Lucire


  latest news   fashion   beauty   living   volante   in print   tablet   tv
  home   community   shopping   advertise   contact

Aishwarya Rai Bachchan, Araya A. Hargate, Kendall Jenner, Ming Xi dial up the glamour at Festival de Cannes, day four


NEWS  by Lucire staff/May 21, 2017/12.51




Andreas Rentz; Venturelli; courtesy Giambattista Valli

Aishwarya Rai Bachchan wowed the Cannes Film Festival crowds at the première of Robin Campillo’s Aids drama 120 battements par minute (120 Beats Per Minute) in a stunning strapless red Ralph & Russo gown.
   L’Oréal Paris’s global make-up director Val Garland used True Match foundation (in Amber Gold) and concealer (no. 10) for the Bollywood actress and former Miss World, along with a deep magenta shade for her lips (Color Riche Matte Addiction, no. 430, Mon Jules) paired with a brighter red (no. 346, Scarlette Silhouette), Super Liner Perfect Slim (in Intense Black), and Mega Volume Miss (in Manga Black).
   For the first time, Rai Bachchan brought her daughter, Aaradhya, who rode with her in the Renault van to the Festival. For once the actress was in danger of being upstaged by Aaradhya, dressed in pink and clearly enjoying her princess moment.
   Rai Bachchan’s fellow L’Oréal Paris spokeswomen Araya A. Hargate wore a fuchsia dress from Zuhair Murad’s spring–summer 2017 collection, and Liya Kebede wore a Paco Rabanne design from the autumn–winter 2017–18 collection.
   Ming Xi wore an Albert Ferretti dress complemented by jewellery from de Grisogono (a High Jewellery necklace and earrings with, inter alia, white diamonds and blue sapphires; a High Jewellery bracelet in white gold set in white diamonds and emeralds), and accompanied de Grisogono boss Fawaz Gruosi on the red carpet. Pamela Anderson also chose de Grisogono jewellery, namely the Anelli earrings in pink gold set with white diamonds and the Allegra bracelet in pink gold set with white diamonds.
   Sara Sampaio opted for Giorgio Armani Privé, and Kristen Stewart, of course, wore Chanel, from its resort 2018 collection. Kendall Jenner wore a Giambattista Valli dress with Chopard jewellery.
   L’Oréal Paris also released two close-up beauty shots of Rai Bachchan from earlier in the week.





Gareth Cattermole










Andreas Rentz; Venturelli; Dominique Charriau




Venturelli; Pascal le Segretain


Aishwarya Rai Bachchan by Lucire

Behind the scenes


Jonas Bresnan

Aishwarya Rai Bachchan, Rihanna among the most glamorous at Festival de Cannes, day three


NEWS  by Lucire staff/May 20, 2017/13.29




Venturelli; Pascal Le Segretain; Andreas Rentz; courtesy Dior

Aishwarya Rai Bachchan always causes a stir when she heads to the Festival de Cannes, both as a L’Oréal Paris spokeswoman and as an actress in her own right. This year, her powder blue ballroom gown, by Filipino designer Michael Cinco, was covered with beads and featured a massive skirt—comfortably the biggest we’ve seen so far over the last three days.
   Rai Bachchan’s gown was from Cinco’s appropriately named Impalpable Dream of Versailles collection.
   L’Oréal Paris’s global make-up director Val Garland and her team gave the Bollywood actress and former Miss World a look using the company’s True Match foundation (in Amber Gold) and concealer (no. 10) were complemented by Color Riche Matte Addiction (in Greige Perfecto), Infallible Blush paint palette (in Amber), Volume Million Lashes (in Fatale) and Infallible Nudist Lip Paint Off White (no. 208).
   Joining Rai Bachchan on the red carpet were fellow L’Oréal Paris spokeswomen Li Yuchun, Julianne Moore, and Thylane Blondeau. Behind the scenes, meanwhile, were Chompoo Araya A. Hargate and Elle Fanning, who popped into L’Oréal Paris’s Cinema Club on Friday.
   Other head-turning celebrities at the première of Netflix’s Okja were Bella Hadid (in Christian Dior, with a Bulgari snake), Rihanna (also in Dior, resplendent in white and looking much like a wedding outfit), Jessica Chastain (in Givenchy) and Lily Collins (in Ralph & Russo), who appears in the film.
   The première did not go well for the Netflix film, already the subject of controversy because it was not released into French cinemas. The Meyerowitz Stories, which stars Ben Stiller, is another film purchased by Netflix that will also not be shown on general cinematic release in France.
   Okja was projected at the wrong aspect ratio and suffered from sustained heckling from the audience.








Gisela Schober; Andreas Rentz; Tristan Fewings; Dominique Charriau


Elle Fanning at L’Oréal Paris’s Cinema Club by Lucire

Behind the scenes




Jonas Bresnan; Gareth Cattermole

Three by Ekman: the Royal New Zealand Ballet shows its witty, ingenious side


NEWS  by Jack Yan//12.01



Stephen A’Court

Swedish-born choreographer–director Alexander Ekman, it transpires, was the first person Francesco Ventriglia called when he was first appointed artistic director of the Royal New Zealand Ballet. Ekman, says Ventriglia, creates choreography that is ‘different, brave, intelligent, witty and fun,’ and he sees the work as being the equivalent of ‘good food’ for the dancers. The three ballets in Three by Ekman are certainly that: modern and relevant, yet somehow also timeless in their appeal. Tuplet, Episode 31 and Cacti keep audiences gripped, while taking us on a journey into unexplored territories.
   They aren’t fully unexplored, mind: regular RNZB attendees will remember Cacti from last year’s trio of ballets in Speed of Light, but seeing it again this time was a renewed pleasure, and connecting it to two more Ekman ballets gives it an extra dimension. As the third ballet, Cacti was a fitting conclusion: when you’re in Ekman’s world, you almost want to stay in it in an attempt to understand the creativity that drives this talented and important modern choreographer. It’s a world that’s energizing, spontaneous, but cheekily self-aware.
   The first foray into that world is Tuplet, a clever 18-minute introduction where the dancers’ own breaths, voices, and the sounds of their bodies become the rhythm. Composer (and a fellow Swedish-born international talent) Mikael Karlsson’s music has a dose of Bart Howard’s ‘Fly Me to the Moon’ as performed by Victor Feldman helped set the mood. Video projections, which were also designed by Ekman, feature slowed-down black-and-white clips of jazz musicians, highlighting the improvised nature of the dance, performed by six dancers standing on white square mats. New Yorker and Parsons alum Nancy Haeyung Bae designed the costumes, which aided the movement well, and Amith Chandrashaker the lighting, which balanced the the dancers with the video screens above. The conclusion was clever and a taste of Ekman’s humour: he showed silent films of audiences applauding as the live one at the St James Theatre did the same while the curtain fell.
   A video introduction to Episode 31 followed, showing the RNZB’s dancers learning the ballet. It’s a tradition of Episode 31, where a short film is made in the city in which it is performed. The film shows that the dancers were not restricted to the studio, as they ventured out from the Theatre in flash-mob style to various Wellington landmarks such as the cable car and the Botanic Garden; Mayor Justin Lester is caught walking by as the company vigorously dances Episode 31 on the waterfront. (The video is below, though we recommend you don’t spoil the experience.) The dance is a celebration of youth, energy and pace, fitting given its origins as a piece created for Julliard (and first performed in 2011; the video there made use of New York City landmarks such as the Subway). Karlsson once again composed the music, with costumes by Julliard’s Luke Simcock, and lighting by Nicole Pearce. Simcock’s visually deconstructed black and white costumes happily mix genders (e.g. skirts and collared dresses with prints of jackets), as does the make-up on the dancers (mustachioed faces on pale white). The pacy performance itself is contrasted with one dancer who moved in slow motion across the front of the stage; the curtain rose and fell to show vignettes of the action going on behind, leaving you wondering: are we really seeing vignettes or are the dancers repositioning themselves intentionally in preparation for the next reveal? The lighting rig came down, flooring was lifted up and moved, and a second slow-motion dancer wandered with a sign reading ‘Beautiful’ in a stark, all-cap Helvetica (the design of this sign itself is an exercise in irony). As with other Ekman ballets, spoken words accompany the action, with poetry (and this is the programme’s list) by Christina Rossetti, William Allingham, Eleanor Farjeon, Robert Louis Stevenson, William Hughes Mearns and Edward Lear.
   A second video came after the interval, where Ekman is seen on a ferry to Somes Island in Wellington, contemplating choreography and its connection to its surroundings. Will I affect the island or will the island affect me? You can’t but help find Ekman’s quirky personality endearing and you form a connection with the choreographer—and understand that there is a method here, from a man who constantly looks for ways to push ballet forward.
   There’s less chaos in Cacti than in Episode 31. Here, spoken word also features, in an unsubtle dig at postmodernism and the pretentious reviews modern dance might get (one only hopes this article is not an example), with a recording written and voiced by Spenser Theberge. The New Zealand String Quartet accompanies the action here, with both composed and improvised music, at least for the first part of Cacti, before classical music (Haydn, Schubert, and Beethoven) takes over. The 16 dancers move their white tiles, shouting and clapping as they added to the rhythm, before bringing in cactus plants on-stage. Ekman himself designed the set and costumes; Tom Visser also worked on the set and designed the lighting. The second part, a duet between characters Aram and Riley, is another humorous Ekman take, where the audience can hear the streams of consciousness from the pair (played by Alexandre Ferreira and Laura Saxon Jones today). As noted in our review last year, Cacti breaks down the pretence and complexity of ballet into basic statements: the two characters are disengaged from any story and just want to get the dance done. The stuffed cat that is thrown on stage still surprises on a second viewing, and we note that it was a different colour this time.
   When Cacti was part of Speed of Light, we only got a dose of Ekman’s style. This time, we were immersed, and Three by Ekman feels more satisfying and complete. It’s one of the RNZB’s most enjoyable modern ballets, and it’s consistent throughout, not just in the expertise of the dancers, but in the tone and ingenuity of the three works.—Jack Yan, Publisher

Three by Ekman tours till June 15. For venue and booking information, visit www.rnzb.org.nz.

Festival de Cannes day 2: Deepika Padukone, Thylane Blondeau, Emily Ratajkowski, Cara Delevingne


NEWS  by Lucire staff/May 19, 2017/13.21




Gareth Cattermole; Gisela Schober; Neilson Barnard

Deepika Padukone kept the glamour stakes high on the second day of the Cannes Film Festival, wearing a Brandon Maxwell gown accessorized with de Grisogono high jewellery earrings in white gold set in white diamonds and a high jewellery bracelet in white gold with white diamonds and emeralds, and Chloë Gosselin heels. But it was 16-year-old Thylane Blondeau, with her 1·2 million Instagram following, who caught plenty of social media attention, wearing Dior with jewellery by Messika.
   Blondeau, as a L’Oréal Paris ambassador, had its global make-up director Val Garland create a look that used the company’s Brow Artist Genius Kit, Smoky Eyes in Marron Glace, Infallible Paint eye-shadow in Breathtaking Brown, Glam Bronze La Terra, Infallible Nudist lip paint, and Volume Million Lashes.
   Emily Ratajkowski got into the Russian mood with a gown by Peter Dundas, again with de Grisogono jewellery, namely the Gocce earrings in white gold set with white diamonds and onyx, and the Allegra ring in white gold and ceramic set with black diamonds. Adriana Lima wore a strapless Naeem Khan gown with a diamond choker; while Lily Donaldson looked elegant and chic in a pink tulle Dior number. This year, how high could the thigh-high splits go? Petra Němcová’s white dress showed glimpses of her white underwear, rivalling Bella Hadid’s look on day one.
   Unilever partied on the Croisette as well last night, with Moschino creative director Jeremy Scott collaborating with the multinational’s Magnum ice-cream, unveiling a Magnum × Moschino bag capsule collection in seven colours. Guest of honour was Cara Delevingne, who stars in Scott’s film for Magnum, with the theme Unleash Your Wild Side. At the celebrations, Cara Delevingne wore an edgy asymmetric black Moschino gown, with a de Grisogono Allegra necklace in white gold and black leather, and Allegra ring in white gold and black ceramic, both set with white diamonds; and a high jewellery ring in white gold and an India ring, both set with white diamonds and onyx.
   Scott said, ‘I’m excited to finally be able to share the Magnum × Moschino bag capsule collection today here in Cannes that we’ve worked so hard on. It’s been such a fun project! The bags are designed to communicate the fun and fearless attitude that both Moschino and Magnum are all about!’
   Delevingne added, ‘I’m a strong believer in being who you want to be, no matter how wild or different that may be viewed by others, so I hope that we inspire others to do the same and embrace a fearless attitude.’





Olivier Borde


Dominique Charriau


Venturelli


Dominique Charriau




Matt Crossick

Behind the scenes

Val Garland makes up Deepika Padukone by Lucire


Jonas Bresnan


FASTival #2: Cannes 2017 sens dessus-dessous by CinemaCanalPlus

Deepika Padukone, Bella Hadid, Elle Fanning, Hailey Baldwin on red carpet at Festival de Cannes’ day one


NEWS  by Lucire staff/May 18, 2017/13.18




Tristan Fewings; Neilson Barnard; Gisela Schober; top photo: Venturelli

The Festival de Cannes—the Cannes Film Festival—celebrates its 70th anniversary this year, with Deepika Padukone and Bella Hadid getting plenty of attention as they walked the red carpet on day one.
   The first film to première at the Palais des Festivals was Arnaud Desplechin’s Les Fantomes d’Ismael (Ismael’s Ghosts), a drama starring Marion Cotillard, Mathieu Amalric and Charlotte Gainsbourg.
   Other celebrities on day one included Elle Fanning, Naomie Harris, Elsa Zilberstein, Hailey Baldwin, Li Yuchun, Julianne Moore, Susan Sarandon, Jessica Chastain, Lily-Rose Depp, Emily Ratajkowski, and Sara Pinto Sampaio.
   Padukone, Fanning, Li, Moore and Sarandon were there representing L’Oréal Paris, which celebrates its 20th anniversary at Cannes. Fanning has just begun her role as a spokeswoman for the French giant, and the event also marked Padukone’s first time on the Cannes red carpet. As part of its celebrations, L’Oréal Paris is hosting an outdoor cinema with free screenings of films at Martinez beach.
   L’Oréal Paris has also opened a pop-up boutique, where festival-goers can check out the new red-carpet looks by its new global make-up director Val Garland, access free tutorials, check out the latest ranges, and enter competitions where they can red-carpet tickets. L’Oréal Paris is introducing its limited-edition Red Carpet Color Riche, featuring the Palme d’Or, a collector’s edition. Some of the L’Oréal Paris ambassadors will make appearances at the boutique during the Festival.
   Padukone wore a Marchesa Notte gown with Jimmy Choo heels and clutch, and a de Grisogono high jewellery ring set in white diamonds and a unique pair of earrings in white gold set with white diamonds and rubies. Hadid stunned with a champagne Alexandre Vauthier couture dress with a thigh-high slit, while Fanning wore a cream Vivienne Westwood number. Others opting for similar shades were Lily-Rose Depp (in Chanel) and Emily Ratajkowski (in Twinset by Simona Barbieri): champagne was the colour of choice. Baldwin also wore Twinset by Simona Barbieri, accessorized by de Grisogono Ventaglio earrings, ring and bracelet in pink gold with icy and white diamonds. Sara Pinto Sampaio smouldered in a red Zuhair Murad Couture gown.
   Depp and Iranian film director Asghar Farhadi declared the festival open. Farhadi collected his Oscar for Best Foreign Language Film at Cannes, after being caught up in US president Donald Trump’s travel ban earlier this year.
   Andrei Zvyagintsev’s Нелюбовь (Loveless) was the second film to be screened on day one.








Venturelli, Gisela Schober, courtesy Alexandre Vauthier









Amuary Brac; Stéphane Kossman


Lily-Rose Depp et Asghar Farhadi by CinemaCanalPlus


Cannes 2017: Cérémonie d'ouverture by CinemaCanalPlus

Behind the scenes





Jonas Bresnan


Gareth Cattermole


Deepika Padukone heads to Cannes by Lucire


Elle Fanning does her final touch-ups by Lucire

Kristen Stewart is the new face of the Gabrielle Chanel fragrance


NEWS  by Lucire staff/May 11, 2017/12.34

Chanel has announced that actress Kristen Stewart is the face of the new Gabrielle Chanel fragrance, in a film campaign shot by British director Ringan Ledwidge, and a print campaign photographed by Karim Sadli.
   The fragrance has been created by Olivier Polge, in cooperation with the Chanel Fragrance Creation and Development
Laboratory.
   Stewart is already representing Chanel with the Gabrielle bag campaign, and had previously featured in eyes and make-up campaigns in 2016 and 2017 respectively, and the autumn 2016 Le Rouge Collection No. 1 campaign. She has been a Chanel spokeswoman since 2013. Prior to her Chanel deal, Stewart modelled for the Balenciaga fragrance in 2012.
   Her next movie is Lizzie, directed by Craig William Macneill, but Stewart’s next major film date is at the Festival de Cannes, where Come Swim, her directorial début, will show.

The Body Shop, Botanicals Fresh Care, Ultra Doux: L’Oréal advances natural beauty and environmental initiatives


NEWS  by Nathalia Archila/May 9, 2017/23.32



Top: Shidong Yan, director of the Centre for Environmental Education and Communications of Ministry of Environmental Protection; Tom Szaky, TerraCycle founder and global CEO; Haoran Liu; Zhenzhen Lan, Vice President, L’Oréal (China). Above: The Body Shop British Rose Premium Selection (NZ$95·50), and the British Rose collection.

It’s nice that the Body Shop can also source from its home country of the UK, and the British Rose collection ensures that its origins—as well as one of botany’s most celebrated flowers—are in the name.
   The collection is made with organic, hand-picked and air-dried roses, used to create a youthful and fresh scent. These products are rich in vitamin C to give the skin a gentle, soft and silky effect. The British Rose collection includes the Instant Glow Body Essence (NZ$47·25), a body lotion with a lightweight and lasting formula that hydrates the skin over 24 hours, leaving it feeling smooth and soft. The British Rose shower gel (NZ$17·50) is perfumed with essences of hand-picked rose; the Petal Soft hand cream (NZ$9·95) is lightweight, won’t grease the skin, and is absorbed immediately. The British Rose Instant Glow body butter (NZ$38·95) is a velvet-soft moisturizer that is light to the touch but rich on moisture, providing 24-hour hydration; and the exfoliating gel body scrub (NZ$42), with real rose petals, helps reveal smoother, fresher skin. The Beauty Bag (NZ$39·50) includes the shower gel, body butter and hand cream (in 60 ml, 50 ml and 30 ml respectively), and the Premium Selection (NZ$95·50) has the shower gel and body butter but in larger quantities (250 ml and 200 ml respectively), the same hand cream, and a 250 ml bath foam.
   Parent company L’Oréal is getting into the natural beauty market with a second line specifically for hair, called Botanicals Fresh Care. Now available in New Zealand, the new hair care line sources from Egyptian geranium leaves, Cretian safflower, Bulgarian coriander seed oil, and French camelina flowers, from the most sustainable producers.
   Geranium essential oil is an antioxidant rich in fatty acid; safflower oil is rich in lipids; coriander seed oil has Omega 6 properties; and camelina oil is rich in Omega 6 and Omega 9.
   The Botanicals Fresh Care range is divided into four: Botanicals Geranium Colour Radiance for coloured hair, Botanicals Safflower Rich Nourishment for dry hair, Botanicals Coriander Revitalizing Strength for fragile hair and Botanicals Camelina Smooth Ritual for frizzy hair. The products are vegan, free of silicone, parabens, and colourants, retailing at NZ$17·99 each.
   Finally, Ultra Doux—which occidental readers might be more familiar with as a Garnier range—is a separate L’Oréal line in China, aimed at the mass market who wants natural hair care. The brand has teamed up with TerraCycle, a specialist in recycling hard-to-recycle consumer waste. At an event in Shanghai, L’Oréal China VP Zhenzhen Lan, Chinese government rep Shidong Yan, TerraCycle CEO Tom Szaky, and Ultra Doux spokesman Haoran Liu launched the partnership, which is claimed to be the first comprehensive solution for hair care packaging waste in China.
   Individuals or communities can sign up to a recycling programme, and collect the packaging, to be shipped free to charge to TerraCycle. The organizations expect that millions of pieces will be collected, so they do not wind up in landfills or incinerators. For every unit of waste collected, the programme will contribute 1元 to the individual’s charity of choice. All plastic waste collected through the programme will be made into desks and chairs and donated to a school in China.
   Ultra Doux has also opted for renewable, bio-derived plastics and sustainably sourced cardboard for its packaging, as well as more naturally derived ingredients.—Nathalia Archila and Lucire staff



Why nixing sugar in your system is not a diet


NEWS  by Lucire staff/May 8, 2017/10.58


Above: Summer Rayne Oakes’s SugarDetoxMe: 100+ Recipes to Curb Cravings and Take Back Your Health, the result of a “sugar cleanse” she went on from 2014. To get people off sugar, Summer Rayne’s even created a programme to help others do the same. Below left: Summer Rayne Oakes.

I never thought I could nix my sweet tooth. I just figured it’s something that you’re born with. To a large extent, that’s actually true. Not only are humans programmed to prefer sweet over bitter, (which is no doubt an evolutionary advantage, as many bitter tastes are actually poisonous), but by the time we’re born and as we’re growing, our taste is already fairly developed.
   The latter part is courtesy of a number of factors, including what our mother chose to eat while we were in utero, whether we were breast-fed or formula fed, and even now—what evidence suggests—what our Dads and even grandparents ate. The last point I made is not one to gloss over. If the evidence, which has presented itself today, is correct, then the food choices we put into our bodies today—will affect several unborn generations after us. In sum, we’re making direct health decisions for people who are yet to be born!
   With all of our “advances” in medical care, we must ask ourselves why is life expectancy dropping for the first time since 1993? When I was born in the mid-’80s, type 2 diabetes—a disease that is inextricably linked to our excessive sugar intake—was known as ‘adult-onset diabetes’. Now in just three decades, it’s common among children, affects 1 in 11 adults worldwide, 37 per cent of whom live in the western Pacific region; and one in seven births is impacted by gestational diabetes. In New Zealand alone, nearly 286,000 people were diagnosed with diabetes in 2015—a doubling over the last decade. If the rate continues at this pace, diabetes is projected to cost Kiwis more than $1,000 million in annual health care costs in five years’ time.
   The statistics seem startling enough, but perhaps not as startling as something closer to home, like the amount of free sugars—or sugars not bound by fibre—that we’re consuming on a daily basis. The upper limit of free sugars for the day—and I emphasize the word upper—is 6 teaspoons for a woman, 9 for a man. However, New Zealanders, in particular, are consuming around 27 teaspoons per day per person, according to the Sugar Research Advisory Service. That’s well over three to four times the upper limit for the day!
   About three years ago now, I began working in the world of “good” food. We were experimenting with an idea as to whether we could get farm-fresh food into people’s fridges more efficiently. When working so closely with farmers and food makers, you inevitably home in on what you’re eating—and how it makes you feel. I always considered myself a healthy eater in general. My parents have always been health-conscious and we largely grew our own food. Unlike my parents, however, I struggled with a sugar tooth; one that has left me with many memories of hoarding sweet things. I finally had the time to ask, ‘Why?’ and to begin to probe how this one ingredient has seemingly snuck its way into three out of four products on our supermarket shelves.
   This curiosity and the need to know how to overcome my seemingly innate sugar habit led me on a Nancy Drew-like investigation; I began researching all I could about our relationship to the sweet stuff, and started documenting my “sugar cleanse” via sugardetox.me, which later led to an easy-to-follow, empowering programme to help others do the same and most recently, a cookbook and guide on the very topic.
   Free sugars have become so prevalent in our food that the average person might not even realize that he or she is tipping the sugar scale even before heading out the door in the morning. This particular ingredient has a way of changing our brain chemistry, too—acting as a hyper-stimulus to trigger our brains and bodies to release dopamine, serotonin, and other neurotransmitters. In sum, it keeps us hooked and trapped in a vicious cycle of ups and downs throughout the day.
   It’s part of the reason why reducing or eliminating free sugars from your diet is not a diet. It’s simply removing a potentially deleterious substance from one’s body—much in the same way an alcoholic needs to remove alcohol from his or her system. This may, at first, seem a little counter-intuitive, but the ingredient is heavily taxing our bodies to the point that some scientists are now calling it a ‘chronic [versus acute] liver toxin’. Over time, it affects our body’s own natural abilities to detoxify themselves. This in turn can cause inflammation, energy slumps, skin problems, obesity, and disease. Though some medical practitioners would be hard pressed to call excessive sugar intake an “addiction”, more signs point to the fact that it is—from brain-imaging scans to the rise of sugar-addiction clinics.
   As those of us who have begun to eradicate free sugars from their diets know, you begin to taste real ingredients again. Our taste buds have plasticity, renewing themselves, and adjusting taste preferences to the food we feed our bodies and our cells. A freshly picked summer tomato is sumptuously sweet; but to those of us who are used to overdosing on a hyper-stimulating cola, the best sun-ripened tomato from the farm might seem fairly bland.
   Our appreciation for real food is within our reach—if we give our taste buds time to acclimate from that which is hyper-stimulating. It’s not impossible to curb your sweet tooth, as I have found out. We are, after all, masters of our own destiny. Some of us have to contend with more challenging, uphill battles—but when we have the curiosity and will to understand our body’s needs and wants, then we’re already primed towards a path to better health. I encourage and invite everyone to take the time to explore their own personal cravings and relationship to food, as none of us have the same story or experience. I assure you that when you’re able to put your own puzzle pieces together to see the whole picture, you begin to feel empowered to discover the path towards health that is right for you!—Summer Rayne Oakes, Editor-at-large

Next Page »

 

Get more from Lucire

Our latest issue

Lucire 36
Check out our lavish print issue of Lucire in hard copy or for Ipad or Android.
Or download the latest issue of Lucire as a PDF from Scopalto

Lucire on Twitter

Lucire on Instagram