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Probably most famous, however, is Pygmalion, one of the earliest conceptualizations of constructions similar to gynoids in literary history, from Ovid's account of Pygmalion.
In this myth a female statue is sculpted that is so beautiful that the creator falls in love with it, and after praying to Venus, the goddess takes pity on him and converts the statue into a real woman, Galatea, with whom Pygmalion has children.
The first gynoid in film, the maschinenmensch ("machine-human"), also called "Parody", "Futura", "Robotrix", or the "Maria impersonator", in Fritz Lang's Metropolis is also an example: a femininely shaped robot is given skin so that she is not known to be a robot and successfully impersonates the imprisoned Maria and works convincingly as an exotic dancer.
The first was produced by Sex Objects Ltd, a British company, for use as a "sex aid".In a parody of the fembots from The Bionic Woman, attractive, blonde fembots in alluring baby-doll nightgowns were used as a lure for the fictional agent Austin Powers in the movie Austin Powers: International Man of Mystery.The film's sequels had cameo appearances of characters revealed as fembots.Not only did the servo motor and platform have to be ‘interiorized’ (naizosuru), but the body [of the fembot] needed to be slender, both extremely difficult undertakings.
Researchers have noted the connection between the design of feminine robots and roboticists' assumptions about gendered appearance and labor.As more realistic humanoid robot design is technologically possible, they are also emerging in real-life robot design. Robotess is the oldest female-specific term, originating in 1921 from the same source as the term robot.