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The Enigma of Facial Beauty: Esthetics, Proportions, Deformity, and Controversy
The Enigma of Facial Beauty: Esthetics, Proportions, Deformity, and Controversy
The study of the face and the ability to alter its form have fascinated mankind for thousands of years. The
clinical ability to alter dentofacial form, whether through orthodontics, facial growth modification, or surgery,
requires an understanding of facial beauty, including the evaluation of facial esthetics, proportions, and
symmetry. The purposes of this article were to give a brief contemporary overview of our concepts of facial
beauty and esthetics and to consider a long-standing and controversial debate on the treatment of patients
with dentofacial deformities. (Am J Orthod Dentofacial Orthop 2006;130:277-82)
O
rthodontists have a special interest in facial Wolfe Hungerford (1878) famously said, “Beauty is in
beauty, although, over time, the relative im- the eye of the beholder.”5
portance of esthetics has waxed and waned in Both of these quotations, and their respective phil-
relation to other considerations. In part of his ongoing osophical ideologies, assume that the “sense” is sub-
review of orthodontic history, Wahl1 wrote, “Now it jective to each person. However, the 18th century
appears that facial esthetics is again in the forefront as philosopher Francis Hutcheson said, “Esthetic judge-
we realize why patients come to us in the first place.”1 ments are perceptual and take their authority from a
Perceptions of facial beauty are multifactorial, with sense that is common to all who make them,” and “The
genetic, environmental, and cultural foundations.2 Beauty origin of our perceptions of beauty and harmony is
can be defined as a combination of qualities that give justly called a ‘sense’ because it involves no intellectual
pleasure to the senses or to the mind. Esthetics is the element, no reflection on principles and causes.”6 The
study of beauty and, to a lesser extent, its opposite, the philosopher Immanuel Kant (1790) reiterated this view,
ugly. The 18th century philosopher Alexander Baum- saying that, “The beautiful is that which pleases uni-
garten, who established esthetics as a distinct field of versally without a concept.”7
philosophy, coined the term, which is derived from the Therefore, if a beautiful face “pleases universally,”
Greek word for sensory perception (aisthesis).3 then some part of our sense perception must be com-
The first question to consider is difficult to answer: mon to all men and women. After all, when we describe
is the origin of the human perception of facial beauty a face as beautiful, we do not merely mean that it
dependent on each person’s sense perception, or is this pleases us. We are describing the face, not our judg-
sense common to all people? Is facial beauty a quality ment. We will often point to features of the face to back
of the observed face, or does the sensory enjoyment of up our statement.
the observers also depend on their own ideas, feelings, A paradox therefore emerges. Obviously one can-
and judgments, which themselves have a direct rela- not make a judgment about the beauty of a face one has
tionship to sensory enjoyment. The philosopher David never seen. Therefore, facial beauty is related to some
Hume (1741) said, “Beauty in things exists in the mind quality of the observed face that tends to be universally
which contemplates them,”4 and the writer Margaret accepted. However, each person’s ideas and feelings,
a
Consultant, Director of Research and Graduate Education, Orthodontic De-
like a conditioned response, also have a direct relation-
partment, St George’s Hospital and Medical School, Kingston Hospital, ship to his or her judgment, hence the difference in the
London, United Kingdom. extent of rating a face as beautiful depending on the
b
Professor, Orthodontic Department, Royal London Hospital, London, United
Kingdom. “eye of the beholder.”
c
Consultant, Orthodontic Department, Eastman Dental Hospital, London, This philosophical question and its related argu-
United Kingdom. ment continue to be debated. However, beauty un-
Reprint requests to: Dr Farhad B. Naini, Consultant, Orthodontic Department,
St George’s Hospital and Medical School, Blackshaw Rd, London, SW17 0QT, doubtedly has a strong influence on human life. Ac-
United Kingdom; e-mail, farhad@naini.freeserve.co.uk. cording to Shakespeare, “Beauty itself doth of itself
Submitted, April 2005; revised and accepted, September 2005. persuade the eyes of men without an orator.”8
0889-5406/$32.00
Copyright © 2006 by the American Association of Orthodontists. The philosopher Pascal commented, “Had Cleo-
doi:10.1016/j.ajodo.2005.09.027 patra’s nose been shorter, the whole face of the world
277
278 Naini, Moss, and Gill American Journal of Orthodontics and Dentofacial Orthopedics
September 2006
would have changed!”9 From Homer’s Helen of Troy, said, “I know not what beauty is, but I know that it
whom the poet Christopher Marlowe described as having affects many things in life.” Dürer explained that,
a “face that launched a thousand ships,”10 to Queen although the concept of facial beauty was immersed in
Nefertiti, whose name literally means the “Perfect One,” subjectivity, the assessment of facial proportions could
to modern models and actors, facial beauty has always be undertaken objectively.22 He maintained that dispro-
been the most valued aspect of human beauty. portionate human faces were unesthetic, whereas propor-
The next question therefore is how do we know that tionate features were acceptable if not always beautiful.
a face is beautiful? What guides and validates our Therefore, the appropriate goal for the orthodontist’s
judgment? clinical examination is to find facial disproportions.23 The
Our perception of facial beauty might have its inevitable question is, therefore, where did the evidence
foundation in our heredity, environment, or perhaps for ideal facial proportions originate?
both. Langlois et al11 found that infants as young as 3 In representing the human form, painters and sculp-
months of age can distinguish between attractive and tors in the past developed many canons or guidelines.
unattractive faces, showing signs of preference for the These were mainly based on the “good eye” of the
former. It is unlikely that by 3 months of age an infant respective artist, which is anecdotal evidence. How-
will have been subjected to or responded to any cultural ever, many of these guidelines are still used by clini-
or environmental influences; therefore, this is evidence cians today, albeit somewhat modified from the origi-
to support a genetic theory. The evolutionary basis is nals.
that facial beauty, including facial symmetry and sec- A major preoccupation of Greek sculptors was the
ondary sexual characteristics, is a requirement for idealization of human proportions. In the fifth century
sexual selection, leading to reproduction.12 BC, one of the most famous, Polycleitus, wrote a
A study by Martin13 found that both white and theoretical work that discussed ideal mathematical
black American men preferred black female faces with proportions for the parts of the human body. In his
white features, whereas black African men showed a Canon, he also described the importance of the concept
preference for black female faces with Negroid fea- of symmetry in the human form, called “symmetria.” In
tures. This lends support to environmental or cultural the first century BC, the Roman architect Marcus
reasons for the human perception of facial beauty. Vitruvius Pollio wrote his famous work, The Ten Books
However, Perrett et al14 found that both white and on Architecture. In Book 2, Chapter 2, Vitruvius
Japanese men and women ranked female faces as most defined symmetry as “a proper agreement between the
attractive when youthful facial features, such as large members of the work itself, and relation between the
eyes, high cheekbones, and narrow jaws, were evident. different parts and the whole general scheme, in accor-
Esthetic judgments therefore seem to be similar across dance with a certain part selected as standard. Thus in
various cultural backgrounds. A meta-analysis by Lan- the human body there is a kind of symmetrical harmony
glois et al15 seemed to confirm that there is cross- . . . and so it is with perfect buildings.”24 Although the
cultural agreement about facial attractiveness. relationship between bilateral facial symmetry and
Studies by Sir Francis Galton,16 Charles Darwin’s beauty remains to be clarified,25 evidence seems to
cousin, provide evidence to support averageness as the suggest that mild facial asymmetry is compatible with
ideal,17 with composite facial photographs of subjects facial beauty.26 Vitruvius also described the facial
gaining higher attractiveness ratings than individual trisection, emphasizing that the ideal face can be
facial photographs.18 However, Perrett et al14 showed divided vertically into 3 distinct thirds, a concept still
that, contrary to this averageness hypothesis, the mean used today in planning facial surgery.
shape of a group of attractive faces is preferred to the The great Renaissance artist and thinker Leonardo
mean shape of the sample from which the faces were da Vinci emphasized the importance of harmony be-
selected. In addition, attractive composite faces were tween art and science. Leonardo defined proportion as
made more attractive by exaggerating the shape differ- the ratio between the respective parts and the whole.27
ences from the sample mean. Therefore, an average The figure of Vitruvian man (Fig 1), which Leonardo
face shape is attractive but might not be optimally based on guidelines described by Vitruvius, shows the
attractive,19 and highly attractive facial configurations importance of proportions in the human form. He also
are not necessarily average.20 studied the proportions of the human head (Fig 2). The
distance from the hairline to the inferior aspect of the
FACIAL PROPORTIONS chin is one-tenth of a man’s height. The distance from
The assessment of facial beauty is essentially sub- the top of the head to the inferior aspect of the chin is
jective.21 In the 16th century, the artist Albrecht Dürer one-eighth of a man’s height. These have important
American Journal of Orthodontics and Dentofacial Orthopedics Naini, Moss, and Gill 279
Volume 130, Number 3
paradigm, focusing the diagnosis and treatment of proportion.44 Therefore, more research evidence is
dentofacial problems on the soft tissues of the face required to substantiate the true significance of this
rather than on dentoskeletal structures, has emerged in fascinating concept in the clinical assessment of facial
orthodontics and orthognathic surgery.23 The den- esthetics.
toskeletal structures of the face are like the scaffold
over which the soft tissues drape. However, it is the FACIAL DEFORMITY AND THE
soft-tissue proportions, not the skeletal proportions, CONTROVERSIAL DEBATE
that are the goals of treatment.38 Proffit et al23 have led The final question concerns patients with facial
the way in the emergence of this paradigm shift, anomalies of varying magnitudes and whether they
placing greater emphasis on the clinical examination of should be treated, especially when the deformity is not
the patient and our assessment of the soft-tissue part of an active disease process.
changes that occur with each dentoskeletal change and A person’s self-perception of facial appearance is of
with age, thus allowing for greater accuracy in treat- utmost importance. It has been said, “Nothing has so
ment planning. marked influence on the direction of a man’s mind as
his appearance, and not his appearance itself so much
FACIAL PROPORTIONS AND THE as his conviction that it is attractive or unattractive.”45
GOLDEN PROPORTION There is, of course, considerable individual variation in
An often-quoted but rarely substantiated concept is people’s abilities to adapt to their facial deformities,
that of the “golden proportion.”39 The mathematician whatever the severity, with some remaining compara-
Euclid (ca 325-265 BC) described this in The Elements, tively unaffected and others having significant difficul-
his treatise on mathematics. The origin of this concept ties that affect their quality of life. It has even been
is unknown, having been attributed to both Pythagoras argued that facial deformity might be a social disability,
and Plato. In his edition of Euclid’s Elements, the because it impacts not only the person affected, but also
mathematician Luca Pacioli (1509) renamed the golden contributes to the opinions other people form of them.46
proportion the “divine proportion” because he thought Although these opinions can change as interpersonal
the concept could not be rationalized. Pacioli also relationships develop, a person’s first impression on
published a treatise entitled De Divina Proportione (On others might well affect his or her self-esteem and
Divine Proportion) for which Leonardo da Vinci drew quality of life.47
figures of symmetrical and proportionate faces and Research seems to indicate that mild to moderate
bodies. Later in that century (1597), the first known facial deformities actually cause a patient greater psy-
calculation of the golden proportion as a decimal was chological distress than severe facial deformities.48
given by Maestlin in a letter to his former pupil, This could be because other people’s reactions towards
Kepler.40 The number is 0.618 for the length of the milder deformities are less predictable, whereas more
longer segment of a line of length 1 when it is divided severe deformities tend to evoke more consistent reac-
in the golden proportion. The ratio of the shorter tions, albeit negative, allowing the patient to develop
section to the longer section of the line is equal to the better coping strategies. The variability in people’s
ratio of the longer section to the whole line. The point reactions to milder facial deformities also causes con-
at which the line is divided is known as the golden siderable patient distress. Most patients seeking orth-
section and is represented by the symbol ⌽ (phi) odontic treatment or facial esthetic surgery fit into the
derived from the name of the Greek sculptor Phidias mild or moderate category in terms of facial deformi-
who incorporated it into the architectural design of the ties, as opposed to craniofacial malformation syn-
Parthenon.41 dromes or severe facial trauma or disease.
There have been attempts to correlate ideal facial There is a long-standing and controversial debate
proportions with the golden proportion.42 However, in about the ability to alter facial appearance. The debate
a 3-dimensional study analyzing the faces of profes- centers on whether a patient with a facial deformity
sional models, the authors found that they did not fit the should learn to live with his or her facial appearance.
golden proportion and, interestingly, that they had This argument states that a psychologically healthy
various malocclusions and a wide range of cephalomet- patient should be able to adjust to the social environ-
ric values.43 In another study of the esthetic improvement ment. The supporters of this view also state that
of patients having orthognathic surgery, the authors found education of the public and changes in public attitudes
that, whereas most subjects were considered more attrac- toward visible facial differences are the correct way
tive after treatment than before, the proportions were forward. The argument against this case states that the
equally likely to move away from or toward the golden negative effects of facial deformity on a patient’s
American Journal of Orthodontics and Dentofacial Orthopedics Naini, Moss, and Gill 281
Volume 130, Number 3
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