The Magazine

A Power to Persuade

The deeper meaning of glamour.

Mar 29, 2010, Vol. 15, No. 27 • By VIRGINIA POSTREL
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Glamour

A Power to Persuade

A History
by Stephen Gundle
Oxford, 496 pp., $24.95

Glamour in Six Dimensions

Modernism and the Radiance of Form
by Judith Brown
Cornell, 199 pp., $39.95

After C-SPAN reran a 1999 BookNotes interview about my first book, I received an email from a disappointed viewer. He was chagrined to hear that I was editing a website called DeepGlamour instead of writing “more serious nonfiction.” Glamour, he implied, is a trivial subject, unworthy of consideration by people who watch, much less appear on, C-SPAN.

To which I have two words of response: Barack Obama. In an era of tell-all memoirs, ubiquitous paparazzi, and reality-show exhibitionism, glamour may seem absent from Hollywood. But Obama demonstrates that its magic still exists. What a glamorous candidate he was—less a person than a persona, an idealized, self-contained figure onto whom audiences projected their own dreams, a Garbo-like “impassive receptacle of passionate hopes and impossible expectations,” in the words of Time’s Joe Klein. The campaign’s iconography employed classically glamorous themes, with its stylized portraits of the candidate gazing into the distance and its logo of a road stretching toward the horizon. Now, of course, Obama is experiencing glamour’s downside: the disillusionment that sets in when imagination meets reality. Hence James Lileks’s recent quip about another contemporary object of glamour, “The Apple tablet is the Barack Obama of technology. It’s whatever you want it to be, until you actually get it.”

As critics who denounce movies that “glamorize violence” or “glamorize smoking” understand, glamour is much more than style. It is a potent tool of persuasion, a form of nonverbal rhetoric that heightens and focuses desire, particularly the longing for transformation (an ideal self) and escape (in a new setting). Glamour is all about hope and change. It lifts us out of everyday experience and makes our desires seem attainable. Depending on the audience, that feeling may provide momentary pleasure or life-altering inspiration.

The pleasure and inspiration may be real, but glamour always contains an illusion. The word originally meant a literal magic spell, which made the viewer see something that wasn’t there. In its modern, metaphorical form, glamour usually begins with a stylized image—visual or mental—of a person, an object, an event, or a setting. The image is not entirely false, but it is misleading. Its allure depends on obscuring or ignoring some details while heightening others. We see the dance but not the rehearsals, the stiletto heels but not the blisters, the skyline but not the dirty streets, the sports car but not the gas pump. To sustain the illusion, glamour requires an element of mystery. It is not transparent or opaque but translucent, inviting just enough familiarity to engage the imagination and trigger the viewer’s own fantasies.

Glamour can, of course, sell evening gowns, vacation packages, and luxury kitchens. But it can also promote moon shots and “green jobs,” urban renewal schemes and military action. (The “glamour of battle” long preceded the glamour of Hollywood.) Californians once found freeways glamorous; today they thrill to promises of high-speed rail. “Terror is glamour,” said Salman Rushdie in a 2006 interview, identifying the inspiration of jihadi terrorists. New Soviet Man was a glamorous concept. So is the American Dream.

Glamour, in short, is serious stuff. It can alter life plans, even change history. And as a broad psychological phenomenon, it holds intrinsic interest. While rarely addressed in C-SPAN discussions, glamour is the sort of topic to which such 18th-century titans as Adam Smith and David Hume often turned their attention. It spans culture and commerce, psychology and art.

Nowadays we call such subjects “cultural studies” and consign their serious consideration largely to the academic left. Fortunately, a field that was once little more than an excuse to bash capitalism has evolved over time, attracting curious scholars who, for all their Marxist-inflected training, genuinely want to understand the phenomena of modern, commercial culture. One result has been a reconsideration of glamour, which in an influential 1972 BBC series and subsequent book the Marxist critic John Berger reduced to “the state of being envied.” In his desiccated assessment, glamour was a manifestation of capitalism’s vicious game of winner-take-all, reflecting a society that has “moved towards democracy,” by which he meant absolute egalitarianism, “and then stopped halfway,” giving rise to widespread social envy.

To the contrary, suggests Stephen Gundle in Glamour: A History, glamour is a generous quality, a sign of an open society. It upends hierarchy and privilege. Glamour, he writes, 

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