The Beauty Occultist: Defining Aesthetics, Esotericism, and Identity

The term “beauty occultist” is not a common phrase in discussions of beauty, esotericism or academic literature. However, the intention of the term’s conception is to bring together two avenues of research that while seemingly separate, can form a unique relationship. The phrase “beauty occultist” or “occultism” in this sense, aims to present a perspective of beauty that moves beyond superficial, ornamental or societal constructs. By integrating occult or esoteric knowledge with aesthetic practice, beauty becomes a medium and tool for transformative ends. As a result, a “beauty occultist” might come to be known as an individual of an esoteric nature who enacts or believes in the hidden, spiritual or transformative dimensions of beauty as a practice. Beauty, discussed and presented in this way moves connections beyond physical appearance, instead invoking themes of transcendence or the ritual of beauty as a means of self‐alchemy. To clarify this emerging concept, this essay aims to establish the foundations of this definition by applying introductory connections to occultism, definitions of beauty and the critical implications of combining them to establish context.

To begin this process, the definitions of “occultism” and “beauty” must be unpacked in order to understand how they may then be combined. “Occultism”, broadly refers to traditions, practices, and beliefs concerned with hidden forces, secret knowledge, and the possibility of transformation through ritual and symbolism. It is a term linked to “esotericism” which refers more broadly to hidden knowledge but often also maintains connections to alchemy, astrology and natural magic. Hanegraaff (1996) expands upon this definition of “occultism” by framing it as a modern adaptation of Western esoteric traditions to a secular and rationalised culture. In connection, the term “occultist”, derived from the Latin “occultus”, means to be “hidden” or “secret,” and refers to knowledge or practices concerned with the invisible or esoteric dimensions of existence (Hanegraaff, 2012). When considering the nature and application of beauty as a theory and practice, connections can be formed through the art of concealment, language of ‘beauty secrets’ or even the nature of beauty rituals as transformative or transcending acts.

The term “occult” first entered English usage in the late Middle Ages, used as a term to describe hidden causes or unseen forces. The modern noun “occultist” emerging during the nineteenth century, largely through the influence of French esoteric revivalism. Éliphas Lévi (1810–1875) is credited with popularising “occultisme” in works such as ‘Dogme et Rituel de la Haute Magie’ (1854–1856), where he sought to synthesise religion, science, and magic under a unified spiritual philosophy (Faivre, 1994). By the late nineteenth century, movements such as the Theosophical Society had institutionalised the role of the occultist as both a seeker of hidden wisdom and a participant in the broader Western esoteric revival (Goodrick-Clarke, 2008). Hence, the word encapsulates a transition from pre-modern secrecy to modern esoteric self-definition, reflecting both a linguistic evolution and cultural recontextualization that can also be seen within discussions of beauty ideologies through theories of self-transcendence. Occult practices are united by their esoteric qualities, blending of philosophies and investment in ritualised and symbolic expression (Hanegraaff, 2012). On the surface, these are practices that may be deemed irrelevant to contemporary discussions of beauty; however it is within this language of secrets, ritual and practice that such practical connections begin to form.

Similarly to associations of “occultism”, the definition and meaning of “beauty” has long been a subject of scrutiny and investigation. Academics have attempted to examine and isolate the definition of “beauty” through varying applied perspectives of philosophy, aesthetics, and cultural theory. Classical theorists such as Plato define beauty as the manifestation of higher realities and a bridge to the divine (Plato, 1997). Modern scholarship, however, has increasingly contested such essentialist views. Beauty is often understood as a cultural, societal and ideological construct, often centred around criticisms linked to the upholding of gender norms, ageism and cognitive bias. Tseelon (1995) argues that beauty is not a natural category but a “manufactured masquerade” that functions ideologically to regulate women’s identities and appearances. Similarly, Wolf (1990) highlights how the cultural “myth of beauty” perpetuates systems of control, presenting beauty as both desirable and oppressive.

While these perspectives can be seen as true and reflective of contemporary commentaries regarding beauty, the purpose of “beauty occultism” is to actively challenge this narrative. The ambition, to move the discussion of beauty practice away from superficiality and instead embrace a perspective of beauty as a tool for empowerment and personal transcendence. When definitions of “beauty” and occultism” are combined, these two domains generate the possibility of understanding beauty as occult: an aesthetic that is more than associations of visual pleasure. Instead it may become a means of carrying symbolic and hidden power. A “beauty occultist” therefore may view bodily adornment, cosmetics, styling, and the curation of the self as ritualised performances, invested with deeper, meaningful intent. Such perspectives are touched on and often resonate with the concept of “glamour magic,” a practice widely discussed in contemporary witchcraft and represented in popular culture. In this sense glamour is not simply attractiveness but the magical manipulation of perception and aura (Green, 2003; Von Busch, 2023). Here beauty is a form of enchantment, used deliberately to shift how one is perceived and to align the self with spiritual or magical purpose. The use of glamour magic provides one example where the occult exists in connection to beauty practices, however the role of “beauty occultism” aims to expand this ideology further and move beyond physical attraction, which elements of glamour magic in contemporary depictions of witchcraft uphold.

One framework that can also be applied to this conversation and to establish further context is the theory of “beauty esotericism”. As previously touched upon, this is a term that sits comfortably alongside the occult in a broader sense by exploring the wider spiritual dimensions of beauty. Beauty esotericism views beauty as a path to spiritual enlightenment, rather than just superficial appearance. Fostering a connection to divine principles through enhanced personal well-being to awaken inner potential. American writer and self-styled “Mental Scientist,” Eleanor Kirk is a key example of such philosophy, combining various strands of esoteric and beauty practice, alongside social activism (Shusko, 2022). Her work is often discussed as an early example of a figure who regards beauty, health, spiritual development, and aesthetic self-presentation as interwoven, not divided. Kirk’s work touches on occultism among the everyday, how individuals might combine spirituality, health and beauty to cultivate vitality (Shusko, 2022). Kirk’s example outlines an ideological foundation for “beauty occultism”, using hidden correspondences of aesthetics, self-presentation, inner cultivation for personal empowerment. However, it must be noted that Kirk’s work operates in a capitalist market, therefore it should be addressed that such practices may cater to consumer engagement rather than personal philosophy. This brings into question authenticity versus commodification. Kirk, while advocating spiritual and esoteric elements, was a publisher and businesswoman who frequently offered advice regarding cosmetics, health and dress, all intersected with commercial interests. This echoes contemporary concerns about how the occult, witchcraft or spiritual aesthetics can be co-opted by consumer culture. A fundamental limitation that “beauty occultism” aims to challenge and evolve by focusing conversations on deeper, transformative practice and theory.

As a result of its emerging nature, the motivations behind “beauty occultism” may vary depending upon it’s application. Overall, it is a spiritual pursuit, connecting with divinity through the cultivation of beauty. However, it may also serve as an act of resistance alongside the re-embracing of contemporary witchcraft by reclaiming beauty practices framed by consumer capitalism and patriarchal standards and reinterpreting them as acts of self-empowerment. Beauty rituals utilised in this way provide spaces for deeper purpose, restoring confidence, fostering empowerment and healing identity through the symbolic reconstruction of language. The result, providing a new wave of aesthetic activism by using the visibility of beauty to challenge social hierarchy.

Nevertheless, in an era of occult resurgence the concept of the “beauty occultist” may raise criticism. One concern is commodification. Occult aesthetics have increasingly been appropriated by the fashion and cosmetics industries, however these appropriations are often stripped of their original meaning and resold under superficial branding. This raises further questions around the authentic connections between beauty and the occult. Furthermore, beauty practices in contemporary culture are often shaped by systems of privilege, as active participation often requires access to economic resources, social capital and cultural knowledge. The risks of reinforcing gendered and racialised beauty standards remain significant, even when practitioners aim to subvert them (Tseelon, 1995; Wolf, 1990). Finally, there are psychological risks in investing too heavily into beauty as a site of spiritual meaning. Overemphasis in this sense may induce anxiety, obsession, or vulnerability to exploitation (Hanegraaff, 2012). Despite these tensions, “beauty occultism” by its collective definition should not lean into ideologies of elitism. Instead, the application of beauty theory and occult practice illuminates how aesthetics and esotericism may converge in reshaping contemporary identity. Inviting practioners to rethink beauty, not only as a construct but also as a lived practice. At this stage, a working definition might therefore be proposed: a “beauty occultist” might be understood as a practitioner who enacts or believes in a transformative hidden dimensions of beauty — i.e. beauty not simply as appearance, but imbued with transcendent powers; someone who uses aesthetic forms a tool, someone for whom the pursuit or performance of beauty is a site of ritual, transformation, or self‐alchemy.

In conclusion, the “beauty occultist” represents a fusion of aesthetic and esoteric traditions, treating beauty as both ritual and revelation. Further research will unpack the complexities of beauty and it’s relationship with occultism. Investigation into academic theories, practitioners and rituals will form deeper connections however, the initial curation of this concept opens important questions about the intersection of beauty, the self, and how it informs culture. Individuals have long used beauty as a personal tool of engaging the hidden, the transformative and the transcendent. Although not yet formally theorised in academic discourse, the roots and inspirations of “beauty occultism” are evident across art, fashion, and spirituality. The “beauty occultist” provides an opportunity for reframing these deeply rooted ideological constructs and provide an emerging cultural viewpoint. One that captures the ongoing human desire to find deeper meaning in the pursuit of beauty.

Charlotte Logue | 10th October 2025

 References

·       Faivre, A. (1994) Access to Western Esotericism. Albany: State University of New York

·       Goodrick-Clarke, N. (2008) The Western Esoteric Traditions: A Historical Introduction. Oxford: Oxford University Press.

·       Green, M. (2003) A Witch Alone: Thirteen Moons to Master Natural Magic. London: Thorsons.

·       Hanegraaff, W.J. (1996) New Age Religion and Western Culture: Esotericism in the Mirror of Secular Thought. Leiden: Brill.

·       Hanegraaff, W.J. (2012) Esotericism and the Academy: Rejected Knowledge in Western Culture. Cambridge: Cambridge University Press.

·       Plato (1997) Plato: Complete Works. Ed. J.M. Cooper. Indianapolis: Hackett Publishing.

·       Shusko, C. (2022) ‘The Power of Beauty: Eleanor Kirk’s Feminine Esotericism’, in Essays on Women in Western Esotericism: Beyond Seeresses and Sea Priestesses. Springer International Publishing

·       Tseelon, E. (1995) The Masque of Femininity: The Presentation of Woman in Everyday Life. London: Sage.

·       Von Busch, O. (2023) ‘Glamour Magick: Affective Witchcraft and Occult Fashion-abilities’, Fashion Practice, 15(1), pp. 47–66.

·       Wolf, N. (1990) The Beauty Myth: How Images of Beauty Are Used Against Women. London: Chatto & Windus.