Rosie the Riveter, star of the American poster of the Second World War who wears the emblematic worker's overalls and the red bandana, was a symbol for modern women and emancipated from the 1950s, before becoming a simple representation of vintage works of art. The independence that this character models is represented by Scott Fitzgerald's Daisy, in The Great Gatsby, who at first glance seems to oppose it. Her innocence and purity can, however, be easily deconstructed, as she both supports the traditional image of women and challenges it, fitting perfectly into the context of ideological transformation of the 1920s. A more superficial interpretation of Daisy would argue that she is the ultimate “golden girl”: an innocent, idealized, flawless object of desire. This is due to “the ardor of [his] pursuers” who, as Keats argues, are responsible for creating his value (Keats 148). From the first pages of the novel, the reader realizes that she represents a patriarchal society's concept of an ideal woman, and is encouraged to observe this standard by the men who surround her and idealize her as such. The way Nick describes his voice, which Gatsby says is "full of money", helps portray it as nothing more than an embodiment of charm and man's greatest desires: love and wealth (Fitzgerald 120). Daisy is depicted as being graceful and a "beautiful little fool", as she states, whose only goal is to be pretty and observe traditional roles assigned to women, such as being an exemplary wife and mother (Fitzgerald 17). The color and aspects of Daisy's appearance also contribute to the creation of this idealized and perfect image. The color white suggests innocence, naivety and chastity and is therefore used to describe it. The medium of paper to which we are exposed and, therefore, human empathy and solidarity are rooted in the majority of individuals that society has managed to constitute. CitedChurchwell, Sarah. Reckless People: Murder, Mayhem, and the Invention of The Great Gatsby. London: Virago, 2013. Google Books. Internet. May 27, 2014. Denby, David. “All that jazz.” New Yorker May 13, 2013: n. page. The New Yorker. Internet. May 22, 2014.Fitzgerald, F. Scott. The Great Gatsby. New York: Scribner, 2004. Print. The Great Gatsby. Real. Baz Luhrmann. Perf. Leonardo DiCaprio, Tobby McGuire and Carey Mulligan. Warner Bros., 2013. Keats, John. Life, letters and literary remains of John Keats. Ed. Richard Monckton Milnes Houghton. Flight. 2. London: E. Moxon, 1848. Google Books. Internet. May 27, 2014. Tyson, Lois. Critical Theory Today: A User-Friendly Guide. 2nd ed. New York: Routledge, 2006. Print.