Written by Tilly Bankes
Glitter, derived from the Middle English word gliteren meaning to sparkle or flash, is an assortment of flat, minuscule, reflective particles that are precision cut and available in a variety of shapes, sizes, and colours. The specs reflect light at different angles, causing the incredibly desirable and shimmery effect – think Gollum’s “precious” obsession. It has come to that time of year again when Mariah Carey has been defrosted, waistbands magically become much tighter, and choirs of sniffles and chesty coughs become prevalent, but to many – and I fully accept this neurotic addiction of which there seems to be no cure – it is the season of attention seeking, blindingly obnoxious and gloriously colourful sparkle! However, where did glitter come from, why is it that we are so drawn to its nature, and how is it used today?
The optical illusion of dazzling and shimmering light has always been a desire of humans for as long as we can imagine: from the prehistoric cosmetics of powdered hematite to the politics of modern-day when used in glitter bombs as political protest. Thirty thousand years ago, mica flakes were used to give cave paintings a glittery appearance; this is apparent in infrared scans of modern-day Guatemala structure remnants today showing that mica also was used in glittery decorative red, green, and grey paint. The Ancient Egyptians used crushed beetles and finely ground malachite crystals to similarly paint with a metallic finish and even gold “sequins” (small punched disks of thin metal) were found alongside the tombs of King Tut. Eight thousand years ago, people of the Americas used a form of lead called galena to produce a bright greyish white which would glitter when used as a decorative paint on objects of adornment. The Cahokia native peoples in the Upper Mississippi Valley region would trade locally with the material either raw or crafted with such as beads. Leonardo DaVinci was even said to have drafted his own design for a sequin-punching machine. During the Tudor times, silver and pewter were either woven into the weft or warp of cloth to create ‘Cloth of Gold’ or sewn directly onto garments as embellishment.
Fast forward to the seventeenth, eighteenth, and nineteenth centuries, Lame, which incorporates a metal-wrapped thread, was used instead as embroidery thread to develop the metallic aesthetic. Then came the early-twentieth century, when there was a large spread of yearning for glass beads. However, in the 1920s, real metal sequins were replaced with that made of animal gelatine; although, under the heat and moisture of the human body, the particles would melt and degrade.
It was only until Henry F. Ruschmann stepped onto the scene that glitter became a much more commercially available product via efficiency and cost. Developed accidentally in the 1930s, it was the employees of Ruschmann’s company, Meadowbrook, who caught and collected the ‘stuttered’ machine’s pieces of glossy cellulose when cutting photo film and paper. The remnant’s disfiguration refracted the light from various angles and was then used as fake snow on the employees’ Christmas trees. Only during World War II did the change from metal to plastic — as a material base for glitter or sequins — become so prevalent. This was because of the unavailability of glass during the rations. Instead, scrap plastics were utilised. Through further evolution, Ruschmann designed a machine that would grind plastic in a specific way, enabling the much sought after reflective properties.
Nowadays, glitter and sequins are mostly constructed from either plastic or metal; however, due to the current climate crisis, other companies have sought a more sustainable approach by creating biodegradable glitter. These are particles assembled by plant-based cellulose, such as eucalyptus pulp, which washes away with water. Apart from quenching a wearer’s thirst for dazzling attention, glitter can now be found as a tool for various subcultures. It can blur gender lines by destabilizing known notions of popular culture, identity, and society. A good example of this appears when you look back on Glam Rockers like David Bowie, Gary Glitter, and Iggy Pop or look now to the New York Burlesque scene. Finally, glitter has even been used as forensic evidence because of its sheer abundance in commercial variety. Identical glitter particles, therefore, have become compelling crime scene evidence when found on an unsuspecting culprit’s clothes or skin. So, make sure to keep that in mind this festive season when pinching one extra mince pie – who knows, all it takes is one glitter particle to end your light-fingered career!
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Featured Image Credit: AVRO, David Bowie, Shooting His Video for Rebel Rebel in AVRO’s TopPop (Dutch Television Show) in 1974, February 15, 1974, February 15, 1974, FTA001019290 006 con.png Beeld En Geluid Wiki – Gallerie: Toppop 1974, https://commons.wikimedia.org/wiki/File:David_Bowie_-_TopPop_1974_06.png.
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