Hutton credits Robert Graves's 1948 book The White Goddess with popularizing the specific Maiden-Mother-Crone framing that the symbol now visually encodes, a work of poetic and mythographic synthesis rather than historical scholarship in the academic sense, whose interpretive claims about a unified ancient goddess religion are treated by later historians, Hutton among them, as largely Graves's own construction rather than a recovery of a documented pre-existing belief.
Gerald Gardner's Wicca took up the threefold framing in the following decades, and later Goddess-movement writers outside Wicca proper adopted it independently as a core devotional image in their own right, so the symbol's modern popularity runs along two related but distinct lines of transmission, Wiccan coven practice on one side and the broader, less structured Goddess movement on the other, both drawing on the same Graves-popularized framework rather than one line borrowing the symbol from the other. The symbol's uptake outside Wicca, among Goddess-movement writers and practitioners with no coven affiliation at all, means it now functions in wider use as a general emblem of feminist and Goddess-centered spirituality rather than as a marker specifically identifying its wearer as Wiccan, a broadening Hutton documents as typical of how originally coven-specific Wiccan material has diffused into the wider modern Pagan and Goddess movements over recent decades.