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Versace Dylan Turquoise for her launching October 25; Hailey Bieber, Bella Hadid front campaign

Filed by Lucire staff/October 22, 2020/10.17



New Zealand will see the launch of Versace Dylan Turquoise for her, the fragrance fronted by model Hailey Bieber, on October 25.
   Bella Hadid also features in the fragrance’s television commercial, along with Louis Baines.
   The campaign was shot in Cavallo Corsica. Harley Weir photographed the campaign, while Gordon von Steiner directed the TVC. Kevin Tekinel art-directed, Jacob K. styled, with Syd Hayes on hair and Isamaya Ffrench on make-up.
   The fragrance, created by Sophie Labbe, has top notes of lemon promofiore essence, Sicilian mandarin essence and pink peppercorn. Middle heart notes comprise blackcurrant buds absolute, guava juice and jasmine petals with freesia essence. There are wooden basenotes, including Clearwood (an exclusive made from sugar cane) and white musk.
   Prices begin at NZ$99 for the 30 ml eau de toilette spray, rising to NZ$135 for 50 ml, and NZ$175 for 100 ml.


 


Innovative biodegradable shoes win James Dyson Award’s New Zealand competition

Filed by Lucire staff/September 17, 2020/0.44


Lucire is the first fashion partner of UN Environment.

The New Zealand winner of the James Dyson Award is in the fashion sector: Rik Oithuis, a Massey University student, conceived his Voronui Runners, shoes that can be composted at the end of their life.
   Despite many labels trying to do the right thing by the environment—many of which have been profiled by this magazine, a UN Environment partner since 2003—92 million tonnes of textile waste is created each year. As detailed in Lucire, Abigail Beall at the BBC points out that this is ‘equivalent to a rubbish truck full of clothes’ arriving at a landfill every second. Only 12 per cent of the material for clothing is recycled, says Beall. Footwear is one of the culprits in the sector, with the James Dyson Foundation noting that since 1950, the amount of footwear globally has increased from 7,000 million to 23,000 million, with most shoes ending up in landfill. The average pair takes over 50 years to decompose, with footwear representing 1·4 per cent of global climate impacts. The footwear industry’s waste is increasing tenfold, note Theodoros Staikos and Shahin Rahimifard in their research.
   This makes Oithuis’s concept of a biodegradable shoe all the more important to our planet. He says, ‘Currently, footwear materials focus on performance, which is important, especially in runners. However, what isn’t being considered is what happens to the product once it’s no longer of use. The use of adhesives prevents the separation and treatment of materials at the end of the product’s life cycle. I was inspired to design a sneaker using only biodegradable materials with no adhesives—leading the future of sustainable footwear.’
   Oithuis developed a gelatine- and glycerine-based recipe for biodegradable foam, adding natural ingredients to strengthen the material, compress it, and make it more water-resistant. He then 3-D-printed a Voronoi structure using a biodegradable filament to form the skeleton of the sole and mid-sole. The upper was made from a merino wool fabric with 3-D-printed details. The heel and toe caps were inserted with a plant fibre reinforcement, then sewn shut and stitched.
   Runners-up included Massey University students Lisa Newman and Samantha Hughes, who created a hand tool to maintain clean cattle tails and a pædiatric urine sample collection device respectively.
   Rachel Brown, ONZM, founder and CEO of the Sustainable Business Network, Dr Michelle Dickinson, and engineer Sina Cotter Tait judged the national competition.
   Oithuis will receive a £2,000 award to develop his design. He, Newman and Hughes will go on to the international stage, where a top 20 will be selected by Dyson engineers. Sir James Dyson will select the international and sustainability winners from that group. The former will get a £30,000 prize and £5,000 going to their university, and the latter will receive £30,000. Winners will be announced on November 19.

 


Chanel releases Coco Mademoiselle l’Eau Privée, a night scent; Keira Knightley fronts campaign

Filed by Lucire staff/August 28, 2020/0.52



Keira Knightley is the face of Chanel’s Coco Mademoiselle l’Eau Privée, the house’s latest take on the Coco Mademoiselle range first launched in 2001.
   Overseen by Olivier Polge, Chanel’s in-house parfumier, l’Eau Privée has been described as ‘a watercolour scent’, dialling down the wooden notes in favour of orange, jasmine, rose and musk. Chanel says it remains true to the original oriental fragrance but is more ‘confidential’ and delicate. It is seen as a “night scent”.
   The bottle (50 and 100 ml) is in translucent frosted glass, with the words l’Eau Privée in gold lettering, looking more subtle against the contents.
   With the new addition, Coco Mademoiselle comes in five varieties: eau de toilette, eau de parfum, eau de parfum intense, parfum, and the new l’Eau Privée.





 


Katherine Langford named brand ambassador for L’Oréal Paris

Filed by Lucire staff/June 23, 2020/16.07


Katherine Langford, the 24-year-old Australian actress known for her role as Hannah Baker in 13 Reasons Why, is the new L’Oréal Paris international ambassador.
   Langford, who hails from Perth, WA, was a nationally ranked swimmer before embarking on an acting career, with a Skype audition for 13 Reasons Why. On the silver screen, she was one of the ensemble cast in the Daniel Craig starrer Knives Out, playing Meg Thrombey, and starred as Leah in Love, Simon, about a young man who comes out. Her next role is as Nimue in Cursed, a retelling of the Arthurian tales but with women in the main roles.
   Langford has become a role model for youth and is an advocate for mental health. She is also passionate about equality across gender, sexual orientation, age and race.
   She currently has 16·4 million followers on Instagram, making her a particularly influential celebrity for the French giant to reach a millennial audience.
   ‘L’Oréal Paris is the brand that creates what’s next in beauty with an essential message: everyone is worth it. It is all about learning how to love yourself, how to be bold, how to be confident!’ said Langford. ‘People my age should not be afraid to be themselves, because that’s what makes us beautiful. When you know you are worth it, you live your life to the fullest. Having always valued empowerment, I can say that I am very grateful to be part of such an inspiring group of women spokespersons.’
   ‘We are thrilled to welcome Katherine to the L’Oréal Paris family. She is a role model, a talented and confident young woman using her platform for positive influence. Katherine’s star will only continue to rise. As a young radiant heroine who encourages people to believe in themselves, she’s the perfect spokesperson to embody our signature brand message: we are all worth it,’ said Delphine Viguier-Hovasse, L’Oréal Paris’s global brand president.
   Langford’s first campaign breaks later in 2020, for Air Mascara and Casting Crème.

 


Hublot launches Big Bang E smartwatch, with enhanced features

Filed by Lucire staff/June 5, 2020/9.39

Hublot, an LVMH subsidiary that celebrates its 40th anniversary this year, has showcased its new Big Bang E (officially styled as BIG BANG e) watch, following up from the original Big Bang of 2005 and its first connected version in 2018.
   The Swiss luxury brand’s latest offering has a black ceramic or titanium case in a “sandwich” construction, comprising 42 components, 27 for the K Module case. The hour numerals are metallized under the sapphire crystal, which is covered with an AMOLED high-definition touchscreen. Pushing down on the crown activates the controls. In addition to the analogue watch function, there is a perpetual calendar with a moon phase or a second time zone. The watch is water resistant to 30 m.
   Powered by Google Wear OS, users can download additional apps on Google Play. It also connects to Google Assistant and Google Pay.
   As part of its launch, and as part of the #HublotLovesArt movement, the first edition will show eight dials created by artist Marc Ferrero. Every three hours, the dial changes colour. On each full hour, a five-second animation plays. These are shown in the video below.
   ‘Electronic watches were created in Switzerland using quartz in the 1970s. Fifty years later, we are continuing in the same innovative vein by producing a second smartwatch which boasts an extremely high level of technological sophistication, whilst embodying all the æsthetic values, technical features and excellence that have ensured the reputation of our Big Bang collection. Ever more faithful to our “Art of Fusion” motto, we wanted the Big Bang E to unite Hublot’s highly advanced technical materials with the very latest innovations from today’s digital world,’ said Ricardo Guadalupe, CEO of Hublot.
   Hublot will make the Big Bang E available on its website and on China’s Wechat network, before it becomes available in boutiques and the traditional retail network.

 


Facebook’s demise wouldn’t affect us much

Filed by Jack Yan/May 30, 2020/11.14

Like many other publications, Lucire sends updates to Facebook, Twitter and Mastodon. Occasionally we’ll Instagram an image to a story. However, we’ve had reservations about social media, especially Facebook, for over a decade. In November 2010, we wrote on our Facebook page, ‘We have stopped the automated importing of notes to this Facebook page. These stories receive around 200–400 views each, but that also means that our site loses 200–400 viewers per story.’ At that stage we probably had around 600 fans on the Lucire fan page, showing you just what cut-through pages were getting before Facebook intentionally broke its sharing algorithm to force people to pay to get the same reach. (Reach dropped 90 per cent overnight.) We didn’t feel any desire after that to build social media presences, because we spotted the con—as did this YouTuber:

   Back then, Facebook allowed the importing of articles via RSS, which meant everything from Lucire’s news pages automatically wound up on the social network. It was a crazy idea, when you look back: it wasn’t designed to drive traffic to our main site, it only made Facebook and Mark Zuckerberg rich as you spent more time in their walled garden.
   Even after we stopped, we still shared headlines to Facebook, thinking that these would entice fans sufficiently to click through. At one stage, we could see referrals from Facebook among our stats, but these days, there is no correlation between the Facebook reach numbers and the actual views of the story on our own site.
   In 2016, NPR posted a headline to its Facebook page, ‘Why Doesn’t America Read Anymore?’ but the contents of the article read, ‘We sometimes get the sense that some people are commenting on NPR stories that they haven’t actually read. If you are reading this, please like this post and do not comment on it. Then let’s see what people have to say about this “story.”’ You can predict what happened: the link got plenty of comments. Anyone who says that Americans don’t get irony is gravely mistaken.
   Even in the late 2000s I was saying we lived in a ‘headline culture’ where people might never read the article itself, and social media have exacerbated this phenomenon. Many social media today, including the largest sites, are little more than glorified Digg sites, places where links are shared, but not necessarily places which drive traffic.
   Of course there will be exceptions to the rule, but generally, social media do not mean engagement. A 2015 study by Parse.ly showed that social media-referred readers engage the least with a given article. Search engine-referred readers were slightly better. But the best came from those who were already loyal readers on the site.
   In an age of “fake news” I do not believe the statistics will have improved, particularly on websites whose businesses thrive on outrage. People are divided into tribes where they seem to derive some reward for posting more links that support that aims of those tribes: a situation rife for exploitation, if certain countries’ investigations are to be believed. Certainly as early as 2014 I was warning of a ‘bot epidemic’, something that only became mainstream news in 2018 with The Observer’s exposé about Cambridge Analytica.
   But none of that bad news broke the addictions many people have to these websites. On our ‘about’ page on Facebook, we note: ‘Fast forward to (nearly) the dawn of the 2020s. We won’t lie to you: we’re not fans of how Facebook says one thing and does another. In our pages, we’ve promoted based on merit, and Facebook wouldn’t actually pass muster if it was a fashion label.
   ‘We know Facebook is tracking you, often more than your settings have allowed. Therefore, we’re consciously trying to limit the time you spend on this website.
   ‘However, we also know that we should maintain a Facebook presence, as there are many of you who want that convenience.’
   Nonetheless, I regularly wonder if that convenience is even worth it if there is no correlation with readership.
   Twice this month I was locked out of Facebook, because, allegedly, there was unusual activity. If checking your Facebook on a far less regular basis—say a couple of times a week—is unusual, then I’ll expect to get locked out far more frequently. As the importing of our Tweets to Facebook is driven by another program (on IFTTT), and that is linked to my personal account (one that I haven’t updated since 2017), then each time Facebook blocks me, it breaks the process. It’s also a website that has bugs that were present when I was a regular user in the late 2000s through to the mid-2010s, including ones where we cannot even share Lucire links because the site automatically ruins the address, rendering the previews anywhere from inaccurate (claiming the page doesn’t exist) to useless (taking you to a 404). Only the text link will work.
   We get the occasional like and share from our Facebook, although these do not inform our editorial decisions.
   We won’t go so far as to proclaim the end of social media, regardless of how angry the US president gets with fact checks; but we’ve been sceptical about their worth for publishers for a long time, and there are increasing days where I wonder whether I’ll even bother reconnecting the sharing mechanism from Twitter to Facebook if Facebook breaks it again. The question I’m really asking is: does the presence of links to our articles matter much to you?
   Ultimately, I care about all our readers, including Facebook users, and that remains the overriding motive to reconnect things one more time after Facebook locks me out. And I suppose the lock-outs in 2020 are much better than the ones during most of the 2010s, where Facebook forced you to download a “malware scanner” on false pretences, planting hidden software with unclear purposes on to millions of computers around the world. Their record is truly appalling, and if Facebook vanished overnight, I wouldn’t shed a tear.—Jack Yan, Publisher

 


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