatting with a plastic surgeon. I began to point to my features, my flaws. I asked her, “What would you do to me, if I were your patient?” I had many ideas. She gazed at me, and then noticed my ring. “Nothing,” she said. “You’re already married.”

He argues that the real object of healing is not the body, but the mind.  A plastic surgeon is a “psychologist with a scalpel in his hand.” This idea led Pitanguy to argue for the “union” of cosmetic and reconstructive procedures.  In both types of surgery beauty and mental healing subtly mingle, he claims, and both benefit health.

“What is the difference between a plastic surgeon and a psychoanalyst?  The psychoanalyst knows everything but changes nothing.  The plastic surgeon knows nothing but changes everything.”

Plastic surgery gained legitimacy in the early 20th century by limiting itself to reconstructive operations.  The “beauty doctor” was a term of derision.  But as techniques improved they were used for cosmetic improvements.  Missing, however, was a valid diagnosis. Concepts like psychoanalyst Alfred Adler’s inferiority complex — and later low self-esteem — provided a missing link.

Victorians saw a cleft palate as a defect that built character. For us it hinders self-realization and merits corrective surgery.  This shift reflects a new attitude towards appearance and mental health: the notion that at least some defects cause unfair suffering and social stigma is now widely accepted. But Brazilian surgeons take this reasoning a step further.  Cosmetic surgery is a consumer service in most of the world.  In Brazil it is becoming, as Ester put it, a “necessary vanity.”

Pitanguy, whose patients often have mixed African, indigenous and European ancestry, stresses that aesthetic ideals vary by epoch and ethnicity.  What matters are not objective notions of beauty, but how the patient feels.  As his colleague says, the job of the plastic surgeon is to simply “follow desires.”

Patients are on average younger than they were 20 years ago.  They often request minor changes to become, as one surgeon said, “more perfect.”

The growth of plastic surgery thus reflects a new way of working not only on the suffering mind, but also on the erotic body.  Unlike fashion’s embrace of playful dissimulation and seduction, this beauty practice instead insists on correcting precisely measured flaws.  Plastic surgery may contribute to a biologized view of sex where pleasure and fantasy matter less than the anatomical “truth” of the bare body.

It is not coincidental that Brazil has not only high rates of plastic surgery, but also Cesarean sections (70 percent of deliveries in some private hospitals), tubal ligations,  and other surgeries for women. Some women see elective surgeries as part of a modern standard of care, more or less routine for the middle class, but only sporadically available to the poor.

When a good life is defined through the ability to buy goods then rights may be reinterpreted to mean not equality before the law, but equality in the market. 

Beauty is unfair: the attractive enjoy privileges and powers gained without merit.  As such it can offend egalitarian values.  Yet while attractiveness is a quality “awarded” to those who don’t morally deserve it, it can also grant power to those excluded from other systems of privilege.  It is a kind of “double negative”: a form of power that is unfairly distributed but which can disturb other unfair hierarchies.  For this reason it may have democratic appeal.  In poor urban areas beauty often has a similar importance for girls as soccer (or basketball) does for boys: it promises an almost magical attainment of recognition, wealth or power.

For many consumers attractiveness is essential to economic and sexual competition, social visibility, and mental well being.  This “value” of appearance may be especially clear for those excluded from other means of social ascent.  For the poor beauty is often a form of capital that can be exchanged for other benefits, however small, transient, or unconducive to collective change.

“You see a woman like this and you say, ‘Wow, I want to look like her,’ ” said Reina Parada, as she sanded a mannequin torso in the workshop. Although she cannot afford it, she said, she would like to get implant surgery someday. “It gives you better self-esteem.”

Cosmetic procedures are so fashionable here that a woman with implants is often casually referred to as “an operated woman.” Women freely talk about their surgeries, and mannequin makers jokingly refer to the creations as being “operated” as well.

The embrace of plastic surgery clashes with the government’s socialist ideology and frequent talk of creating a society free of the taint of commercialism.

the world’s largest estimated petroleum reserves — has long fed a culture of easy money and consumerism here, along with a penchant for the quick fix and instant gratification.

“Venezuela is known for its oil, and it’s known for its beauty,”

Beauty took on a particularly important role in the late 1970s and ’80s when the country’s beauty queens, already a national obsession, were crowned Miss Universe three times.

And the beauty queens’ fame helped fuel a fascination with cosmetic surgery and procedures like breast implants, tummy tucks, nose jobs and injections to firm the buttocks.

For Mr. Sousa, beauty really is skin deep: “I say that inner beauty doesn’t exist. That’s something that unpretty women invented to justify themselves.”

we want to buy the illusions that the marketing world sells to us—hook, line and sinker. Which may be the scariest thing of all.

The game changers – the square pegs, so to speak – are those who saw traditional standards of beauty and decided specifically to go against them, perhaps just to prove a point. Take Picasso, Munch, Schoenberg, to name just three. They have made a stand against these norms in their art. Otherwise their art is like all other art: its only function is to be experienced, appraised, and understood (or not).

art is not necessarily positive: it can be deliberately hurtful or displeasing: it can make you think about or consider things that you would rather not. But if it evokes an emotion in you, then it is art.

art cannot be simply defined on the basis of concrete tests like ‘fidelity of representation’ or vague abstract concepts like ‘beauty’. So how can we define art in terms applying to both cave-dwellers and modern city sophisticates? To do this we need to ask: What does art do? And the answer is surely that it provokes an emotional, rather than a simply cognitive response. One way of approaching the problem of defining art, then, could be to say: Art consists of shareable ideas that have a shareable emotional impact

. A work of art is that which asks a question which a non-art object such as a wall does not: What am I? What am I communicating? The responses, both of the creator artist and of the recipient audience, vary, but they invariably involve a judgement, a response to the invitation to answer. The answer, too, goes towards deciphering that deeper question – the ‘Who am I?’ which goes towards defining humanity.

the popular suffix “maxxing” for “maximizing” (e.g., “I’m burritomaxxing” instead of “I’m eating a lot of burritos”) is drawn from the incel idea of “looksmaxxing,” or “maximizing attractiveness” through surgical or cosmetic techniques.

Then there’s the word “cucked” for “weakened” or “emasculated.” If the taqueria is out of burritos, you might be “tacocucked,” drawing on the incel idea of being sexually emasculated by more attractive “chads.

finally, we have the word “sigma” for “assertive male,” which comes from an incel’s desired position outside the social hierarchy.

there’s a dark side to the site as well — certain boards, like /r9k/, are known breeding grounds for incel discussion, and the source of the incel words being used today.

These slang terms developed on 4chan precisely because of the site’s anonymity. Since users don’t have identifiable aliases, they signal their in-group status through performative fluency in shared slang

Memes and niche vocabulary become a form of cultural currency, fueling their proliferation.

From there, those words filter out to more mainstream websites such as Reddit and eventually become popularized by viral memes and TikTok trends. Social media algorithms do the rest of the work by curating recommended content for viewers.

Because these terms often spread in ironic contexts, people find them funny, engage with them and are eventually rewarded with more memes featuring incel vocabulary.

Creators are not just aware of this process — they are directly incentivized to abet it. We know that using trending audio helps our videos perform better and that incorporating popular metadata with hashtags or captions will help us reach wider audiences

kids aren’t actually saying “cucked” because they’re “blackpilled”; they’re using it for the same reason all kids use slang: It helps them bond as a group. And what are they bonding over? A shared mockery of incel ideas.

These words capture an important piece of the Gen Z zeitgeist. We should therefore be aware of them, keeping in mind that they’re being used ironically.