This thesis investigates the perpetuation of pink as a naturalised inscription of femininity. Research has shown that the culturally constructed gendered body, is considered a socio-political subject. Through fragmenting the feminine aesthetic, the intention of this thesis is to critically cross-examine how pink semiotics sustain the metaphysics of the feminine identity. Primarily forging this argument with emphasis on Judith Butler's gender is performative theory, the pink matrix reveals how the binary of gender is performed.

With initial reference to the pinkification of Mattel's Barbie Doll, this thesis intends to make acutely apparent how pink materiality personifies the socio-political body. This argument recognises the iconic ‘Think Pink’ scene from the 1957 film Funny Face amongst others, to illustrate how performing pink in the feminine aesthetic, manipulates the essence of femininity.

There is little research done on the implications that political pinkification has directly with feminist action. Deciphering the pink political wardrobes of Nancy Pelosi and Hillary Clinton, will reveal how pink is being strategically used as a hyper tool for deploying feminist intelligibility. Within the political spectrum, the image discussion of The Pussyhat project illustrates the impediment that pink mobilisation has over the pursuit of feminist intersectionality. Whilst this thesis does not intend to define what an ethical inscription of the gendered body looks like, it aims to visualise how the binarism of gender is challenged by the unstable performance of pink on the body.