Abstract
This study explores the impact of Aesthetic Labour on employer branding within the cosmetics industry. Traditionally, beauty
and cosmetics firms are associated with positive connotations such as elegance, glamour, and attractiveness, driven by profes-
sional marketing strategies. Aesthetic Labour, the employment of workers who visually represent the company’s brand image,
extends beyond customer-facing roles to influence the overall company image and employer brand. This thesis investigates
how these Aesthetic Labour practices shape perceptions and expectations of prospective employees, particularly focusing on
Generation Z, who prioritize diversity and inclusion.
Through semi-structured interviews with twelve Generation Z employees and former employees of well-known cosmetics
firms, this research uncovers the dual nature of the industry’s employer branding, one being the glamorized image that is
carried to the outside, the other highlighting the downsides of the glamorized effect. While a polished, glamorous image
attracts applicants, it often leads to unrealistic expectations about the work environment. The study finds that although
employees experience a supportive and enthusiastic work culture, they also face internal pressure to maintain a specific
aesthetic standard. This pressure, albeit not officially mandated, is perpetuated through internalized norms and possibly
biases in the hiring process.
The findings reveal that Aesthetic Labour practices influence employer attractiveness by creating a desirable but often
unattainable image. This study contributes to the understanding of Aesthetic Labour’s role in shaping employer brand percep-
tions, highlighting the need for cosmetics firms to balance their branding strategies with inclusive and diverse employment
practices to meet the evolving expectations of the modern workforce.
Keywords: aesthetic labour; employer branding; cosmetics industry; generation z

Dieses Werk steht unter der Lizenz Creative Commons Namensnennung 4.0 International.
Copyright (c) 2026 Susanne Rautzenberg
