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Beauty round-up: a timeless lipstick, a rich lavender toner, and ’70s-inspired eyeshadows

Filed by Meg Hamilton/June 26, 2020/10.54

Shine on

Living Nature has released a new natural lipstick, Glamorous. As with all Living Nature products, it is natural, using natural waxes, butters and oils, including shea butter and jojoba oil. Not only do your lips shine with Glamorous’s intense colour, they are nourished. There is a single shade, created to suit all complexions. It is available in New Zealand through selected pharmacies and health stores, and online at www.livingnature.com.

For summer skin

001 Skincare London is the luxury brand founded by facialist and acupuncturist for many famous names, Ada Ooi. Her new Pure Lavender Hydrolat Toner, made with 99 per cent first-grade lavender, is the perfect summer accessory, a multi­tasking product that acts as a cleanser, toner, make-up-setting spray and even as a mask. The hydrolat toner instantly lifts dried and tired skin, working to soothe, tone and tighten the skin, effortlessly hydrating and balancing its pH levels. This product is also a complexion booster that can be sprayed directly onto the skin or applied using a cotton pad. Looking to give that extra care to your skin during the summer? This is the perfect product for you. Find out more at www.001skincare.com.—Meg Hamilton

Back to the ’70s

The eyeshadows and highlighters in the new collection by Nomad are the life of the party, taking us back to the glitz and glamour of the 1970s in style. Inspired by the rich scene of Studio 54, a place where many creative minds gathered to create great art and music in the ’70s, the Multi-Chrome Discoshadow collection infuses this energy with the disco era to create a eyeshadow palette and two highlighters that are truly ethereal and out of this world. Packed with glitter, the Multi-Chrome Discoshadow Palette contains four unique shifting shades. Le Freak is a static and striking yellow-gold, I’m Coming out is a party-all-night hot pink and lavender, Got to be Real is a cool silver with subtle hints of green, and Last Dance is the perfect classic ’70s blue with a silver shift. Combine these with the two highlighters, Hot Shot in a shimmering pink inspired by the queens of disco, and Disco Nights, in pure dazzling gold, this collection is certain to keep you dancing all night long.—Meg Hamilton

 


A sense of belonging

Filed by Jack Yan/June 17, 2020/11.16


Jack Yan

Above: Wellington, New Zealand’s Lambton Quay, normally a main thoroughfare, during that country’s lockdown.

Over the last two issues of Lucire KSA, we ran a story each on COVID-19. The first examined how companies fared after previous economic crises, looking at the past for answers. Last month, we examined what companies were doing in response to the pandemic, a report from the present. This month, it may be prudent to take some punts about the future.
   Even before the COVID-19 crisis, China was selling cars with air filtration and purification systems, such as the Oshan X7 and the Geely Icon. These two SUVs were responding to the pollution that plagues Chinese cities, and when the Icon was launched in February, its system was turned into a positive selling point as fears about COVID-19 mounted. When the X7 was revised in March 2020, its system received an upgrade, to allay fears about the novel coronavirus. But these are minor product enhancements, for what is the point of these SUVs during a lockdown when driving is curtailed?
   We often refer to the automotive sector in Lucire because it’s one of the most evident places where brands and trends emerge, and with fewer players than in fashion, it’s often easier to see what those might be. Alfonso Albaisa, Nissan’s senior vice-president for global car design, pointed out to Forbes that after each major crisis—he uses World War II as an example—there is a creative surge, and that the US car industry of the 1950s picked up on it, with ‘a promise of the future.’ He says, ‘Many times, this whole “vision of tomorrow” comes from the difficulties of today. So I think we as people will express our emotions physically and you’ll see this in all the arts.’


GM

Oshan

Above, from top: Oldsmobile Golden Rocket, a 1956 show car from GM that pointed to an optimistic, jet-age future. The Oshan X7 SUV, with a standard air purifier.

   Other emotions that have emerged during this time include loneliness, in those countries or communities that are facing a lockdown, and the desire for human contact, alleviated somewhat by the knowledge that many are in the same boat, and by the ease of digital contact in developed countries, with VR, Skype and Zoom, the latter entering the vernacular and enjoying a massive rise in popularity, despite privacy concerns. But on the flip side are emotions of appreciation, in countries where governments have acted and people have been unified.
   Travel editor Stanley Moss, based in Italy, chatted last month to the general manager of the Baglioni Hotel Luna in Venezia, Gianmatteo Zampieri. Stanley reported in our web edition that the conversation was ‘lively’, rather than pessimistic, when at the time Italy had one of the most troubling COVID-19 numbers on record. He writes, ‘The Rialto Bridge is deserted, and uncrowded phantom vaporetti lazily float by. The St Mark’s Basin stands empty, with only stray small craft passing.’
   Mr Zampieri remarked, ‘The Lagoon is like a mirror. There’s not a boat to be seen, the water is crystal clear, and schools of little fish are swimming in the canals. We have a gondola landing at our entrance, and we are seeing little crabs crawling up the gondola poles. Ducks are nesting on the vaporetto docks, and laying eggs there.’
   Stanley continues, ‘Mr Zampieri has an optimistic perspective on all this. He says that following these difficult times we’ll be given a chance to return to a Venezia renewed, where the air and water are clean, landmarks uncrowded and Baglioni’s teams rested and ready to welcome back guests.’
   Many will have seen the photos of Venezia’s clean waterways, or how the Himalayas are now visible from the state of Punjab, India, where they had been hidden due to air pollution. At Lucire’s HQ in Wellington, New Zealand, native kererū pigeons can be seen flying in flocks and close to homes, whereas before they would be seen individually or in pairs, seldom venturing quite so closely into neighbourhoods.
   Lockdowns saw an appreciation of the quietness and the absence of noise pollution, a silver lining for those who were forced to stay home.
   In economies that are opening up, the hum of traffic has returned, along with rush hours, immediately rendering the rural-like quietness nostalgic.
   It may well accelerate certain emerging movements. It’s not difficult to link this love of nature to better air quality, less pollution, and the desire for improved public transport or alternative fuels. With fashion such a major contributor to greenhouse gas emissions—Quantis estimates c. 8 per cent can be attributed to apparel and footwear, while 114,000 million items of clothing were sold in 2019—fast fashion has become more exposed during the crisis. A shocking 70 per cent of the product winds up in landfills or is incinerated, and inventory is currently growing in warehouses around the world. The Business of Fashion estimates that fashion is an industry that will need between US$20,000 million and US$30,000 million per annum to meet global climate and development goals in the coming decade.
   With several of my colleagues at Medinge Group, the Swedish think-tank dealing with brands with a conscience, we summarized in one session how we have become more acutely aware of how natural resources should be used sustainably, how many indigenous populations have been appropriate guardians of them and of global biodiversity, and how it has been possible to opt for self-sufficiency and sourcing a lot of our food locally, potentially boosting a localization movement.
   Somewhere in between these truths is an understanding that collaboration and co-creation are potential ways forward for the industry: to both consume more mindfully and produce more responsibly. Climate activists like Greta Thunberg rightly point out that earlier generations could have done better, and COVID-19 may have woken more up to the idea that change can happen, and we can create a better way.
   It would seem more important, then, to look at brands and responsibility, both of which are beginning to be the ways out for many sectors.
   In the 2020s, it is becoming more evident that brands should promote a sense of belonging, because people agree with its values and wish to be seen to be connected with them. Perhaps the analogy of a desirable club is not inaccurate. The top–down approach of the generation before, mass marketing products through mass media, is history: it does not build brands, and is better left to low-cost retailers keen to push short-lived product over quality. In 2020, in the midst of COVID-19, there is no stigma to having less tidy hair or older clothes, because neither signals a lack of standing; and a brand pursuing a profit strategy over one centred around purpose may find such an approach off-putting to its audiences.
   Improving the pay of workers, for instance—something our fashion feature interviewee in this issue, Johan Graffner of the Swedish label Dedicated, does with its suppliers—has been shown to make them more productive. Essential workers during the COVID-19 crisis have been praised as people have come to appreciate the value of their work in providing our necessities. Reworking and reframing the relationship workers have over their work could be a way forward: that those who invest their labour have the same voice as those who invest their capital, something pushed for by a group that counts Profs Nancy Fraser, Thomas Piketty and thousands of scholars from around the planet. They note that a strategy centred purely on profit has led us astray. Providing dignity, however, may be more in line with how people have come to feel over their work.
   Fair Trade impacts the workers living in places where work has been outsourced. Simon Anholt, in his book Brand New Justice, goes further with suggesting a shared equity model. Building environmental and social strategies into the brand is yet another step that could be taken, with measurable outcomes—many metrics for this already exist. Kering (the parent to Gucci, YSL and others), for instance, has an Environmental Profit & Loss Account, which assigns a financial value to environmental impact.
   The other reset must come with our use of resources. If collaboration with one’s own workers is possible, then it must equally be possible to work with those who understand biodiversity best. My colleague at Medinge Dr Nicholas Ind writes, ‘Indigenous people represent 5% of the world population, but manage 80% of the Earth’s biodiversity.’ Yet this traditional knowledge is often overlooked, though it would be fair to say that people appreciate its value far more in the midst of this crisis.
   These greater goals are more appealing to the consumers who will emerge in a post-COVID-19 landscape. However, shifting to it, and giving it more than lip service, will require governmental support, the third limb in making this model work. Many territories have shown that working together with government and governmental agencies can defeat the virus: Taiwan, Hong Kong and New Zealand are among those that have experienced a largely unified approach and brought new daily infections close to zero. We can work on the same side. Intervention may be justified when it comes to wages, to prevent the temptation to force them down in order to maximize profits. Without governmental input, that US$20,000 million to US$30,000 million per annum target cannot be easily achieved.
   In such a context, it has made the Kingdom’s Vision 2030 particularly prescient as it sought to insulate the country from precisely such shocks by diversifying the economy and the labour force. The brands that have emerged now need to visibly demonstrate that they have desire, as well as the means, to be part of a better world—and make us want to belong.—Jack Yan, Publisher

 


British Fashion Council, Bags of Ethics team up to offer designer face coverings for charity

Filed by Lucire staff/June 5, 2020/23.02







The six designs, in order: Halpern, Julien Macdonald, Liam Hodges, Mulberry, Raeburn, and Rixo.

In another sign of the times, the British Fashion Council and Bags of Ethics have launched a campaign dubbed Great British Designer Face Coverings: Reusable, for People and Planet, to manufacture and retail sustainable and reusable non-medical face coverings designed by Halpern, Julien Macdonald, Liam Hodges, Mulberry, Raeburn, and Rixo.
   The project aims to raise £1 million, with all profits going to charity, split between NHS Charities Together COVID-19 Urgent Appeal, BFC Foundation Fashion Fund, and Wings of Hope Children’s Charity.
   Bags of Ethics’ partner factories will manufacture the coverings. A pack of three, with two protective pouches, will retail for £15. They will be sold through the BFC website at britishfashioncouncil.com and partner retailers including ASOS, Boots, John Lewis & Partners, and Sainsbury’s (in Tu Clothing sections in selected superstores, convenience stores and online at tu.co.uk and argos.co.uk).
   Caroline Rush, the BFC’s chief executive, said in a release, ‘Fashion is a unifying force and now, more than ever, it is essential that we collaborate and come together to support each other through difficult times. Our ambition is to contribute to the fight against COVID-19, while protecting vital PPE supplies reserved for the NHS. Through this project, we will not only celebrate British designers but also champion sustainability in a time of crisis.’
   Dr R. Sri Ram, chairman, Bags of Ethics added, ‘We have always been at the forefront of supporting the public through mass behavioural changes in positive and useful ways. Since the early 2000s we helped supermarkets, and retailers reduce their single-use plastic bag consumption by five-plus billion units through sustainable and reusable bags. A new challenge arises with the coronavirus pandemic. Our aim is to manufacture high-quality reusable non-medical face coverings for the public which reduces stigma through great British design, in line with advice from our scientific community, whilst having a positive effect on both people and planet.’
   Money raised for the BFC Foundation Fashion Fund will support the next round of funding for designer businesses. The BFC has already distributed £1 million of emergency funding to 37 designers as its first round to help the industry during the COVID-19 crisis.

 


Sofia Vergara, Foster Grant team up on new affordable eyewear line and charity initiative

Filed by Lucire staff/May 21, 2020/13.03



FGX International, part of Essilor International, the French optics’ company, has launched the Sofia Vergara × Foster Grant range of reading glasses, sunglasses and SunReaders for outdoor reading.
   In addition, Vergara and the Foster Grant brand have announced a Specs for Specs charity initiative, where the company will donate one pair of reading glasses to RestoringVision, the world’s largest non-profit provider of reading glasses to people living in impoverished communities around the world, for every pair of Sofia Vergara × Foster Grant eyewear sold.
   Some 2,700 million people lived with uncorrected vision, and 1,000 million need reading glasses to correct their vision. Since 2008, FGX has donated over 11 million pairs to RestoringVision to help this cause.
   The Sofia Vergara × Foster Grant range is keenly priced between US$31 and US$41, and is available at fostergrant.com/sofia-vergara-foster-grant, www.readers.com, and www.walmart.com. The range, curated by Vergara, comprises 24 styles in fashionable colours.
   Vergara collaborated with Foster Grant creative director and senior vice-president of product development, Matthew Coon. The reading glasses feature a range of magnifications for both traditional readers, and advanced lenses with a blue light coating. The SunReaders are available with a full magnification lens or a hidden bifocal style. All sunglasses and SunReaders have 100 per cent UVA–UVB lens protection.
   ‘I have loved creating my eyewear collection with Foster Grant. Not only does the brand have such a rich heritage and solid commitment to giving back to those in need, but they were fun to work with while bringing my ideas to life,’ said Vergara in a release. ‘I wear readers myself, and now that I am home reading so much more, I know how important they are to so many of us. I also know a woman wants to feel good when wearing them, wherever she is. I wanted to offer fashionable, chic, fresh eyewear styles, allowing women to not just to see, but to see beautifully.’
   ‘Teaming up with Sofia Vergara will allow us to shine a new, bright light on a significant global health issue, only exasperated through these current challenging times that as a company, we’re committed to solving,’ said Lisa Lord, FGX’s vice-president of licensing. ‘Sofia’s collection of Foster Grant eyewear gives our customers a stylish assortment at such accessible prices, with the added bonus of knowing you’re giving back with every pair purchased. We’re thrilled and thankful to partner with Sofia on this incredible endeavour, and hope her collection inspires fun and fashion, as well as very real solutions for global needs right now.’


 


British Fashion Council names 37 designers receiving COVID-19 emergency fund support

Filed by Lucire staff/May 13, 2020/10.42

The British Fashion Council has announced the first recipients of its emergency fund, helping members of the fashion industry navigate the COVID-19 pandemic.
   Thirty-seven British designer businesses, out of 220 applications, have been named in the first round, with the BFC using its £1 million fund to support them. A portion has been allocated to students. The amounts range from £5,000 to £50,000 depending on urgency and capability. Recipients would also receive business support and mentoring from the BFC Fashion Business Network, which includes DLA Piper, Eco-Age, the Ellen MacArthur Foundation, Farfetch, FashionEx, Google, HSBC, Instagram, Lewis Silkin, Lloyds, LVMH, Mishcon de Reya, RSM, Sheridans, Taylor Wessing, Value Retail, and YouTube, and one-on-one mentors.
   The earlier BFC–Vogue Designer Fashion Fund (VDFF) was a £200,000 prize set up for a winning designer. This amount has now been shared with the six designers originally shortlisted for the grand prize.
   The recipients are: Alighieri (VDFF 2020), Ahluwalia, Aries, Art School, Bethany Williams, Bianca Saunders, Chalayan, Charles Jeffrey Loverboy (VDFF 2020), Chopova Lowena, Craig Green, David Koma (VDFF 2020), E. Tautz, E. L. V. Denim, Edeline Lee, Eftychia, Halpern (VDFF 2020), King & Tuckfield, Kwaidan Editions, Liam Hodges, Matty Bovan, Metier (VDFF 2020), Nabil Nayal, Neous, Nicholas Daley, Palmer/Harding, Paper London, Paria/Farzaneh, Per Gotesson, Phoebe English, Raeburn, Rejina Pyo (VDFF 2020), Richard Malone, Richard Quinn, Roksanda, 16Arlington, Stefan Cooke, and Toogood.
   Caroline Rush, chief executive of the BFC said, ‘Over the last couple of weeks, we have seen an astonishing amount of applications come through from British designer businesses all over the country, asking for help to survive the crisis. The need for support is immense. Our hope is to reopen the fund for future rounds, to help as many businesses as possible, and ensure the future growth and success of the British fashion industry.’
   The fund comprised support grants from the BFC–Vogue Designer Fashion Fund, BFC–GQ Designer Menswear Fund supported by JD.com, BFC Fashion Trust and BFC Newgen.
   The BFC estimates that £100 million of support is required over the next 12 to 18 months. The fund will reopen for further rounds every time a £500,000 milestone is reached.
   Alexander McQueen, Browns, Clearpay and Coach Foundation have already contributed to the next round.
   Arch & Hook, BFC Fashion Trust supporters, British GQ, British Vogue, Browns, Burberry, Depop, European Regional Development Fund, HSBC, JD.com, Label/Mix, Mayor of London, Paul Smith, Revlon Professional, Rodial and Value Retail have been contributors to the BFC Foundation Fashion Fund.

 


Anne Klein teams up with founder’s granddaughter in COVID-19 initiative

Filed by Lucire staff/April 20, 2020/15.49

The Anne Klein brand, part of WHP, has teamed up with its founder’s granddaughter, Hello There Collective CEO Jesse Gre Rubinstein, to distribute 100,000 face masks through the company’s supply chain to essential workers and community organizations in the US.
   Rubinstein’s agency, specializing in social media, will launch Annie Klein’s social series, featuring individuals who have made a difference and connected communities during the COVID-19 pandemic. Rubinstein will host the series on Facebook Live.
   ‘Uniting the brand Anne Klein with the founder’s family at this critical time and making a commitment to distribute 100,000 masks to those on the frontlines helping our communities, is a win–win,’ said WHP chairman and CEO Yehuda Shmidman, who added that the collaboration was just the beginning.
   ‘I am honoured to have the opportunity to play a role in supporting my grandmother’s legacy by highlighting inspiring individuals who even during this time of great uncertainty, embody the vision and strength to empower their community and uplift those around them,’ said Rubinstein. ‘My hope is that this initiative serves as the launch of a powerful network that can both support and inspire others to help not only in the present, but as we begin to rebuild.’

 


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