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1 P M J O U R N A L O F D I G I T A L R ESEARCH & P UBLISHING Glamour is a term borne from print culture. Its traditional use referred to a mystical '7G%>&67&6>$5H&7>&8%5%$I%S&67&03H%&7"%&*%%0&#$H%&3&l03,"$45%"6&I%>*$7"m.=("8#%S&V;;WS&'M& 6) of oneself. However, following 19 th &5%"6(>9&$"8(*6>$3#&3"8&4"3"5$3#&>%I7#(6$7"*S&('G3>8& mobility became possible and newly established print culture allowed for the rewards of mobility to be depicted to wide audiences in an aesthetic now recognised as glamour (Gundle, 2008). Gundle describes this new aesthetic as: su%v''@GBCNGC?'DH'G@@N:?'SDB';BAD'G'L?AA?:U'FD:?' GAA:GSA;P?U'GB>'R?G@AI;?:'P?:
1 P M J O U R N A L O F D I G I T A L R ESEARCH & P UBLISHING a means to portray an idealised heterosexual lifestyle (Dyhouse, 2010). Its use continues $"& '7'(#3>& 5(#6(>%& 67839& G$6+& 4#0*& *(5+& 3*& Sex and the City (King, 2008) aligning heterosexual femininity and glamour in a complicated marriage of thirdwave feminism. Pjoanski (2007), Goldberg (2000) and Dyhouse (2010) all note that this new form of glamour is heavily tied up with capitalism and mainstream values regarding accepted ,%"8%>&8%4"$6$7"*M&&B+$*&D7>0&7D&,%"8%>%8&,#307(>S&G+$#%&'76%"6$3##9&%0'7G%>$",&$"&$6*& portrayal of femininity, is still problematic when discussing notions of feminism that seek to reject predetermined or assumed gender roles. Femininity is still lineated within a certain model and relies heavily around notions of a consumerism that ultimately serves an assumed heterosexual market. Again, such notions of glamour tend to exclude queer voices. Yet queer theory has had an active role in the subversion of hegemonic constructions of meaning such as that of glamour (Case, 2009). For Doty, queer thinkers play a role to ‘challenge and break apart conventional categories’ (Doty, 2009, p.xi). Yet unlike Doty’s 8%4"$6$7"& 7D& h(%%>"%**S& TNB does not represent a community made up of members necessarily ‘contra, non or anti straight’ (Doty, 2009, p.xi), but rather subjects with a queer sensibility they do not subscribe to “essentialist” gender and sexual roles in society. @(%%>"%**&$"&6+$*&3>6$5#%&>%D%>*&67&6+%&6%>0&3*&'(6&D7>G3>8&)9&G>$6%>*&*(5+&3*&g(6#%>&.E^^\1& and Case (2009) whereby sexuality and gender are constructs performed by individuals >36+%>&6+3"&%**%"6$3#&67&6+%$>&)%$",M&&A(5+&'%>D7>03"5%S&3#7",&G$6+&3>6$45%S&6+%36>$53#$69& 3"8&%P5%**&3>%&H%9&67&=("8#%L*&8%4"$6$7"&7D&,#307(>&3"8S&D7>&?7+3"S&+3I%&3&#3>,%&3D4#$36$7"& with queer sensibility (Cohan, 2004). Glamour is increasingly undermined and debased by the democratic form of new media journalism, most notable in forms developed by queer authors. This is perhaps best illustrated in the changing manner by which celebrity and fashion, arguably the ultimate symbols of glamour, are viewed by mainstream society. Yvan Rodic (2010), regarding his blog Face Hunter, argues that fashion blogging has encouraged a decentralised notion 7D&,#307(>S&*69#%&3"8&D3*+$7"M&&27>&+$0S&$"8$I$8(3#*&3>%&"7G&$"C(%"5%8&)9&*6>%%6&D3*+$7"& from all over the world, with the big fashion houses looking to his blog for inspiration for current trends to include in their runway shows. He argues that contemporary ‘fashion is "76&3&07"7#7,(%S&"7G&$6L*&3&57"I%>*36$7"ML&.?7#%66$S&V;E;1&&B+$*&D7>0&7D&$"C(%"5%&$*&7"%&6+36& 129
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