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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

 


Fashion with feeling: Panos Emporio’s Panos Papadopoulos keeps it real

Filed by Jack Yan/February 12, 2019/21.05




Panos Papadopoulos

There’s a newfound energy at Panos Emporio as we begin 2019, and those following founder Panos Papadopoulos’s Instagram account will have noticed a series of photos taken in the desert in Dubai with a young Colombian woman named Daniela, a fan of the label modelling both Panos Emporio’s swimwear and its perfume range.
   These shots have vibrancy, depth and feeling to them, and were shot by Panos himself. While Panos Emporio still engages a crew to shoot its look books and catalogues, going to exotic locales in Greece or elsewhere, the Dubai series marks the first time in recent memory where the founder and designer of the label has released images himself.
   I spoke to Panos about them, noting they had a real quality to them where the model seemed more relaxed and less posed. I’ve looked at photos professionally for a long time, and Lucire has been around for 21 years, and I felt they were virtually publication-ready, save for some retouching with the light and contrast, to put them on a par with the official photos that his company shot.
   Having formally studied sociology, something that informed his swimwear designs over the last 33 years, he understands his subject, where society is heading, what consumers’ needs are, and how best to present his work. After all, I noted, Karl Lagerfeld shoots his own stuff for Chanel, so why not Panos Papadopoulos?


Panos Emporio’s founder and designer Panos Papadopoulos.

   Panos looks at the wider historical context. ‘We left the communist uniforms behind and now we are strangled with capitalist uniforms. No variation, no passion, no handcraft, no human values, over-consumption, over-production, too much of everything but zero reality. Karl Marx called it alienation!’
   He was blunt about where fashion is in the 2010s. ‘It’s bullshit what we produce today in fashion, because everything is produced without any feeling, it’s mechanical.’ He called the effects of what he saw ‘totally zero’.
   He continued, ‘In the past, people were proud of what they did and tried to be professional. Professional means for me: use the passion and a big engagement to do the best. These days, everyone is talking about big money before they start working on an idea.’ In other words, money has become the driver rather than the passion or the spark of an idea.
   ‘Fashion all over the world is facing a big crisis; I’ll say it’s only the beginning. In 2010, I gave many interviews about the crisis I could feel in the air, and it came, but it needed some years to see the real results. Now at least 50 per cent of today’s companies will not exist any more.’
   This all resonated with my own work not just here at Lucire but with Medinge Group, a Sweden-based think-tank specializing in humanistic branding. Since the early 2000s we’ve talked about authenticity and transparency, and it’s not hard to feel cynical when you read that certain labels have chosen someone because of their social media numbers and not for who they are. This has been covered in several print editions of Lucire and online, too. How do you know this person is a good fit with your brand and its values? Did you just both choose the same buzzwords but not explore things more deeply than that? Sometimes, that really is the sense I get, even if some of the influencers out there are trying very hard to do a good job. It feels a little “surface” to me.
   ‘The truth is that all humans want to be treated by humans as humans,’ said Panos, ‘with feelings, respect, passion: all these must be real and nothing else. Now most of the brands are trying to tell a story, but it will be artificial. I used to say it’s like how the politicians talk.
   ‘I’ve always been real: that’s why my brand is so strong and touched the heart of so many consumers, regardless of social status and age.
   ‘Passion and reality are things you already said and this is hard for many to understand now. But they will soon: the crisis is here.’—Jack Yan, Publisher







Panos Papadopoulos

 


Saudia Ad Diriyah E-Prix brings Formula E to the Middle East; Saudi Arabia announces streamlined visa process

Filed by Lucire staff/September 26, 2018/11.38




The Kingdom of Saudi Arabia has announced a new online visa process, called Sharek, for sports fans, beginning with the Saudia Ad Diriyah E-Prix, which kicks off the 2018–19 ABB FIA Formula E Championship on December 15.
   The race, as well as associated events such as live music and entertainment, take place at the ancient city of Diriyah, the original home of the Saudi royal family and a UNESCO World Heritage site.
   The events will take place over three days, and include performances by international celebrities. The E-Prix has been sanctioned by the Fédération Internationale de l’Automobile (FIA).
   The Kingdom’s decision to host the event and introduce Sharek is part of its forward-looking Vision 2030 programme, driven by HRH Crown Prince Mohammed bin Salman bin Abdulaziz Al Saud, which includes the development of a sustainable sports’ industry through its General Sports’ Authority. It allows a smoother process for international fans who wish to see the début of Formula E in the Middle East, along with the new Gen2 racer.
   Massa took the new car around the streets of Diriyah as part of the launch.
   In another first, Saudia, the national flag carrier of the Kingdom, is the official airline partner of the entire championship as well as the title partner of the first race.
   HRH Prince Abdulaziz bin Turki Al Faisal Al Saud, vice-chair of the Authority, said, ‘This is a truly game-changing moment for Saudi Arabia and one that we can share with the world. It is very fitting that the such a futuristic and sustainable sport as Formula E is pointing to the future direction of our country. Naturally to have Saudia, our national carrier, as the new title sponsor signals our intent to reach out and invite fans to our historic and original capital.’
   He added, ‘We hope the Saudia Diriyah E-Prix will see fans from around the globe come to Saudi Arabia to watch this epic sporting spectacle as now your ticket is your visa. We can promise a line-up both on the track, on stage and amongst a breathtaking historical setting that will excite fans across the world. It is the perfect combination of live sport, entertainment, technology and culture all in the one place and all at the one time.’
   The announcement at Diriyah was attended by Formula E drivers Felipe Massa, Susie Wolff and André Lotterer, along with dignitaries from Saudia, the Saudi Arabian Motorsport Federation, and Formula E CEO Alejandro Agag.
   Massa and Wolff also become Saudia brand ambassadors.
   HRH Prince Khalid bin Sultan Al Faisal Al Saud, president of the Federation, said, ‘This single event has the potential to change lives and change perceptions, both of the sport and of Saudi Arabia. The seeds are already growing, the track is taking shape, all with the approval of UNESCO. It is progress and preservation in one. Today is groundbreaking in all senses.’
   Saudia director-general, HE Eng. Saleh bin Nasser Al-Jasser, added, ‘Saudia is pleased to be supporting the ABB FIA Formula E Championship for the upcoming event in Ad Diriyah, a first for the Kingdom Saudi Arabia and the Middle East. The airline welcomes fans from across the globe and we wish the teams all the very best for the race at the Saudia Ad Diriyah E-Prix.’

 


Piaget launches campaign at SIHH: Doutzen Kroes, Ryan Reynolds, Barbara Palvin, Shanina Shaik attend

Filed by Lucire staff/January 16, 2018/0.14





Remy Steiner/Getty Images

Piaget announced a new global campaign at SIHH on Monday, at an event at the Country Club, Genève, hosted by CEO Chabi Nouri, and attended by its brand ambassador Ryan Reynolds, and celebrities Barbara Palvin, Coco Rocha, Shanina Shaik, Joel Dicker, and
Mohammed Sultan Al-Habtoor. Doutzen Kroes also attended, serving as the muse for the campaign, and starring in the film and stills.
   Earlier in the day, Reynolds and Kroes visited the Piaget booth along with Nouri.
   The new campaign, set in a summery Ibiza, has been photographed by Mert & Marcus. Kroes wears Piaget watches and haute joaillerie, including the company’s stacked gold Possession bangles, Limelight Gala watches, and jewellery from the Sunlight line.
   Celebrities attending donned Possession and Altiplano Ultimate Automatic watches, and Possession pendants and bangles.

















Remy Steiner/Getty Images

 


Now we are 20

Filed by Jack Yan/October 20, 2017/11.00

There goes 20 years. Normally when we celebrate a birthday, we do what most magazines do: there’s a story on our founding, some of our best covers, and a nod to the past. I’ll be right up front: despite having thoughts of doing all of that, we haven’t planned anything for this particular day, October 20, 2017, to mark the 20th anniversary of Lucire.
   We will have a few nods in the next print issue, and of course we’ve run a few of our favourite pieces online over the last ten months, but even there we’ve been inconsistent. Our desire’s just to keep working on reporting and creating, and it was only Monday when I messaged our fashion ed., Sopheak Seng, and asked if we should go for a drink this Friday.


Above: From Rebecca Taylor’s autumn–winter 2003–4 range. Lucire had attended her first show as aprt of Gen Art some years before this. Top: Lucire covers from around the world.

   Our next print issue won’t be a massive historical number. What we instead want to do is look at the future of fashion, something we’ve done with varying success over the last two decades. Lucire was ahead of its time when it launched 20 years ago, and for much of the first five years we introduced, for many readers, names such as Zac Posen and Rebecca Taylor. We broke stories on various labels and retailers before our competitors. And we even got paid by Condé Nast (via an agency) to run ads for some website called Style.com, which we could have previously sworn was flogging clothes from Express Fashion. It was fun being on the cutting edge, exploring technologies, and believing that the world would unite as humans, after all, aren’t that different around the planet. A global generation had sprung up, or so I thought.
   When I created Lucire the world was still very much print-focused when it came to fashion magazines. We adopted a print æsthetic in our online layouts. This might shock many of you, but my personal dream when I started in this business in the 1980s, 10 years before Lucire, wasn’t to report on fashion, it was to be the art director of a fashion magazine. When Lucire became a print magazine in 2004 (which a colleague at Condé Nast told WWD was no surprise, given that we always looked like a print magazine online), a venture that never found the level of success I anticipated, it was very much a fulfilment of that. But in the first seven years prior to going into print we had found a voice: we had become the first fashion partner of what is now UN Environment, we acted as a lightning-rod for new talent, and we dealt with what was next. We mixed unknown labels with famous ones in our shoots—a no-no once upon a time. We felt that Karl Lagerfeld collaborating with H&M was the way of the future: that regardless of what you could afford, you deserved nice design. It was about ‘accessible luxury’.
   What happened next has never really been told properly. And here’s where I will go back in time.
   Lucire won awards when it became a print title. We were fêted by our colleagues. But we also attracted more than our share of dodgy types who saw a nascent title as a way to further their own agenda. A New York designer asked for print magazines for goody bags and promised to pay for shipping—then gave a fake FedEx number so we got stung with the bill. The server got hacked and someone pumped through gigabytes of traffic, which we had to pay for over many months—even though we believed our web host then should have caught it and nipped it in the bud. We had issues internally with our own team, which is what happens when a sociopath sneaks inside. One editor attended New York Fashion Week and was never seen again. We posted a loss. We looked at ways of upping sales in our home country, in a market that really didn’t care if foreigners owned the competition: they liked their offerings more and voted with their dollars. Media buyers never budged from the establishment and we were pressured to become more like them—inward-looking with more shopping pages. It was hard slog. The memo that New Zealand was the home of The Lord of the Rings and other international films hadn’t arrived at the traditional agencies, who refused to believe that New Zealanders could create something world-class. They hadn’t even figured out in 2005 how to integrate online with old media. It didn’t matter to these people that Lucire was the first international magazine to publish a sustainable style editorial, or that we were targeting carbon neutrality. We were constantly asked, ‘What’s carbon neutral?’ Back then, I felt like Eddie Albert’s Oliver Douglas in Green Acres when I went to Auckland. The mid-2000s were the dark ages, with none of the optimism of pre-bust northern California.
   The website was one place where things still ticked along, even if the beginning of 2006 was mired with difficulty and we took our eye off the ball there to make sure the print magazine worked in its home country. The reality in the mid-2000s was that the world hadn’t united, many people who bought print magazines still wanted to read about things that concerned them only domestically. Taking web principles, where readers wanted to get a global view on things, into a print format proved to be unappealing—at least in New Zealand. We as a people then were fixed on looking inwardly when it came to fashion, consuming magazines as catalogues rather than sources of knowledge and inspiration.
   We found some incredible and loyal print readers, but never the numbers I expected. It became apparent our readers were the early adopters of any cycle, those who cared about gaining an advantage over others, wanting more information and journeying the globe with us each issue. But as any marketing graduate will tell you, early adopters are a minority. Adventurous people will always be outnumbered by followers, otherwise we would never have leaders in human endeavours. I forgot the lesson that you could never get poor underestimating the intelligence of the public, which is why trashy weeklies sell 20 times more than what I projected for Lucire. But I wasn’t interested in treating people like dummies. I don’t in real life, and I wouldn’t in publishing. People, I insisted, wanted to reach for the next higher goal, like a school pupil in the primers looking at the bigger books that the kids in higher years were reading, wanting to achieve. Additionally, we had a role as a corporate citizen to be socially responsible. That was admirable, but it wasn’t a way to be sustainable in the market-place of the mid-2000s.
   There were fewer such issues when we licensed Lucire out to Romania and (as Twinpalms Lucire) Thailand; even our Qatar and Bahrain ventures, however short-lived, hatched some decent product. On international trips I pick up magazines from all sorts of publishers and I enjoy the depth of coverage and attractive layouts. Every year I see titles that mirror elements of what we tried to achieve, be they local titles like Brummell or something as substantial as Monocle, which does succeed at pushing a single product worldwide. My belief that a title could be launched from New Zealand hasn’t completely gone, but the economies of scale were against us: 20,000 copies in a population of four million was a hard ask without budgets bigger than what I could afford. We might have been too early in terms of expecting a globalized audience (it now exists, to wit how major newspaper sites now target international readers), and if we were to do it again in 2017 it might still be a hard copy, but more customized and revolutionary. The print edition has continued, but it is more a luxury product today, a soft-cover coffee-table book in some ways, taking a lead from what Miguel Kirjon accomplished with Twinpalms Lucire.
   What puzzled me was the feedback from our own compatriots: ‘I always thought you were a foreign magazine, that you licensed and brought to New Zealand,’ and ‘It looks very international,’ or ‘It looks very European.’ Yet everything about Lucire was New Zealand. Run here, designed here. We looked at a lot of local designers. The typefaces were all-Kiwi at one point, and no one was doing that. But apparently, it looked foreign. I took that to mean that it looked too good to be local. Ten years ago, it seemed that we didn’t have a high opinion of what we could, as a people, achieve, despite winning all those Oscars with Sir Peter Jackson’s films. I hope we think differently now.
   We came out of that difficult patch. Certain people were replaced as we restructured, and we became more wary of opportunists who wanted to use Lucire for their own gain exclusively. We were no longer losing money. Everyone who contributes today does so as a real part of the team. We struck a better balance between online and print media. We went through a few years of running video content that not many had. I often remark jokingly—yet it is based entirely on fact—that whenever we mentioned Cheryl Cole our traffic would rise. Or Kate Middleton. Or HRH Princess Madeleine of Sweden. Then, the rest of the world caught up and plenty now run the same content, because content wants to be disseminated through whatever means possible. It is only right that people, individuals or magazines, indulge healthy, creative passions, including being their own publishers. Goodness knows I have enjoyed it for decades and others deserve the same sense of fulfilment. It meant, however, that merely mentioning celebrities wouldn’t result in a traffic hit.
   But where we have a distinct competitive advantage, is the make-up of our team. Our long-serving editors such as Sopheak, Stanley Moss, Elyse Glickman, Lola Cristall, and many others on our team, are passionate, and it shows. Jo Gair has helped made the print issues more beautiful than they have been for some time, and we know we can depend on our editor-at-large Summer Rayne Oakes or our newer editors Jamie Dorman and Cecilia Xu. They speak with their individual voices here, but there is something that unifies them all. It is our culture, our desire to make the world a better place, and an innate curiosity to explore the world and share it with others.
   The crew in Bahrain at Lucire Arabia came up with the slogan, ‘Independent, intelligent, inspirational,’ even if I probably uttered those words in our original Skype meetings. The fact it took a licensee to craft this says something about how busy we all got internally (we started off as quarterly, then monthly, then fortnightly, then weekly, and now we’re virtually daily here on the web) to recognize that this is what makes us special. The same could be said for the amazing talents who create the shoots in our print edition. Their output is astonishing and we are always proud to share it, and humbled they continue to work with us.


Amanda Satterthwaite

Above: Quick drinks after work on a Friday to mark two decades of Lucire: new writer Sarah Arnold-Hall, publisher and founder Jack Yan, and fashion and beauty editor Sopheak Seng.

   The world is now different than it was in 1997. Then, Google did not exist. Lucire was one of the survivors of the dot-com bust, and we even had our content licensed by Altavista, the biggest search engine in the world (once upon a time). Today, content producers are dependent on Google News, a site that cares little for independents and puts the establishment first. It’s a sorry state of affairs that big firms have consolidated their power, with some even calling for a two-speed internet, which disadvantages independent voices. It’s the opposite of the internet that emerged at the time Lucire was founded, which was to serve the many rather than the few. (It’s also the opposite of what Google once stood for when they appeared on the scene one year after us.)
   If there’s any lesson as we turn 20, it’s to keep fighting the same forces that seek to work against people and their self-interest. Once the web was a haven from those greedy tendencies that existed in the real world. Now we have to take the same fight online to keep the ideals alive. It is a fight that must, by necessity, have Google and Facebook in its sights as they seek to intrude on individual privacy and slant the ’net toward the biggest players, silencing diversity.
   There’s still a lot about Lucire in 1997 that applies in 2017: that we should be about the next thing, that all people deserve good design, and that we should talk to you as intelligent human beings. I believe now we are looking for depth again, giving a voice that no one else can. How we navigate and succeed in this late-2010s market will be dependent on how we earn your support. And we’re keen to do that as we begin our 21st year.—Jack Yan, Publisher

 


Dev Patel honoured for Lionheart charity work at Chivas Icons event

Filed by Lucire staff/May 2, 2017/23.22




François Nel

English actor Dev Patel (Slumdog Millionaire, Lion) was the guest of honour at the Chivas Icons event on May 2 at Play at the H Hotel in Dubai, UAE.
   Patel was honoured by the Scotch brand for his work in the Lionheart campaign, which helps vulnerable children in India.
   The campaign was in part inspired by the BAFTA-winning, Oscar-nominated film Lion, the adaptation of Saroo Brierley’s book, A Long Way Home. Patel, who was nominated for a Best Actor Oscar, starred in the film, with Nicole Kidman playing his adoptive mother.
   Each year, 80,000 children go missing in India, and 11 million live on the streets. The campaign supports three Indian charities: Magic Bus, Childline India, and Railway Children India.
   Patel said in a release, ‘I am grateful for my life and the success I have enjoyed. I don’t have to worry about where I’m going to sleep; when I’m going to eat or how I’m going to protect myself. I have the freedom to make my own choices and choose my path in life. Unfortunately, this is not the case for millions of children in India and around the world. For this reason, I want to help others by telling culturally diverse stories that educate and shed light on the human condition. True success means using your own to help others who don’t have a voice or the freedom we take for granted. This is what [the Chivas Regal campaign] Win the Right Way means to me. It shows that success is better shared and is a force for good.’
   Chivas Icons was launched in October 2016 to recognize and celebrate individuals in the Gulf who not only find success, but benefit those around them on their journey. Previous winners were: Dubai restaurateur Silvena Rowe; Dubai-based industrialist and founder of Petrochem, Yogesh Mehta; and Charles Blaschke of Taka Solutions.
   Win the Right Way is supported by celebrities including Javier Bardem, Chiwetel Ejiofor, Chris Evans, Don Cheadle and Oscar Isaac.












François Nel

 


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