The history of the romance novel cover charts the evolution not just of the romance novel itself, but of our changing attitudes as a society. Romance novel covers tell the story of readers’ hopes, tastes and desires. But most of all, “the romance book cover is a promise to the reader,” says archivist and romance historian Steve Ammidown.

To paint the full picture, we’re taking you on a journey through history to explore the development of the romance cover.

In 1985, the paperback cover of a romance novel created a national scandal. Illustrator Robert McGinnis set the entire country on fire by painting a naked man for the cover of "Tender is the Storm" by Johanna Lindsey. Historical romance at the time often featured a “clinch cover,” aka, “bodice ripper,” which consisted of a clothed man and a woman whose corset couldn’t contain her pulchritude. The heroine on this cover was still having trouble with her undergarment, but the man wore nothing at all.

It was scolded for being licentious and salacious and stores refused to carry it. A sticker was quickly issued to cover the man’s posterior. It read: “#1 Everywhere!” With the next printing the sticker read “Coast-to-coast bestseller.” Despite the uproar, McGinnis’s cover delivered what it promised and readers responded.

A Plain Brown Wrapper

Given all this full-color glory, it might surprise you to learn that the first romance novels went out in plain brown wrappers as part of subscription libraries in the United Kingdom in the 1920s. The innovation of the color cover was partially due to what Ammidown calls the “magazine era.” Among the popular magazines was True Romances, which featured an evocative painting of a young couple or a single woman on the cover. “This is where the idea of a modern romance cover began,” says Ammidown, and with the widespread popularity of the paperback in the 1930s and 40s, the cover as we know it evolved.

Magazine illustrators who sought work painting book covers and movie posters when ad agencies switched to photography were a major influence. Artists such as Frank Kalan brought their classical technique, usually using oil paints, and a strong sense of composition and design.

Lush oil paintings continued to be a mainstay in the late 20th century with master illustrators such as McGinnis, famous for his Breakfast at Tiffany’s and James Bond movie posters, creating the steamy covers for Johanna Lindsey’s novels. Among his most famous — or should that be infamous? — were his covers for Fires of Winter and Tender is the Storm, both featuring a clothed woman and a naked man. However, the beauty and artistry of McGinnis’s oil paintings were unmistakable. Ammidown calls his covers, “Just spectacular things to look at.”

Under the Covers

Historical romance is still known for this style typified by McGinnis and his successor, Elaine Duillo, whose use of the controversial Italian model Fabio Lanzoni made her work — and his face — instantly recognizable. Despite its somewhat frisky reputation, most of the people interviewed for this article admitted a fondness for this lavish and unapologetically romantic style. “They’re just fun,” says "Red, White & Royal Blue" special edition illustrator Venessa Kelley.

Duillo was one of the first artists whose work was featured in stepback covers. This was the device of having a benign outer cover that opens to a larger piece of art. Duillo wasn’t a fan according to the Sweet Savage Flame website. She believed a painting should be viewed in its entirety on the cover. One particularly notable stepback cover of hers featured a shirtless Fabio, with a woman swooning at his feet, a sword on his hip, and a stallion rearing in the background. It’s hard not to think this might have been a wink at the reader.

The 1990s ushered in more conservative covers and the adoption of e-readers. Category romances became known for advertising-style covers with the floating heads offset by a carefully chosen visual detail from the novel.

While mainstream publishing grew more reticent, the swiftly growing independent space had no qualms whatsoever. Without anyone to dictate style, indie romance authors were free to create whatever they wished. Tight budgets often prompted authors to turn to photography, and abs (with and without heads) became familiar in sports and gay male romance. According to New York Magazine, model Jason Baca of California is reported to hold the record (sorry, Fabio!) with 485 covers.

No Laughing Matter

Today, contemporary novels, and an increasing number of historical romances, have turned to cartoon-like illustrated covers. Computer art programs such as Procreate have given rise to stylized art with a youthful, rom-com feeling. While these cheerful covers are eye-catching, if their lighthearted art hides what is actually a dark and angsty love story, readers may feel the promise has been broken.

But illustrated covers have their upside. Ammidown believes they may even offer a degree of protection in these days of book banning. “It depends where legislation and censorship go in the coming years,” he says. “Queer authors who are looking at this moment and saying, if my cover is too sexy it draws attention and that’s not what I want. I want my book to stay in the library. I don’t want it to get thrown into the bonfire.”

Kelley disagrees. “I’m sensitive to the risk, but I don’t want to portray same-sex couples as platonic buddies. I want to show people in love and that love is accessible, all you need is the right meet-cute,” they say. They also feel that we may be moving away from the cartoon-like illustrated cover. “I think we might see a renaissance of lush, painterly covers. They bring a nostalgic feeling of comfort.”

In historical romance, Kelley may be right. May Chen, vice president and editorial director at Avon Books, says, “Historical romance authors and readers still love the painterly style, as so few other books have these covers, so I think they’ll continue to stand out. However, we’re very open to trying different looks, illustrated, photographic, as they can be great for the right book.”

The Romantasy Effect

Kensington publisher Jackie Dinas credits the “romantasy” boom with fresh possibilities in cover art. She says romantasy shows just how broad of a genre romance can be. “We’re seeing traditional figure-style covers, text heavy covers, illustrated covers, and more graphic designs. Romance as a genre is not a monolith and the more ways we can showcase variety in covers that matches the true diversity of the content, the better for the readers.”

But in the end, it’s still a contract with fans. “If the cover keeps its promise, readers will fall in love with it, no matter what the style,” says Ammidown.