Glamour: Looking and Being Looked at. What makes you feel Glamorous - Essay Example

Glamour: Looking and Being Looked at. What makes you feel glamorous? Introduction Gracing the magazine covers are fashionably dressed models, draped in the latest designer clothes, shoes, and accessories. These models often epitomize glamour, one which is associated with the most current accepted fashions. To some extent, such glamour is also associated with feminine stereotypes, including body size, beauty perceptions, and accepted feminine and masculine looks. The glamour perception is also drawn from the fascination which children are taught to bestow upon princess figures and stories, including Cinderella, Sleeping Beauty and Snow White. Such perception is often further supported by the Barbie Dolls that they get to play with. These children and later these adolescents develop the perception that in order to be glamorous, they have to look like the models and the princesses in their storybooks and their magazines. Veering away from this perception can be a difficult undertaking, especially when the stereotypes of glamour have long been set. This essay shall discuss glamour in relation to looking and being looked at, considering what would make me feel glamorous. It will first discuss what glamour is; and also present the historical background for glamour. Examples of classic glamour will also be considered, with a discussion on how the current expectations of glamour are now different from the past. This paper is being carried out in order to establish various elements of glamour and how it is perceived from a feminist and from current and future perspectives. Body Glamour is perceived in terms of appearance, one which generally refers to enhanced attractiveness. Under these conditions, various elements are often added in order to reach the point considered as glamorous (Rosa, et.al., 2004). Glamour was originally considered in terms of magic, or a spell cast on someone in order to propagate the perception of being attractive. The 19th century understanding of glamour set forth that non-magical items which can make a person look attractive is also part of glamour (Postrel, 2010). At present, glamour is the perception of attraction that a specific luxurious appearance secures, one which perpetuates the idea that the appearance is much better that the reality. In general, persons, events, locations, or products including clothing can be considered glamorous (Postrel, 2010). According to Postrel (2010), in order to ensure glamour, there is a need to appear effortless at it, to seem distant, to be mysterious, to be idealized, but not to the point where one is no longer relatable to the general public. The early Hollywood superstar system has been very much based on Hollywood glamour, especially with its glamorous actors and actresses. Such glamour can sometimes be associated with a specific style, one which relates to a specific school of fashion or inner beauty; glamour, as opposed to fashion is more external and contrived (Gundle, 2002). By the 19th century, glamour was correlated more with ordinary objects including jewelry; and the link with the supernatural was discarded. Classic glamour has been associated with classic Hollywood actresses like Audrey Hepburn, Elizabeth Taylor, and Marilyn Monroe. These actresses manifest qualities which relate to effortless beauty and fashionable clothes (Dyhouse, 2010a). The three actresses mentioned above have been considered classic Hollywood glamour. They represent beauty as well as appearances which are well put together. They also represent a time where glamour, elegance, and enchantment was very common among Hollywood actresses (Dyhouse, 2010a). These actresses were beautiful and had plenty of style. They also embraced the glamour associated with their looks, including elements like mystery, sex, and power (Brown, 2009). Classic glamour also exuded elegance in terms of flowing gowns which seemed to float and glide through red carpets and through movie sets. Tight sexy dresses also clung to voluptuous curves and epitomized the sexual power of these women (Brown, 2009). The beauty of these women, even 30 or 50 years following their death or their moment in the spotlight seems undimmed by the passage of time. As such, their brand of glamour has even inspired the work of current fashion designers (Brown, 2009). Stereotypes on glamour mostly related to white and high class women, with such individuals often seen in the most exclusive clubs and establishments wearing the latest fashion. These women are also considered trend setters, with everyone else wanting to emulate and ‘copy’ them and their fashion (Buckley and Gundle, 2000). Male glamour was also associated with sophistication and crisp suits, very much akin to the figure which James Bond strikes. At some point, these men did not represent the common working man, but instead, they represented well-polished and expensively dressed corporate businessmen (Buckley and Gundle, 2000). The current expectations of glamour are now very much different from the past, especially with the acceptance of feminism and the working woman. These working women were able to build on the culture of smart, responsible, and strong women, those who did not dress like princesses or models (Lassell, 2009). Power dressing was therefore very much apparent in the current modern setting. These women wore suits which did not cater to the sexualization of their gender. These suits made them look professional, and they soon proved to their counterparts that they could match them toe-to-toe when in it comes to business acumen and corporate instincts (Lassell, 2009). In a significant way, glamour among women was less associated with the wearing of pink fluffy gowns, but it was now associated with functionality and power. The current expectation of glamour is very much different from the past. Where past glamour would require women to wear flowing gowns or tight dresses which hugged their figures, glamour has now been associated with being successful in other aspects of life, including one’s career, one’s social life, and one’s family (Oliver, 1996). However, the perception of glamour has been affected by various elements, relating to body image, often prompting teens to aspire for thin-model figures and achieving such figures by using drastic weight loss practices (Oliver, 1996). During the 1950s, glamour belonged to the movies, to thin models, and to movie stars, it was often not received well among the general population, with conservative 1950s wives likely to frown upon pink hair or black eyeliner (Dyhouse, 2010b). School principals and headmasters/head mistresses also expected their students to avoid the appearance of glamour; as a result, students were dressed in unappealing uniforms with hemlines below knee levels and socks pulled up to the knees. Teachers were also expected to wear less makeup or not at all. As expected, gender confusion set in for these adolescents, especially as they were required to dress almost asexually, but were also expected to behave like ladies (Dyhouse, 2010b). In effect, under these conditions, glamour is not well received under the auspices of a conservative society. Since the 1960s, fashion has changed significantly. It soon gained much momentum in the 1980s, especially with significant gains which women made in the labor market (Brown, 2009). The pressure for women was directed towards looking good. There seems to be much credence which can be detected in the fact that as glamour once represented an escape for women, it has now instead become a prison (Dyhouse, 2010b). Adult women however cannot simply be seen as prisoners or victims, and their glamour can have playful qualities, as in those seen for artists like Mae West, Madonna, and in the fashionably controversial Lady Gaga (Dyhouse, 2010b). Discussing glamour can be controversial. For some people, it can imply artificiality and false values, to others, the discussion can revolve around the ethics of fur, diamonds, cosmetic surgery, or body dysmorphia (Dyhouse, 2010b). Considerations on whether it is a western issue or a white issue are part of the discussion on glamour. Glamour became a different buzz word during the 20th century as it veered away from its magical conceptualization. At one point, glamour was also associated with exotic people and places (Hodges, 2005). Men and women could achieve glamour. Rally drivers like Rudolph Valentino were among those who were considered glamorous. Eventually however, glamour was tightly associated with modernity, especially in relation to cinema and Hollywood (Dyhouse, 2010b). Classic Hollywood stars wearing tight slinky dresses with fur coats and diamonds were the epitome of glamour. These women were meant to catch the eye of an audience who could only ever dream of attaining such level of glamour. To the viewers, classic Hollywood glamour was a significant influence on young women who were going through major changes and issues in their life, especially issues relating to the war and post-war events (Dyhouse, 2010b). Aspirations, clothes, hairstyles, makeup were all impacted by the cinema. Magazines presented the latest trends in fashion in the United States, distributed to other parts of Europe. Moralists were naturally wary about American glamour, however the impact of such glamour was unstoppable. Soon enough, observations during the Second World War indicated new trends in clothing and appearance with young adults and adolescents seen frequenting lavatories to apply makeup (Brown, 2009). These activities imply how significant the impact of Hollywood glamour has been to the general population, especially the vacillating teens and young adults. In other words, the cinema has and is continuing to have a powerful role in the informal social education of young adults (Dyhouse, 2010b). Cinema seems to extend and propagate the imagination of what and who young women should be and could be. These young women were captivated by the strong, and sexually confident women, who looked ambitious and powerful, and very much aware of the power and charms that they possessed. Actresses like Barbara Stanwyck and Dietrich portrayed assertive roles during their moments in cinematic history (Richards, 1984). Dietrich’s performances were considered the peak of movie glamour. She was in full control of her sexuality and fully aware of her sexual appeal to the viewers. Glamour further distanced itself from shades of respectability after the war especially with various fashion moguls and designers becoming more bold and tacky in their tastes. Nostalgia for old-fashioned forms was however seen at various moments in glamour’s history, especially as women’s magazines also featured the outfits which princesses and nobility wore (Dyhouse, 2010b). For magazines which were more domestically oriented, any association to glamour was avoided especially as glamour was already tarnished by the images of pin-up nudes, scantily-clad women, and soft porn. The middle-class English were also skeptical about the flirtatious actions of celebrities, dismissing them to be nothing more than empty shells draped in glamour (Dyhouse, 2010b). The negative perception of glamour has been tied in with the mousy and conservative ladies, which were idealized for their proper behavior. Under these conditions, women seeking glamour were seen as cheap and improper. In the years following the moments of classic Hollywood, more sensible considerations in relation to glamour were evaluated. These considerations were related to the use of fur. Feminism also gained a huge momentum and activists were able to point out the faults in gender stereotypes (Gundle, 2002). Issues however still remain on whether or not glamour does empower women or if it turns them into objects. It is however important to note that women do practice glamour and they are also not objects for men to gaze upon. Historically glamorous women also presented a danger to men, making men their victims (Gundle, 2002). Glamour can signify self-confidence and playfulness, as well as delight. In the end however, the power of good education and a well-paid job can have its rewards which can in no way be attributed to glamour. Conclusion In reviewing glamour and all its manifestations, it is apparent to note that glamour is very much related to fashion. For a while, the conceptualization of glamour has been related to classic Hollywood actresses who were dressed in the latest fashion trends. With the dawn of feminist ideals, the perceptions of glamour have now also been associated with power dressing and female assertiveness. Although glamour is still linked with current trends high fashion, such link is also discerned with less alacrity. The concept of the working and educated woman have now been forwarded as equally important and equally celebratory concepts. References Brown, J., 2009. Glamour in six dimensions: Modernism and the radiance of form. New Zealand: Cornell University Press. Dyhouse, C., 2010a. Glamour: Women, history, feminism. London: Zed Books. Dyhouse, C., 2010b. Glamour versus feminism? Just look at the images in the media we all adore. The Observer [online]. Available at: http://www.guardian.co.uk/lifeandstyle/2010/mar/21/glamour-feminism-cinema-carol-dyhouse [Accessed 19 January 2013]. Gundle, S., 2002. Hollywood glamour and mass consumption in Postwar Italy. In Rudy Koshar. Histories of leisure. London: Berg Publishers. Hodges, L., 2005. “Scully, what are your wearing?”: The problem of feminism, subversion, and heteronormativity in the X-files. University of Florida [online]. Available at: http://etd.fcla.edu/UF/UFE0010507/hodges_l.pdf [Accessed 18 January 2013]. Lassell, M., 2009. Glamour: Making it Modern. London: Filipacchi Publishing. Oliver, V., 1996. Fashion and costume in American popular culture: A reference guide. Michigan: Greenwood Publishing Group. Postrel, V., 2010. Still gripped by the ideal of the princess. Wall Street Journal [online]. Available at: http://online.wsj.com/article/SB10001424052748703727804576017660080822854.html [Accessed 18 January 2013]. Réka, C., Buckley, V., and Gundle, S., 2000. Fashion and glamour. In Nicola White, Nicola Joanne White, and Ian Griffiths. The fashion business. London: Berg Publishers. Richards, J., 1984. Stars: The age of the dream palace. London: Routledge & Kegan Paul PLC. Rosa, J., Patton, P., Postrel, V., Steele, V., 2004. Glamour: Fashion, industrial design, Architecture. San Francisco Museum of Modern Art. Read More