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The Material Practices Of Glamour

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  • Nigel Thrift

Abstract

So why are people attracted to goods? I want to open up a new dimension to this debate by understanding goods as surfaces which are both active and inert. I will do this by considering the history of the material practices of what I will call glamour. Through the manipulation of surfaces, glamour casts a secular spell -- often only very briefly -- but the moment of traction is, I argue, a real one which needs to be taken into accounts of cultural economy if we are to make sense of modern consumption.

Suggested Citation

  • Nigel Thrift, 2008. "The Material Practices Of Glamour," Journal of Cultural Economy, Taylor & Francis Journals, vol. 1(1), pages 9-23, March.
    • Handle: RePEc:taf:jculte:v:1:y:2008:i:1:p:9-23
    DOI: 10.1080/17530350801913577
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    References listed on IDEAS

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    1. McCloskey, Deirdre Nansen, 2006. "The Bourgeois Virtues," University of Chicago Press Economics Books, University of Chicago Press, number 9780226556635, April.
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    Cited by:

    1. Russell Belk, 2011. "Benign envy," AMS Review, Springer;Academy of Marketing Science, vol. 1(3), pages 117-134, December.
    2. Davison, Jane, 2010. "[In]visible [in]tangibles: Visual portraits of the business élite," Accounting, Organizations and Society, Elsevier, vol. 35(2), pages 165-183, February.
    3. Davison, Jane, 2014. "Visual rhetoric and the case of intellectual capital," Accounting, Organizations and Society, Elsevier, vol. 39(1), pages 20-37.
    4. Hewer, Paul & Brownlie, Douglas & Kerrigan, Finola, 2013. "‘The exploding plastic inevitable’: ‘Branding being’, brand Warhol & the factory years," Scandinavian Journal of Management, Elsevier, vol. 29(2), pages 184-193.
    5. Sally Weller, 2013. "Consuming the City: Public Fashion Festivals and the Participatory Economies of Urban Spaces in Melbourne, Australia," Urban Studies, Urban Studies Journal Limited, vol. 50(14), pages 2853-2868, November.
    6. Margot Leclair, 2022. "The atmospherics of creativity: affective and spatial materiality in a designer’s studio," Post-Print hal-03552332, HAL.

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