Anetta Bogusawa Strawiska

Generation Glamour. A 21st Century Media Product.

This article is an attempt1 to define the term Generation Glamour based on the Aristotelian
model of classic, encyclopaedic definition, which includes its denotative meaning, where the
definiens is formed by two essential elements: genus proximum, which contains the meaning
of the definiendum2 in the form of the general term for a group/community and the differentia
specifica, i.e. the quality which differentiates a given concept from others within the same
category3, formed both based on the meaning of the English word glamour and its actual
use including its connotations4, as well as elements determined by extra-linguistic (cultural or
social) factors.

The objects of interest are: Glamour the monthly periodical (of international range,
targeted exclusively at women, published in Poland since April 2003) 5, selected Polish gossip
portals6, internet portal Club Glamour7, two internet fashion and lifestyle guides: Styl.fm
and wikiHow8, as well as quotes from actors, fashion designers, architects, make-up artists
and celebrities9 available as YouTube videos10.

Dictionaries of modern Polish define a generation as a group of people of similar age (i.e.
those born and living in a given time period); a community, whose attitudes and world-view

1
This is an introductory text and does not cover the full extent of the subject, because of its complexity and a
synthetic character of the text. The authors goal is to describe and analyse the various elements of the media-
generated imago of Generation Glamour and the typology of the term.
2
I. Szczepankowska, Semantyka i pragmatyka jzykowa. Sownik podstawowych poj z zadaniami i literatur
przedmiotu, Biaystok 2011, p. 19
3
Ibidem, p. 20.
4
I include in this text some information associated with this term, which is non-linguistic, but based on the
everyday experience of language users.
5
It was promoted, among others, by the actress Joanna Brodzik. Since 2007 Glamour has been running
plebiscites for: Woman of the Year, Creative Businesswoman, Glamour-Style Debut, Show-Biz, Foreign Star.
The main parts of the magazine are: Planet Glamour, Beauty and Fashion, Lifestyle, and Culture.
6
The analysis includes the following gossip portals: efakt.pl, kobieta.pl, wieszjak.pl, egoici.pl (wrzuta.pl video),
koktajl.pl, lula.pl, plotek.pl, mtv.pl, polki.pl, plejada.pl, kozaczek.pl, kotek.pl, lansik.pl, zeberka.pl, topstars.pl,
pomponik.pl, lux-lux.pl, no co ty.pl, superexpress.pl (se.pl), onet.pl. muzyka-plotki, w-spodnicy.pl,
obmawiamy.pl and pudelek.pl
7
http:// www. glamour.pl (06/02/13)
8
http://styl.fm/newsy/103955.10-sposobw-na-bycie-glamour (11/06/14), http://www.wikihow.com/Be
Glamorous (14/09/14)
9
To invoke the definition by Zygmunt Bauman, a celebrity is a person well known, who, like the martyrs and
heroes of old, brings together diffuse human groups, idem, Celebrity, [in:] Bauman o popkulturze. Wypisy, red.
H. Halawa, P. Wrbel, Warszawa 2008, p. 216.
10
https://www.youtube.com/?gl=PL&hl=pl (14/09/14)
1
were formed by similar or identical experiences and historical experience. In the descriptions
of current social change, in literary classification, in the typology of philosophical currents, in
the analysis of key political events, as well as in colloquial language and advertising the
Polish word generacja is used interchangeably with the synonymous word pokolenie 11
(Pokolenie JP II, Pokolenie Kolumbw, Pokolenie 1898, Pokolenie Solidarnoci). They were
used interchangeably in the Polish version of this text and both are translated as generation.
Aneta Kamiska shows that in modern Polish the lexeme pokolenie is used more frequently
in both basic meanings. The first meaning is biological, concentrating on the stages of human
life (childhood, young age, maturity, old age) and the ageing process of individuals and social
groups, as well as those connected with the alternation of generations (so called family
generations)12. The other includes socio-cultural meanings, where a generation is treated as a
group of people born in more or less the same time, who have the same historical experience
(so called socio-cultural generations)13. Sociologists, cultural anthropologists and literary
scholars14 point towards these key generation-forming factors: common educational elements,
personal contacts, common experience (generational experience, generational trauma),
deference to common leaders and standing up against the older generation15.

Barbara Fatyga claims that the current discussions of generations have taken on a new
dimension: faced with unification, globalisation and the domination of mass culture, it has
become possible to have a generation, which has no sense of generational separation16, whose
generational experience is formed not only by destruction and revolution, but also leisure,

11
As can be seen in phrases such as: dzisiejsze pokolenie, or meble nowej generacji, A. Kamiska, Kategoria
pokolenia w badaniach nad spoeczestwem i kultur, http://www. kulturaihistoria. umcs. lublin. pl/archives/113
(20/10.14)
12
Barbara Fatygas research shows that this exchange happens within a biologically based cycle, which includes
antecedents and descendants. In this sense biological processes are treated as an objective base for social,
psychological and cultural differences, eadem, Pokolenie, [in:] Encyklopedia socjologii: suplement, red. J.
Bokszaski, Warszawa 2005, p. 194.
13
Because of the similarity of their unique experiences people of a give generation show similarities in how they
act and what ideology they follwo, which separates them from earlier and later generations (cf. K. Olechnicki, P.
Zacki, Generacja, [in:] Sownik socjologiczny, Toru 1999, p. 69, Sownik socjologii i nauk spoecznych, red.
G. Marshall, Warszawa 2004, p. 240; Nowa Encyklopedia Powszechna PWN, Warszawa 1996, p. 948)
14
E. Karmoliska-Jagodzik, Komunikacja midzypokoleniowa rozwaania wok rnic pokoleniowych,
Studia Edukacyjne 2012, nr 21, p. 192-194
15
M. Wallis, Koncepcje biologiczne w humanistyce, [in:] Fragmenty filozoficzne. Seria II: Ksiga pamitkowa
ku uczczeniu czterdziestolecia pracy nauczycielskiej w Uniwersytecie Warszawskim Profesora Tadeusza
Kotarbiskiego, Warszawa 1959, p. 327; K. Wyka, Pokolenia literackie, Krakw 1977, p. 50.
16
Hanna wida-Ziemba, who focuses on generations without a formative experience, claims that the current
Polish transformation generation has no awareness of generational separation. Not only do they not use the
very word generation, they do not even use phrases like we, the young eadem, Obraz wiata i bycia w
wiecie (z bada modziey licealnej), Warszawa 2000, p. 48.
2
career and building social relations17. Blanka Brzozowska, who analyses problems with
defining the so called generation X as such, notes that their trauma is the actual lack of
traumatic experiences, their ideology an ostentatious lack thereof. Nevertheless, one can
separate a certain set of common problems and postulates, which together form a certain
generational agenda, or maybe anti-agenda. Lack of history or religion, a worldview mostly
shaped by TV, and consumerism these experiences have shaped a generation which exists
balancing on the edge of neurosis, schizophrenia, and dyspraxia, forever searching for the lost
plot of their lives18. In her opinion modern generations do not need the shock of trauma or
their own ideology. Their agenda is shaped by the constantly shifting consumer society and
the fear of overstepping social acceptability.

Formally, the universal term glamour 19, which is as common in modern Polish as
Anglicisms such as super, extra, or cool 20, is an indirect lexical borrowing, of originally
Greco-Latin origin, introduced into modern Polish via English, which means: radiance,
charm, magic, beauty, physical attractiveness, luxury, splendour, a spell
(blocking normal perception), the magnificence or charm of someone or something, a
kind of mist in the air causing things to be different than in reality, any artificial interest, i.e.

17
In the case of the final generations of the 20 th century, scholars also note the formative influence of subcultures
and dissenting youth movements, cf. B. Fatyga, Pokolenie, op. cit., p. 196; H. wida-Ziemba, Wartoci
egzystencjalne modziey lat dziewidziesitych, Warszawa 1995, p. 47. Taking these factors into consideration
B. Fatyga proposed a new typology. She distinguished a generation in the narrow sense and a broad generational
community. In her opinion a generation in the narrow sense (generation proper) is a specific group of people,
often friends, with a similar status and situation, connected by common experiences, their perception of which
they impose on people their age and the society in general. Conversely, a broad generational community only
identifies with some of the elements of the generational experience (some world-view elements, behaviours,
language, fashion, music, etc.) or with the stereotypes created for the general viewer, eadem, Dzicy z naszej
ulicy. Antropologia kultury modzieowej, Warszawa 1999, p. 127.
18
B. Brzozowska, Gen X: pokolenie konsumentw, Krakw 2005, p. 113.
19
The noun glamour entered the worlds languages in its English form and is universally recognized. It is
undoubtedly one of the so called internationalisms, or words belonging to the common vocabulary of various
languages (cf. W. Pisarek, Internacjonalizm, [in:] Encyklopedia jzyka polskiego, red. p. Urbaczyk, Wrocaw-
Warszawa-Krakw 1992, p. 127), of international use (cf. J. Makiewicz, Co to jest jzykowy obraz wiata?,
Etnolingwistyka, t. 11, Lublin 2008, p. 556-559). The increasing, in my opinion, popularity of this word is
strengthened on one hand by the influence of a popular magazine for women of this title and on the other hand
by the unbelievable power of gossip portals. The use of the word in various of these portals, by numbers, as of
27 August 2012, looks as follows: efakt.pl 25.300, kobieta.pl 23.300, wieszjak.pl 1.290, egoici.pl
(wrzuta.pl video) 1.117, koktajl.pl - 831, lula.pl 661, plotek.pl 591, mtv.pl 570, polki.pl 330, plejada.pl
115, kozaczek.pl 96, kotek.pl 65, lansik.pl 52, zeberka.pl 36, topstars.pl 35, pomponik.pl 27, lux-
lux.pl and no co ty.pl 16, superexpress.pl (se.pl) 13, onet.pl. muzyka-plotki 8, w-spodnicy.pl 7,
obmawiamy.pl and pudelek.pl 6. The creators of gossip portals use this lexeme mainly to describe film stars
(such as: Marlene Dietrich, Ava Gardner, Sophia Loren, Elizabeth Taylor or Marilyn Monroe) or fictional pop-
culture characters (Bond, Barbie).
20
This is confirmed by what I learned from talking to students of Polish Philology, Culture Studies and Library
and Information Science (at the University of Biaystok; in 2011/2012 and 2012/2013), who classify the word
glamour as increasingly frequent, popular, common, fashionable among 20-year-olds. Modern normative sources
do not mention this word.
3
connection to objects, which makes it seem like someone (or something) becomes deceptively
similar to somebody (or something) else, as well as falsely admired21.

In the linguistic awareness22 of 21st century Poles the word glamour (which replaces the
Anglicisms trendy and na topie) is mainly used as a synonym to radiance.
magnetism, beauty, external charm, physical attractiveness, sex appeal,
eroticism23. The word glamour is first of all a visualisation tool. It is used not only by
image-building specialists, mainly make-up artists, hairdressers, or stylists, but also by the
average Polish speaker to denote someone (or something) by invoking, or often projecting
specific images24. This thesis is confirmed by the following internet comments: For some
21
The connection between glamour and magic, spells, charms, illusion, enchantment, mirage is confirmed by the
Revised Unabridged Websters Dictionary, which indicates that glamour was a literal magic spell. Not a
metaphorical one the way we use it today, but a literal magic spell, associated with witches and gypsies and, to
some extent, Celtic magic (http://dictionary.die.net/glamour; 26/03/13), V. Postrel, On Glamour (a TED talk
delivered in Monterey, Cal. In February 2004; https://www.ted.com/talks/virginia_postrel_on_glamour; 3/12/12).
Oxford English Dictionary and New Fowlers Modern English see the origin of the word glamour in Scottish
gramarye (magic, spell), which may come from Greek a unit of mass of components used for
magic elixirs (http://en.wiktionary.org/wiki/glamour; 7/02/13). Sources confirm that the originally Scottish word
glamour has the same source as Greek grammatic (), which means the study of the occult. This
lexeme functioned alongside the word grammarion (), which is a medieval measure of weight
(http:/ewongowordpress.com/2009/12/27/etymology-of-glamour; 18/02/13). In the middle ages science was not
distinct from occult studies. Thus it is not grammar in its literal sense (from the Latin grammatica the rules of a
language). Dictionaries confirm that the shift in the meaning of this word happened in English at the start of the
18th century (http://oxforddictionaries.com/definition/english/glamour; 6/11/12). The meaning of glamour is
close to the French grimoire a book of magic or illegible writings (A. Mathers, A. Crowley, Goecja wg
Aleistera Crowleya, Wrocaw 2000, p. 11). Anatoly Liberman is a proponent of this concept; he found that the
lexeme grimoire the evil twin of the word gramaire (grammar), born in the 18th century (brought into
English in the form gramaire, the magical sense of which was revived by Walter Scott) initially referred to Latin
grammar only in the sense of something unintelligible (which alludes to the French grimaud gloomy, dreary).
However, it soon was used in two meanings: a book of occult studies, or spell book and complexity and
gibberish, idem, Word Origins and How We Know Them: Etymology for Everyone, Oxford 2005, p. 36-37).
The original source of the word glamour would be the Greek noun for a letter (http://www.in.com/anatoly-
liberman/biography-18147.html; 24/01/13)
22
Linguistic awareness is a concept of modern socio-linguistics. Scholars differentiate between individual
linguistic awareness i.e. a persons knowledge of the rules of language and respect for them and social
linguistic awareness i.e. common ideas, beliefs and goals. More precisely, the totality of a groups beliefs about
language in general, its phenomena and functioning (D. Bartol-Jarosiska, wiadomo jzykowa robotnikw
warszawskich. Studium leksykalno-semantyczne, Warszawa 1986, p. 27, M. Dwilewicz, wiadomo jzykowa
modziey polskiego pochodzenia w Wilnie (na podstawie bada ankietowych), [in:] J. Porayski-Pomsta (red.),
Sytuacja jzykowa na Wileszczynie, Warszawa 1999, p. 73; Z. Kurzowa, wiadomo jzykowa i pogldy
wspczesnych Polakw litewskich na jzyk, Przegld Polonijny1988, t. 14, z. 1, p. 75-96: I. Masoj, O
pewnych rnicach leksykalnych we wspczesnej polszczynie modziey wileskiej, [in:] J. Rieger, Cz.
Werenicz, Studia nad polszczyzn kresow, t. 8, Warszawa 1995, p. 167177; eadem, Czynniki ksztatujce
wiadomo jzykow Polakw na Litwie po drugiej wojnie wiatowej, [in:] J. Rieger (red.), Jzyk polski
Dawnych Kresw Wschodnich, t. 1., Warszawa 1996, p. 25-45).
23
Cf. A. B. Strawiska, Glamour magia czy mistyfikacja? Historia i definicja zjawiska w zarysie, [in:] J.
Pasterska, M. Kuakowska, A. Antas, K. Krzyszto (red.), Obszary polonistyki. Jzyk kultura literatura,
Rzeszw 2014, p. 120-121.
24
The word invokes a series of images such as the sarcastic glimmer in Clark Gables eye, the magnetic look of
Greta Garbo, the long hair and gloves of Rita Hayworth, Humphreya Bogarts face and trenchcoat in
Casablanka, the tight satin dress on Ginger Rogers, models presenting Diors new look, cold blondes from
Hitchcocks movies, Gary Cooper in High Noon. For this reason V. Postrel describes glamour as an exotic form
of non-verbal rhetoric and invokes the scene of Freda Astaire dancing with Ginger, which causes viewers to be
4
glamour is the symbol of palace luxury, for others just a game and a manifesto against strict
rules (). Glamur style is very feminine. It remainds you of Grace Kelly in luxury lingerie
and furs on a leather sofa25, A glamour woman should look like a million dollars and shine
like a star on the red carpet () Wear shiny fabrics in silver and gold and sequinned shoes
and carry a lacquered handbag26, The way to astonishing looks does not need to be long.
Eduardo Ferreira, a make-up artists working for Bobbi Brown cosmetics, claims that to attain
the glamour look you need just four basic cosmetics: brightening foundation, a delicate rose
blusher, lip-gloss and mascara (). The foundation of a beautiful look is immaculately
brightened skin, a delicate blush and a lot of mascara. An eyeliner to underline the eye is only
for those women, who have the time for that27, Glamour is often full of eroticism of the
most luxurious type and this eroticism does not imply nudity 28, Brilliance, charm,
enchantments this is what you need to be to be glamour; you need to shine29.

In these statements the lexeme glamour is a descriptive modifier, which specifies the
qualities of people, items and phenomena. In Polish it is usually placed after the described
noun. Furthermore, the lexeme glamour is in modern Polish used as the equivalent to any
exclusive creation of modern industry, a synonym for a specific high quality product. In
linguistic practice this word used mainly in the context of prestigious lifestyle (glamour art,
glamour style), alluring architecture (glamour building, house, restaurant) 30, baroque interior
design (glamour furniture, arrangement, interior), fashion (a glamour collection, make-up,

on one hand jealous of their skill and on the other convinced that if they as the embodiment of the common
folk can through their dance escape mediocrity, so can everyone; she describes the spectacular dresses of the
golden age of Hollywood, which had to be sewn together on the actress, tight-fitting, restricting movement and
making it impossible to sit. Eadem, The Power of Glamour: Longing and the Art. of Visual Persuasion, New
York 2013, p. 58, 101, 175). Cf. http://www.ted.com/talks/ virginia_postrel_on_glamour.html (24/07/2014)
25
www.pieknydom24.pl/nowo.2160,halex-kady-moe-by-glamour (23/06/2014)
26
www.glamki.pl/blog5614_styl-glamour, html (17/07/2014)
27
www.kobieta.onet.pl>Uroda>Makija (7/08/2014)
28
www.maxmodels.pl> Forum> Modeling >Sesje zdjciowe (6/0/2014)
29
www.teletydzien.pl>galeria> gwiazdy (14/03/14)
30
Stephen Gundle believes that visual elements, especially architecture, played the major role in the birth of
glamour as a prestigious lifestyle. In early 20th century, shop windows, posters and public shows opened the
world of glamour in its stable version. Modern media shamelessly promote luxury and elegance (Stephen Gundle
Glamour: A history, New York 2008). This thesis is confirmed by Alice Friedman, who believes that designers
from the late 40s and 50s created surprising visions (by combining well known and accepted solutions with and
shocking and untested ones) to respond to the needs of American clients (whose preferences where primarily
shaped by advertising and modern media). They broke cultural and aesthetic stereotypes by creating futuristic
architecture. (eadem, Merchandising Miami Beach: Morris Laidus and the Architecture of Abundance, The
Journal of Decorative and Propaganda Arts 2010, vol. 25, The American Hotel, p. 216-253). Some examples
include the Palm Springs Riviera hotel, the TWA terminal in New York (designed by Saarinen), the Four Seasons
restaurant in New York (by Johnson), the Seagram building in Montreal (by Mies van der Rohe), or Graceland in
Memphis, Tennesse. (Cf. design, [in:] Sownik jzyka polskiego [on-line], www.pl.pons.com/; 4/05/12; M.
Bako, designerskie sklepy meblowe, [in:] poradnia.pwn/lista.php?=10650 (9/04/2012), p. Bargie, Czym jest
design?, wntrza.onet.pl; 30/12/12)
5
hairstyle), luxury cars (glamour brand), gadgets or accessories (a glamour tablet, belt,
perfume). This is exemplified by the following internet quotes: Glamour style is combination
of the old and the new, a skilful play with eclecticism. Modern design and bright colours take
richly decorated furniture far from literal historicity. The style loves everything that is shiny,
so furniture often has a high-gloss finish. Glamour is characterised by: glossy fabrics, crystal
lamps and chandeliers, mirrors and paintings in richly ornamented frames, decorative
furniture, preferable gilded or silvery, large vivid bold prints, and floral patterns 31,
Moschino Glamour is a fragrance which combines charming elegance with tongue in cheek
irony. Pearly intensity meets astounding femininity and passionate luxury. Let this precious
composition take you into the world of delicate aromas, which possess the senses and touch
the soul32.

The constitutive components of the phenomenon or experience of glamour 33 are an escape

from mediocrity and transforming to achieve an ideal of beauty. The author Alice Drake
claims that glamour offers the promise of a life devoid of mediocrity and to make our dreams
achievable34. Glamour is a mere proposal a presentation of possible realisations 35. Glamour
is pure aspiration; its a grand promise, a kind of dream, which can be realised, because
every glamorous woman or man has worked to create their own seductive image 36. Through
glamour the 20th century updates the ancient concept of metamorphosis. The public is
charmed by the stories of women transformed not by magic or godly intervention, but through
know-how and technology37. Transformation and stylization are the flagships of glamour,
expressing the idea that anyone can be a better version of themselves 38. A glamour
transformation is embodied in the culturally stable Cinderella myth39, which revolves around

31
kobietawielepiej.pl/wntrza/aranacje-i/styl-glamour-we-wnetrzu (14/03/14)
32
www.douglas.pl>strona gwna>Moschito (14/03/14)
33
Glamour has a stable scholarly typology. For example: the mythical glamour of garage entrepreneurship
(symbolized by HPs Palo Alto garage), architectural glamour (the prime example of which is Morris Lapidus
famous staircase in the Fonteinebleau Hotel in Miami Beach), industrial glamour (Margaret Bourke-Whites
industrial photography presenting a fantastic vision of a socialist Utopia, or the architectural photography of
Julius Schulman), religious glamour (the Tibetan glamour of aspiration, ambition, mind, piety, lust, destiny,
charm and self-assurance), or the glamour of politics.
34
V. Postrel, The Power of Glamour, p. 4.
35
This explains why the experience of glamour appears as a complete vision, Glamour lasts so long, as it is not
replaced by a new version of the spell. No single magical act can hold our attention for long, as it will be
dispelled by a longer series.
36
Zob. GLAM ROCKS Adapted by Claire Coleman from Glamour: A History by Stephen Gundle, published
by OUP on June 26 http://www.dailymail.co.uk/femail/article-1025034/Glam-rocks-An-intriguing-new-book-
reveals-secrets-true-glamour.html (6/02/13)
37
http://www.maxfactor.com/heritage/iconit-look/ava-gardner (25/09/14)
38
p. Gundle, Glamour: A History..., p. 7.
39
V. Posterl, The Power of Galmour, p. 49.
6
two tempting promises: you can be exceptional and life can be wonderful 40. Jolanta
Makiewicz notes that myths and fairy tales go beyond the normal interpretation of visible
and invisible (psychic) reality; they create new worlds, although these worlds are not fully
independent of the real one41. Thus glamour should be seen through the lens of the empirical
dreams of consumers, fantasy and sexuality42. Glamour, however, is not merely external, but
primarily internal transformation. It is an arcane process of becoming beautiful, better,
perfected, mainly as a result of (carefully concealed) work.

Secondly, glamour is an illusion. It opens the fairy gates and invites to a different, semi-
translucent world a magical space, which is both mysterious and distant, yet close and
within reach. This semi-translucence allows us to see only as many of the tempting qualities
of our object of desire, as are within our reach. This spurs the imagination and awakens
yearning43. Thanks to the magic of glamour, we inertly fall prey to the belief that our dull,
monotonous life could be better, while we ourselves, though flawed, average and humdrum,
can become a part of this perfect world44. The marvel of glamour is that it presents an ideal of
beauty artificially (the theatrics of glamour). It is, however, honest. According to Postrel, in
order to achieve glamour one needs renaissance sprezzatura45, or the art which conceals art.
Thus achieving glamour requires the ability to conceal details, so that the image created is not
the actual reality.

Thirdly, glamour is a mystery. It should be particularly stressed that someone or

something that is glamour must first of all cross the barrier of world view or stereotype; have
the ability to cross the boundaries of the real world and reach unreachable places of

40
C. Dyhouse, Glamour: Women, History, Feminism, New York 2011, p. 114.
41
J. Makiewicz, Co to jest jzykowy obraz wiata?, p. 11-12.
42
Glamour tempted (as it still does) with the ability to transform everything and everyone. The world can be
better, people more attractive, and riches real and available, cf. J. Brown, Glamour in Six Dimensions:
Modernism and the Radiance of Form, London 2009.
43
Although the ideal itself is beyond reach, there is always the possibility of finding a substitute. The spell works
like this: a collectible Ferrari model is only available to a few, but everyone can have a designer poster; only a
few sportspeople can become world class tennis players, but even a beginner can have a Wilson tennis racket , cf.
V. Postrel, The Power of Glamour, p. 4.
44
Just like great actors, celebrities, politicians, or movie stars, who have elevated themselves from the bottom of
the social ladder only through their own talent and determination into success, fame, and prosperity. They are the
most effective vectors of glamour. Gundle describes them as those who have achieved much and strengthen the
key promise of transformation (idem, op. cit., p. 380).
45
The term sprezzatura was coined by Castiglione in Il Cortegiano and came into Polish by ukasz Grnicki in
Dworzanin Polski, in the formie of the abstract niedbao abo nizaczmienie, which refer to free, even
nonchalant behaviour, which covers artificiality. Cf. R. Sinielnikoff, Z bada nad kultur jzykow XVI wieku.
Nazwy poj w Dworzaninie ukasza Grnickiego, Poradnik Jzykowy 1962, z. 1, p. 6,11). According to V.
Postrel this is the quality of glamour, which makes the world itself mystical.
7
perfection46. Glamour opens the way to a world of fantasy. It gives the guarantee of becoming
someone else, like Superman, Bond or Supergirl; thus it allows us to experiment mentally
with a new image47.

Glamour (a keyword a multidimensional, specialised code, created by experts

exclusively for those who are in the know 48) is undoubtedly a kind of fraud, which makes
use of the human need to bring into being ideals, which cannot be made real. These are often
associated with objects. The ideal love life is symbolised by a perfect necklace or a diamond
ring. The perfect escape from daily drudgery, by the ideal car 49. Modern media, which
promote the primarily external glamour model of life and thought create a new generation of
stylized (often caricaturally so) paper people. Following the aforementioned definitions,
Generation Glamour would be made up of those representatives of modern mass culture 50,
who are constantly enthralled by the existence of the artificially created superhumanly
beautiful, rich, happy people capable of effortlessly achieving anything; who are dangerously
enamoured with the illusion of life based only on pleasures, a world with no cares and no
problems, intellectually and aesthetically incapacitated by a system of values based on
deliberate deception pouring constantly from the TV screen, computer monitor, street
advertising and tabloid press. To generalise, Generation Glamour is a community of people
who prefer the glamour lifestyle, values, world-view, and behaviour associated with this
phenomenon51. The definition can be presented as follows:

Generation Glamour

definitio a community of people who

prefer a glamour lifestyle, values system,
world-view, and behaviour associated with
it.
46
As is the case with Morrisa Lapidus spiral staircase in the hotel Fontainebleau, which are both translucent and
symbolic of going up. Cf. A. Friedman Merchandising Miami Beach, p. 243.
47
According to Postrel, modern technologies help break the boundaries of the real world. Wireless technology
frees us from the confines of our desks, homes and cars; it creates an illusion of closeness, directness, even
intimacy; it is the embodiment of escapism, eadem, The Power of Galmour, p. 59.
48
A. Fridmann, Merchandising Miami Beach..., p. 5.
49
According to Postrel, some people are rich enough that, if their ideals are sufficiently infused with household
practicality, they can reach their perfect world.
50
J. Ortega y Gasset, Bunt mas, [in:] Bunt mas i inne pisma socjologiczne, tum. P. Niklewicz, Warszawa 1982,
p. 3-13, 57-74.
51
Generation Glamour is not the creation of the 20 th nor the 21st century. Sandy Isenstadt and Virginia Postrel
claim that the first variant of this phenomenon was the combat glamour of Achilles, David, Alexander the Great,
Helen (gr. Heln) of Troy. Similarly Stephen Gundle claims for generation glamour: Napoleon
Bonaparte, Carolina Otero, Marlene Dietrich, Marilyn Monroe, Beau Brummell, and from the modern era names
such as: Gianni Versace and Paris Hilton, Cf. S. Gundle, Glamour,., p. 396). Postrel, to this list adds Kate
Moss and Angelina Jolie, eadem, The Power of Glamour, p. 13.
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 definiendum a group of people of
similar age (born and living at the same
time), whose attitudes and world-view
have been shaped by similar or the same
experiences

definiens glamour

genus poroximum differentia specifica

community/group external charm, physical
attractiveness, stylization,
(exemplars: Helen of Troy, Achilles,
mystery, being fashionable,
king David, Alexander the Great,
striving to achieve success
Napoleon Bonaparte, Lord Byron,
Carolina Otero, George Bryan
Beau Brummell, Marlene
Dietrich, Marlin Monroe, Gianni
Versace, Paris Hilton, Kate Moss),
Angelina Jolie)

To be a representative of Generation Glamour (as a construct, or the result of hard

work by a team of specialists in media seduction) in reference to women and

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(paradoxically) men52 is to look like a diva53, a Hollywood star54, femme fatale55 or
trendsetters with a more urban look56. This requires one to have glamour clothes 57, including:
a shiny suit jacket, gleaming shoes (e.g. decorated sneakers, with studs or sequins and for
women: stilettos preferably Louboutin or platforms) and accessories: gold and silver
bracelets, impressive (and numerous) necklaces (for women preferably pearls), telephones
(preferably in colours: red, violet, and green), cars (glamour brands are Ferrari or
Lamborghini). The flagship glamour combination is matt and shiny surfaces; for example for
women this could be a classic black jacket and a broad silver belt highlighting the waist or a
glittery clutch bag visible from a distance. Or the other way around a sequined dress or a
gold jacket and accessories. This bold and strongly accentuated dress must be accompanied by
a fitting hairstyle. For women this may be a braid at one side, a loose topknot with decorative
fastening or romantic waves in mock disarray. For men, short hair either combed neatly to one
side in the manner of Clark Gable, or cropped up with gel or brilliantine in the style of Cary
Grant. Make-up is an indispensible element of the glamour look (acceptable also for men),
mostly in pastel colours. A feminine glamour element in make-up is bright red lips and a line
across the eye-lid (preferably in the form of a dark, shiny swallow).

Secondly, to belong to Generation Glamour is to follow the glamour code. Its first
law states: Always tell the truth. Its better to say little about yourself than to lie. A lack of
information, we are told by wikiHow, leaves room to speculate for those who want to know
you better. The second rule is to keep learning. Being well-educated is something that will

52
Naturally, male glamour is feminised. Agata Araszkiewicz states that in history male glamour had always had a
whiff of cross-dressing, transvestism, borrowing from the female store of attraction (just look at Rudolph
Valentino, or so of Presleys acting moves); since the 70s there has been an increasing drag presence in rock and
pop music (from Boy George to heavy metal); eadem, Glamouryzowanie chopca, www.obieg.pl/teksty13450
(15/09/14)
53
The attitude called Diva Glamour refers only to young women, who live in their own land; girls who are their
own trendsetters. The embodiment of Diva Glamour in modern pop-culture is Daphne Guiness, a forty-year-old
English fashion icon and scandalmonger, and the heir to the Guiness fortune. The ability to shock must be in her
genes her mother, Suzanne Linsley was one of the muses to Salvador Dali, while her grandmother, Diana
Mitford was one of the most scandalous women of the 40s; www.kobieta.onet.pl/moda/stylizacja-gwiazd
(11/09/14)
54
Hollywood Glamour is the legendary style of the 50s and 60s, characterised by furs (preferably mink, fox, or
sable), gold, hats and invariably a cigarette. The icons of this old Hollywood glamour are women such as:
Marylin Monroe, Grace Kelly, Elizabeth Tylor, Audrey Hepburn.
55
The exemplars here are Scarlett Johansson and Joan Crawford with her seductive low voice, or the slightly
gothic Poison Ivy and Catwoman. A femme fatale is attractive, sexy, seductive, and wise, but also somewhat
unpredictable; http://www.wikihow.com/Be-a-Femme-Fatale (14/12/13)
56
The new century has redefined glamour. The characteristics of city chic are first of all: well-cut long coats,
dark glasses and aggressive accessories in the style worn by Angelina Jolie
57
The necessary elements of glamour attire are seamed tights and push-up bras. Your cup size doesnt matter,
cause push-up bras can work miracles! (Rozmiar biustu jest bez znaczenia, bo biustonosze typu push-up robi
cuda!); http://styl.fm/newsy/103955.10-sposobw-na-bycie-glamour (14/12/13)
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set you apart from the flock. Being beautiful with brains adds sex appeal.58 The further
components of the glamour demeanour are: good manners, avoiding conflict, respect for
others, mysteriousness, sense of humour (and the distance to oneself and the world that it
brings) and an aura of uniqueness. Lifestyle guides tell us that the first steps to becoming a
glamour man or woman are to modulate ones voice (make it low, subdued, magnetic), to
wear a signature scent (a person who always smells the same is more recognizable and
memorable)59 or drink (at parties only drink: Long Island, Margarita, Cosmopolitan the
Holy Trinity of drinks60), to become a fan of 1940s cinema, to visit places with a unique aura
(exclusive coffee shops, antique stores) and to use a double surname (if you have one), two
names or an unusual alias61.

The terms glamour man and woman function differently in everyday communication.
When asked for the definition of a glamour woman people from the polish show business
world list qualities such as: electrifying; getting attention without trying too hard 62; having
this quality, which does not disappear with age 63; shiny; well groomed, but not overdone with
a tonne of powder and a layer of lipstick 64; eye-catching, natural, real, always herself,
spontaneous, enjoying the moment, strong, progressive, wise, smart, pursuing her own
dreams, inspiring, altruistic, with an inner beauty and charisma65.

A glamour man on the other hand is defined through what he should be: fetching,
snacky66; charming; industrious; achieving his dreams; protective of women; natural; discreet;
not imposing, more like Al Pacino crossed with Humphrey Bogart, smoking his last cigarette
in the corner, looking disdainfully on everything happening around him and still drawing
attention67 and yet one who will never fully be that ideal. For example, Marcin Prokop says

58
How to be a femme fatale, http://www.wikihow.com/Be-a-Femme-Fatale (14/12/13).
59
Ibidem.
60
10 sposobw na bycie glamour, http://styl.fm/newsy/103955.10-sposobw-na-bycie-glamour (14/12/13).
61
Zamiast dostojnej Jadwigi bd weso Jagod, ze starowieckiej Romany przemie si w Rom. W
niektrych sytuacjach moesz uywa obcych odpowiednikw: zamiast Stefy by Stefanie, Magosi-Megge,
Antonii Toni (jak np. Toni Braxton). To wcale nie brzmi pretensjonalnie, www.kafeteria.pl/seks-i-zwiazki/byc-
glamour-albo-budzic-respekt-a_283 (14/09/14).
62
Tak definiuje kobiet glamour prezenter telewizyjny Marcin Prokop, tv.se.pl//kobieta-dekady-glamour-jaka
jest-kobieta-glamour (14/09/14).
63
Z wywiadu Anny Muchy, dostpnego na YouTube, ibidem.
64
Z wywiadu Marcina Prokopa zamieszczonego na YouTube, ibidem.
65
Tez t powiadczaj wypowiedzi przedstawicieli polskiego wiata celebrity takich, jak: Marcin Prokop,
Maciej Pirg czy aktorek: Magorzaty Kouchowskiej, Magorzaty Sochy, Anny Muchy zamieszczone w
Internecie, tv.se.pl//kobieta-dekady-glamour-jaka jest-kobieta-glamour (15/09/14).
66
Z wywiadu Magorzaty Sochy, plejada.onet.pl/newsy/jaki-powinien-by-mezczyzna-glamour-fxOwz
(18/06/14).
67
Interview with Marcin Prokop, plejada.onet.pl/newsy/jaki-powinien-by-mezczyzna-glamour-fx0wz
(11/09/14)
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that a guy who tries to impose himself on others shining with his own or reflected light, acting
more like a circus freak than a real man will ever be glamour68.

To sum up, Generation Glamour, as it is created in the media, is an artificial product of

our era, which is restricted to image, looks and apparel. This purpose is served by a huge
technical effort by the cosmetic, fashion, automobile, construction, movie and TV industry. In
the words of Zygmunt Bauman, it is a sign of the times that modern Polish culture is
composed of offers, not orders; of proposals, not of norms; it deals in temptations and baits, in
temptation and seduction, not in normative regulation; in production, seeding and planting of
new needs, desires and dreams69. For the modern consumer society culture is a store of goods
for consumption, each of them competing to draw the insufferably transitory and diffuse
attention of potential clients and to keep it for more than an eye-blink 70. A mythical reality is
created, where idols are the icons of success measured not just in popularity, but the size of
their bank account and the amount of purchased goods (houses, cars, etc.) It is the
embodiment of a modern Cinderella myth71. According to Magorzata Karwatowskia72 Times
change, but young people still need role models: people who are like a lighthouse guiding
sailors. And just as sailors cannot safely reach port without these lighthouses, without
authority figures young people lack a sense of direction. They search not so much for leaders,
as for example, who will show them how to function in a world of choices, but will not
impose their own world-view as the only correct course73. The question of authority is not just
about who are to be the authority figures, how they can be recognized and how they can be
prevented from abusing their position, but also whether we can create mechanisms for future
generations and kick-start real and deep process of caring for our heritage, our past, our
graves, our heroes and geniuses, our titans of greatness, our aristocracy of spirit, our great
works of art. The question arises: where the mechanism of community based on religious or
national attachment weakens, where axiological certainty and cognitive clarity diminish, is
there an alternative to nihilism, bursts of insane neo-tribal aggression, the consumer dance in

68
Ibidem.
69
Z. Bauman, Kultura w pynnej nowoczesnoci, Warszawa 2011, p. 27.
70
According to Z. Bauman, discarding all strict standards, accepting all tastes without preference and without
clearly supporting any side, flexibility of preference and temporariness and inconsistency of choices are
characteristic of a strategy, which is nowadays recommended as the only reasonable and correct. A sign of
belonging to a cultural elite is nowadays maximum tolerance and minimal pickiness; idem, op. cit., p. 28.
71
M. Karwatowska, Kreowanie obrazu chopaka, ., p. 290-291. Cf. A. Toffler, Szok przyszoci, Warszawa
1974, p. 157.
72
M. Karwatowska, Autorytety w opiniach modziey, Lublin 2012.
73
Ibidem, p. 174.
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pursuit of the next item of clothing, gadget, novelty, pushed on us by the sneaky ,asters of
marketing and media seduction?74

74
L. Witkowski, Historie autorytetu wobec kultury i edukacji, Krakw 2011, p. 55.
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