Much has been written about Alva Myrdal of Sweden, a sociologist who won the Nobel Peace Prize in 1982.  Myrdal was an international diplomat during the Cold War who wrote one of the most influential books on nuclear disarmament of the late 20th Century, The Game of Disarmament:  How the United States and Russia Run the Arms Race (1981).  However, to date insufficient attention has been paid to the role played by Myrdal’s feminine and photogenic, movie-star-like appearance in enhancing the appeal of her powerful, erudite nonviolent messages on myriad problems confronting the world during the Cold War.  Myrdal was a nonconformist in traditional clothing. A mother of three, she wrote about how to properly rear children while she often left her own offspring with others so she could travel internationally, pursuing her own career and supporting her husband’s work.  Understanding the visual rhetoric of Myrdal as an international diplomat and peace-builder wielding scathing critiques of the burgeoning globalized military-industrial complex is important because the Cold War was not only waged with words and weapons in proxy wars, such as the Soviets in Afghanistan or the Americans in Korea and Vietnam, but importantly, it was a war waged with images.  This study of Myrdal’s visual portrayals in the international mass media demonstrates that women public figures who purvey unpopular peace messages can help serve rhetorically as mediators of meaning whose suasory function paves the way for subsequent leaders to make substantive peace-building progress in areas such as weapons reduction.