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Hailey Jennato

Sex Appeal: A Female’s True Superpower

Black Widow’s introduction in Marvel’s 2012 movie The Avengers is iconic. Despite

being tied to a chair for an interrogation, she single handedly defeats three bad guys in under a

minute. Yet while this scene supposedly showcases Black Widow’s incredible strength and skill,

traits typically reserved for male superheroes, the logistics are perplexing. How do her tights not

rip? How does her little dress stay in place? How do her signature red curls not get in her eyes?

Female representation in comics has increased dramatically, as female superheroes now

star in their own blockbuster films. These strong, intelligent, and powerful characters serve as

role models for women of all ages. However, while progress has been made to represent a

diverse cast of women, the costumes female superheroes wear in comics, cartoons, and films are

often impractical and unnecessarily revealing, raising the question: to what extent can these

costumes be considered empowering? Featuring skin tight suits, high heels, plunging necklines,

and exposed skin, hypersexualized costumes have serious implications (Fig 1). Numerous studies

prove that the narratives we consume through media and pop culture can alter our beliefs and

attitudes about a certain topic, including gender roles and stereotypes (Aubrey, Morawitz, &

Kim; Aubrey, Hopper, & Mbure 1). Thus, as superheroes and comics become more mainstream,

representations of female superheroes can impact how women view their own bodies. Further,

revealing costumes objectify female superheroes and suggest that beauty is a prerequisite for

power and respect. Hypersexualized female superheroes also present male audiences with
1
In “Understanding the Effects of MTV's 16 and Pregnant on Adolescent Girls' Beliefs, Attitudes, and Behavioral Intentions Toward Teen
Pregnancy” from the Journal of Health Communications, Aubrey, Morawitz, and Kim prove that media influences one’s perceptions and beliefs.
The study found that girls who watched 16 and Pregnant were more aware of the benefits of teen pregnancy and were more likely to believe they
were less at risk for teen pregnancy than the girls who did not watch the show. In their study "Check that Body! the Effects of Sexually
Objectifying Music Videos on College Men's Sexual Beliefs,” published in the Journal of Broadcasting & Electronic Media, Aubrey, Hopper, and
Mbure found that undergraduate men who watched music videos with “highly objectified” female artists reported “more adversarial sexual
beliefs” and “more acceptance of interpersonal violence” than men who watched videos where the same artist was less objectified.
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unrealistic expectations of female beauty and can impact how men think and act towards women

(Morawitz & Pennell). Hypersexualized female superhero costumes are not empowering because

they exploit women’s bodies to appeal to the male gaze and present unattainable standards for

the ideal female figure.

Fig 1 - Halle Berry’s hypersexualized costume from Catwoman (CATWOMAN).

Costumes that exemplify a female superhero’s sex appeal are objectifying, presenting

toxic ideas about what it takes to be a powerful female leader. Audiences quickly praise

representations of female superheroes that present women as strong, capable, and able to achieve

anything they desire. However, their costumes are still unnecessarily revealing, highlighting the

character’s tiny waist, large breasts, and long, muscled legs (Fig 2). Objectification theory

suggests that sexualizied costumes, and the overall sexual objectification of women’s bodies in

the media, encourages average women to self-objectify, evaluating their worth based on their
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Fig 2 - This image shows many examples of how female superhero costumes are tight and revealing (Digital image of sexualized superheroes).

appearance (Morawitz & Pennell). Naomi Darom, a PhD student with Northeastern’s

Department of Sociology and Anthropology, highlights that although female superheroes are

strong and powerful, their depictions suggest “women can be anything...as long as they are

ridiculously, off-the-charts beautiful” (Darom). In her commentary “The Sexist Demand on

Female Superheroes,” she argues empowering female superheroes are still “filtered through the

male gaze,” as their sexualized portrayals suggest heroines can only live up to their male

counterparts if they have an amazing, unrealistic physique (Darom). Sarai Mannolini-Winwood

elaborates on this idea in her article “Sexism, Impracticability, and the Hopeful Future of

Costuming,” pointing out that DC Comics’ Power Girl, whose fanbase is overwhelmingly male,

is known for her sensuality and risqué costume, overshadowing her character’s independence and

constant demand for equality (Fig 3). Costumes that exaggerate feminine characteristics are

common in the comic book industry, hiding a character’s more masculine traits so as not to

threaten the male audience. These costumes also emphasize that women will only achieve

positions of power if they are willing to show off their skin and feminine assets.
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Figure 3 - Power Girl’s famous costume (“Power Girl”).

But what about the portrayal of male superheroes? While some justify the objectification

of female superheroes by pointing out that male superheroes are also objectified, male

superheroes nonetheless are allowed a greater extent of diversity when it comes to their

appearance. This “subtle sexism” is relevant because female superheroes suggest “being pretty is

the path to power,” while male superheroes link strength with power (Darom). The Hulk is a

monstrous green giant, Deadpool’s face is marred with scars, and Thor spends the entirety of

Avengers: Endgame with a bulging beer belly. Despite these characters’ physical flaws, they are

still considered strong, powerful, and dangerous. In contrast, female superheroes are not allowed

any flaws that decrease their physical attractiveness. As another example, three of the main male

characters in Marvel’s Guardians of the Galaxy are a giant gray alien, a racoon, and a talking

tree, who are not objectified through their physical appearance. However, Gamora, the female

lead, wears a skin tight suit highlighting her cleavage and toned arms (Fig 4). Even Cammila

Collar, who defends sexualizied female superhero costumes, notes that “sex is more often part of

the equation when women are depicted in any art form” and that the male versus female gaze has

never been a “two-way street” (Collar).

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Figure 4 - Gamora’s costume features mesh and a plunging neckline (Digital image of Gamora).

Hypersexualized costumes can actually lower the self esteem of a female audience, thus

making void any empowerment felt by interacting with a strong, capable, and prominent female

heroine. In their study “The Empowering (Super) Heroine?” published in the journal Sex Roles,

University of Missouri Professors Elizabeth Morawitz and Hillary Pennell found that women

who watched a montage of sexualized female superheroes reported greater body competence,

suggesting that superheroines may encourage females to “focus on the strength and health of

their bodies” (Morawitz & Pennell). However, the women also reported lower self esteem and

did not report more egalitarian beliefs about women in society. While feeling empowered by

watching strong female characters on screen, traditional gender beliefs were not challenged and

women actually developed negative perceptions about their own bodies (Morawitz & Pennell).

Morawitz and Pennell’s study proves sexualized costumes are not empowering because they do

not generate more progressive beliefs about a woman’s role in society and they lower the self

esteem of female audiences.

Despite the outcome of this study, many still argue female superheroes and their

costumes are not problematic. Female superhero’s sex appeal may “be constructed as

empowering by showing disdain for traditional feminine modesty” (Morawitze & Pennell).

Further, suggesting female superheroes wear sexualized costumes only to satisfy the male gaze
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ignores the idea that a woman can wear revealing clothing for her own pleasure and confidence,

rather than to please a man. If superheroes are not realistic, why must their bodies and costumes

be authentic? In “Reframing the Debate About Female Superhero Costumes,” Cammila Collar

argues superheroes are “defined by their...enhanced bodies,” so it makes sense that artists

prioritize the female form. Collar believes female superheroes are portrayed in a way that

celebrates the “gloriousness” of the female form, and authors Neal Curtis and Valentina Cardo

emphasize this idea in their article “Superheroes and Third-Wave Feminism,” published in the

journal Feminist Media Studies. They highlight third-wave feminists’ beliefs that women “ought

to be allowed to present themselves and use their bodies as they wish” and that “rigid definitions

of pleasure, desire, and sexuality” regress women’s freedoms (Curtis & Cardo 384). In other

words, female superheroes should wear sexualized costumes because revealing clothing is a form

of sexual expression that can increase a woman’s self confidence. As an example, they explain

how Harley Quinn’s transformation from her modest harlequin outfit to her short pants and crop

top reflects her sexual empowerment and autonomy after ending her abusive relationship with

The Joker (Curtis & Cardo 385).

However, there is an important difference between regular clothing and a superhero’s

costume. Superheroes don’t have an “equivalent in the real world,” so their costumes cannot be

compared to real women who wear revealing clothing as a form of self-expression and

self-confidence (Mannolini-Winwood). Criticizing sexualizied costumes is not equivalent to a

criticism of real women who wear revealing clothing, because costumes have specific purposes.

While it is important to show off a superhero’s athletic figure, as Collar suggests, there are more

respectful ways to do so than using costumes that highlight augmented breasts, cinched waists,

and wide hips, as these features are incredibly unattainable for those outside of the comic book
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realm. Morawitz and Pennell’s conclusion that “the dichotomous representation of superheroines

as being extraordinary, yet sexualized...muddies the potential for these characters to be

empowering” further proves that female superheroes would be more empowering and more

relatable to a wider audience if they were less sexualized and objectified by their costumes

(Morawitz & Pennell).

When the impracticality of female superhero costumes are taken into consideration, it

becomes clear the costumes are purposely hypersexualized to satisfy the male gaze. The male

gaze theory proposes that artists depict women in sexualized ways to satisfy the heterosexual,

masculine perspective (Mulvey). If female superheroes were “simply pin-up girls,” then it would

be acceptable for them to “look sexually appealing” (Mannolini-Winwood). However, female

superheroes move and fight, so they need some form of protection. In reality, these revealing,

short, tight costumes would likely impede their ability to save the day. But how impractical are

these costumes? On an episode of ABC’s Nightline, Scarlett Johansson, the actress who played

Black Widow in numerous Marvel films, stated her costumes were “like tires” that had to be

replaced every few days (Fig 5). “It was so hot, I would wring my socks at the end of the day,”

she explained, proving female superhero costumes do not aid in movement, agility, or comfort,

Figure 5 - Scarlett Johansson wears Black Widow’s tight body suit with a plunging neckline (Digital image of Black Widow).

all of which are necessary for a superhero to be successful (Johansson qtd in Singh). Ultimately,

female superhero costumes are not designed to satisfy any purpose except increasing

attractiveness. Collar justifies skimpy superhero costumes by comparing them to gymnasts’

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leotards and wrestlers’ outfits, arguing that people engaged in acrobatic activities cannot wear

heavy, bulky clothing (Collar). While it may be logistically advantageous to wear less clothing in

combat, Mannolini-Winwood argues characters like Jessica Jones and Buffy the Vampire Slayer,

who fight in jeans and a t-shirt, are actually more protected and realistic than characters in

spandex bodysuits. Buffy and Jessica are also more empowering because the viewer “can easily

dress like their hero and engage in day-to-day life” (Mannolini-Winwood). Jessica and Buffy can

still save the day without an obvious display of their sexuality and femininity, thus making their

characters more relatable and relevant to female audiences.

But what about the justification that some female superhero costumes are practical

because they are historically accurate? For example, Lindy Hemming, the costume designer for

DC’s 2017 film Wonder Woman, updated Wonder Woman’s costume by studying combat wear

from periods before ancient Greece as well as modern athletic-wear trends (Soo Hoo).

Hemmings’ goal was “to tread a line where you didn’t over-sexualize people, but you still were

proud of their bodies” (Hemmings qtd in Soo Hoo). However, while Wonder Woman’s costume

may be based on ancient warrior attire, she still wears a short, strapless one piece and thigh high

boots (with heels!) during intense battles (Fig 6). While this type of armor may have worked for

ancient gladiatorial combat, is it really the best option for the trenches of World War Two?

Figure 6 - Despite updates, Wonder Woman’s costume is still revealing and quite short (Digital image of Gal Gadot in Wonder Woman).
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The design of female superhero costumes will continue to be relevant as long as these

heroines are represented in illustrations and on the silver screen. While there is an intense debate

about whether these costumes are empowering or sexist, the attention this debate has received

shows comic books are no longer a niche industry appealing predominantly to young men.

Creators of comic books and comic book films have to be aware of whether their portrayal of

female superheroes is alienating female audiences. In other words, simply having a strong female

character is not enough if the audience cannot relate to her on a personal level. Female

superheroes can certainly become more empowering in the future. However, these heroines must

first show that they can successfully save the day through their strength and intelligence, without

relying on their extreme beauty and sex appeal.

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Works Cited

Aubrey, Jennifer Stevens, Elizabeth Behm-Morawitz, and Kyungbo Kim. "Understanding the

Effects of MTV's 16 and Pregnant on Adolescent Girls' Beliefs, Attitudes, and Behavioral

Intentions Toward Teen Pregnancy." Journal of Health Communication 19.10 (2014):

1145. ProQuest. Web. 21 Nov. 2020.

Aubrey, Jennifer Stevens, K. M. Hopper, and Wanjiru G. Mbure. "Check that Body! the Effects

of Sexually Objectifying Music Videos on College Men's Sexual Beliefs." Journal of

Broadcasting & Electronic Media 55.3 (2011): 360. ProQuest. Web. 21 Nov. 2020.

Behm-Morawitz, Elizabeth, and Hillary Pennell. “The Empowering (Super) Heroine? The

Effects of Sexualized Female Characters in Superhero Films on Women.” Sex Roles, no.

72, 11 Mar. 2015, pp. 211–220., doi:https://doi.org/10.1007/s11199-015-0455-3.

CATWOMAN (2004) - BERRY, HALLE. Photography. Britannica ImageQuest, Encyclopædia

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Accessed 23 Nov 2020.

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Medium, 24 Jan. 2018,

medium.com/s/pop-feminism/reframing-the-debate-about-female-superhero-costumes-55

5d88ff5cb0.

Curtis, Neal, and Valentina Cardo. “Superheroes and Third-Wave Feminism.” Feminist Media

Studies, vol. 18, no. 3, June 2018, pp. 381–396. EBSCOhost,

doi:10.1080/14680777.2017.1351387.

Darom, Naomi. “Commentary: The Sexist Demand on Female Superheroes: Save the World and

Look Hot.” Chicago Tribune, Chicago Tribune, 13 Aug. 2019,

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www.chicagotribune.com/opinion/commentary/ct-opinion-superheroes-women-marvel-se

xism-20190813-gm7uzushznadfb56wbxp6cgbae-story.html.

Digital image of Black Widow. “We can add another name to the Black Widow director

shortlist,” by Gary Collinson, 5 July 2018. Flickeringmyth.com,

https://www.flickeringmyth.com/2018/07/we-can-add-another-name-to-the-black-widow-

director-shortlist/.

Digital image of Gal Gadot in Wonder Woman. “Review: Wonder Woman is a gorgeous triumph

of a superhero film,” by Alex abad-Santos, 2 June 2017. Vox.com,

https://www.vox.com/culture/2017/5/30/15709572/wonder-woman-review-gadot.

Digital image of Gamora. “Guardians of the Galaxy’s Gamora wasn’t Always Going to be

Green,” by Mike Reyes, 26 Aug. 2014. Cinemablend.com,

https://www.cinemablend.com/new/Guardians-Galaxy-Gamora-Wasn-t-Always-Going-G

reen-66941.html

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Costuming,” by Sarai Mannolini-Winwood, 24 May 2018, The Artifice,

the-artifice.com/costuming-comics/.

Mannolini-Winwood, Sarai. “Sexism, Impracticality, and the Hopeful Future of Costuming.” The

Artifice, 24 May 2018, the-artifice.com/costuming-comics/.

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