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From burlesque show to fashion runway, magazine cover to Internet video, style icon and \"burlesque superheroine\" (Vanity Fair) Dita Von Teese has undergone more strokes of red lipstick, bursts of hair spray, boxes of blue-black hair dye, and pats of powder in a month than a drag queen could dream of in a lifetime. Whether she's dazzling audiences while swirling in a towering martini glass in Swarovski-crystal-covered pasties and stilettos or sparking camera flashes on the red carpet, one reality is constant: for this self-styled star, beauty is an art. Now, for the first time in her Technicolor career, Dita divulges the beauty wisdom that keeps her on international best-dressed lists and high-profile fashion show rosters. In Your Beauty Mark: The Ultimate Guide to Eccentric Glamour, Dita and collaborator Rose Apodaca take you through every step of Dita's glamour arsenal, and includes her confidantes--masters in makeup, hair, medicine, and exercise, as well as some of the world's most eccentric beauties--for authoritative advice. Packed with sound nutrition and exercise guidance, skin care and scent insight, as well as accessible techniques for creating bombshell hairstyles and makeup looks and more, this inspiring resource shares the skills, history, and lessons you need to enhance your individual gifts and realize your own beauty mark.

Glamour is an alluring but elusive concept. We most readily associate it with fashion, industrial design, and Hollywood of the Golden Age, and yet it also shaped the language and interests of high modernism. InGlamour in Six Dimensions, Judith Brown looks at the historical and aesthetic roots of glamour in the early decades of the twentieth century, arguing that glamour is the defining aesthetic of modernism. In the clean lines of modernism she finds the ideal conditions for glamour-blankness, polish, impenetrability, and the suspicion of emptiness behind it all. Brown focuses on several cultural products that she argues helped to shape glamour's meanings: the most significant perfume of the twentieth century, Chanel No. 5; the idea of the Jazz Age and its ubiquitous cigarette; the celebrity photograph; the staging of primitivism; and the invention of a shimmering plastic called cellophane. Alongside these artifacts, she takes up the development, refinement, and analysis of glamour in Anglo-American poetry, film, fiction, and drama of the period.Glamour in Six Dimensions thus asks its reader to see the proximity between the vernacular and elite cultures of modernism, and particularly how glamour was animated by artists working at the crossroads of the mundane and the extraordinary: Wallace Stevens, F. Scott Fitzgerald, Virginia Woolf, Josephine Baker, D. H. Lawrence, Gertrude Stein, Nella Larsen, and others. Glamour is an alluring but elusive concept. We most readily associate it with fashion, industrial design, and Hollywood of the Golden Age, and yet it also shaped the language and interests of high modernism. InGlamour in Six Dimensions, Judith Brown looks at the historical and aesthetic roots of glamour in the early decades of the twentieth century, arguing that glamour is the defining aesthetic of modernism. In the clean lines of modernism she finds the ideal conditions for glamour-blankness, polish, impenetrability, and the suspicion of emptiness behind it all. Brown focuses on several cultural products that she argues helped to shape glamour's meanings: the most significant perfume of the twentieth century, Chanel No. 5; the idea of the Jazz Age and its ubiquitous cigarette; the celebrity photograph; the staging of primitivism; and the invention of a shimmering plastic called cellophane. Alongside these artifacts, she takes up the development, refinement, and analysis of glamour in Anglo-American poetry, film, fiction, and drama of the period.Glamour in Six Dimensions thus asks its reader to see the proximity between the vernacular and elite cultures of modernism, and particularly how glamour was animated by artists working at the crossroads of the mundane and the extraordinary: Wallace Stevens, F. Scott Fitzgerald, Virginia Woolf, Josephine Baker, D. H. Lawrence, Gertrude Stein, Nella Larsen, and others.

How can a mainstream, high-street retail brand offer an aspirational and elevated shopping experience whilst still maintaining reasonable price perceptions? In this study we suggest that a subtle glamour aesthetic is an effective way to provide this experience. We draw on a qualitative, multi-method, ethnographic study of a UK lifestyle brand, The White Company, a brand that offers affordable luxury to its customers. Our study reveals the presence of a subtle glamour aesthetic within the retail brandscape, which operates as an affective force to elevate and enhance the brand. Its utilisation enables the brand to distinguish itself from competitors, whilst still offering affordability to its middle-class market. We show that glamour is used with moderation by the brand, as too much glamour would be at odds with its positioning in the marketplace and customer expectations. However, the discreet presence of subtle glamour enables the brand to elevate its products and enchant its customers. Three key branding outcomes of staging subtle glamour are identified, which we describe as: 1) staging the fascinating effect; 2) staging the promise of transformation and escape; and 3) staging the concealment of effort. We explore each of these in relation to material and discursive aspects, and importantly, how customers experience each of these staging practices. We conclude by offering suggestions for other high-street retailers on how a subtle glamour aesthetic can be used to provide customers with an enchanting and elevated shopping experience.

This book explores the changing meanings of glamour, its relationship to femininity and fashion, and its place in twentieth century social history. It also examines with wit and insight the history and meaning of costume, cosmetics, perfume and fur.

Arguing that questions of power expressed through aesthetic form are too often left out of current approaches to digital culture, this article revives the modernist aesthetic category of glamour in order to analyze contemporary forms of platformed cultural production. Through a case study of popular feminism, the article traces the ways in which glamour, defined as a beguiling affective force linked to promotional capitalist logics, suffuses digital content, metrics, and platforms. From the formal aesthetic codes of the ubiquitous beauty and lifestyle Instagram feeds that perpetuate the beguiling promise of popular feminism, to the enticing simplicity of online metrics and scores that promise transformative social connection and approbation, to the political economic drive for total information awareness and concomitant disciplining, predicting and optimizing of consumer-citizens, the article argues that the ambivalent aesthetic of glamour provides an apt descriptor and compelling heuristic for digital cultural production today.

This study examines the role that musical comedy on stage played in shaping popular culture in the long Edwardian period (1890–1914). It is based around two iconic theatrical types of the period: the Gaiety Girl and the matinee idol. Historians have underestimated their importance and what they represented. These two are decoded as a way of understanding the development of a culture based upon glamour, celebrity, fashion, display and public forms of sexuality which started to break with Victorianism. It looks in particular at the musical comedies produced by the West End impresario George Edwardes and explores their links to the developing fashion and beauty industries of the period.

Stellar Transformations: Movie Stars of the 2010s circles around questions of stardom, performance, and their cultural contexts in ways that remind us of the alluring magic of stars while also bringing to the fore the changing ways in which viewers engaged with them during the last decade. A salient idea that guides much of the collection is the one of transformation, expressed in these pages as the way in which post-millennial movie stars are in one way or another reshaping ideas of performance and star presence, either through the self-conscious revision of aspects of their own personas or in redirecting or progressing some earlier aspect of the culture. Including a diverse lineup of stars such as Oscar Isaac, Kristen Stewart, Tilda Swinton, and Tyler Perry, the chapters in Stellar Transformations paint the portrait of the meaning of star images during the complex decade of the 2010s, and in doing so will offer useful case studies for scholars and students engaged in the study of stardom, celebrity, and performance in cinema.

The bachelor has long held an ambivalent, uncomfortable and even at times unfriendly position in society. This book carefully considers the complicated relationships between the modern queer bachelor and interior design, material culture and aesthetics in Britain between 1885 and 1957. The seven deadly sins of the modern bachelor (queerness, idolatry, askesis, decadence, the decorative, glamour and artifice) comprise a contested site and reveal in their respective ways the distinctly queer twinning of shame and resistance. It pays close attention to the interiors of Lord Ronald Gower, Alfred Taylor, Oscar Wilde, Charles Shannon and Charles Ricketts, Edward Perry Warren and John Marshall, Sir Cedric Morris and Arthur Lett-Haines, Noël Coward and Cecil Beaton. Richly illustrated and written in a lively and accessible manner, Bachelors of a different sort is at once theoretically ambitious and rich in its use of archival and various historical sources.