Could you be the next Marc Jacobs Beauty social media sensation? Marc Jacobs utilizes its famous hashtag #castmemarc once again open to the world, and this time it’s all about beauty.
Marc Jacobs is a fun, vibrant and youthful brand, encouraging young people to push the boundaries in fashion and beauty. This is what the campaign is all about: to see how their global participants create their own style and become inspired, by anything.
Applicants over the age of 18 simply need to post a video on Instagram telling Marc what inspires them in beauty and fashion, and why Marc himself should pick them. Don’t forget to add #castmemarc on your videos to be considered. Entries are open until Friday, December 16, 2016 (11.59 p.m. PST).
In January 2017, 10 finalists will be flown to NYC to record a make-up application video for Marc and his judging panel, where Marc himself will then select three final artists to be apart of the spring 2017 #beautymarc video series. In addition to this, the chosen winners will each receive a year’s supply of Marc Jacobs Beauty products, invitations to all Marc Jacobs influencer events throughout 2017, and a MJ wardrobe and accessories’ allowance.
Get hash-tagging #castmemarc!â€”Cecilia Xu
Above, from top:Meistens Mozart. An excerpt from Political Mother. Pas de deux from The Sleeping Beauty.
The New Zealand School of Danceâ€™s Graduation Season once again brings an expertly executed programme, mixing genres from classical to modern to experimental. Among the programme tonight were three premières: Helgi Tomassonâ€™s Meistens Mozart was performed for the first time in New Zealand, while Amber Hainesâ€™s Incant and Jiři Bubeničekâ€™s Dance Gallantries received their world premières on opening night of the season at Te Whaea. Meistens Mozart started the evening and showed that, with the right arrangement and choreography, the German language could be made cheerful. Songs by Wolfgang Amadeus Mozart, Carl Ditters von Dittersdorf, Bernhard Flies and Jakob Haibel, sung by the Tölzer Boysâ€™ Choir, accompanied the six dancers, the standout of whom was George Liang. Liang had previously been at Canadaâ€™s National Ballet School, and we had seen him perform last month at the Republic of Chinaâ€™s National Day celebration. There were no opening-night jitters from any of the six, who instantly transported us to an alpine society, celebrating springtime love, courtship and playfulness.
The all-male He Taongaâ€”a Gift was an energetic and intense performance where drumbeats from Whirimako Blackâ€™s â€˜Torete te Kioreâ€™ soundtrack sparked sudden moves, a demonstration of control and strength from the 14 dancers. Choreographed by Taiaroa Royal and Taane Mete, He Taonga was created for the School in 2009 and reprised tonight.
Opening the second section, Laura Crawford and Yuri Marques were like delicate dolls in their pas de deux from The Sleeping Beauty, Act III, with the choreography after Marius Petipa. Marilyn Rowe, OBE staged and coached, while Qi Huan was répétiteur. This was a tough ballet piece to get right and the pair got stronger as they performed, gaining confidence and drawing us into their romance.
Taking a complete tangent into modern dance was the solo performance of Glitch, a new work from NZSD tutor Victoria Columbus, whose talents we most recently saw at the World of Wearable Art, where she serves as director of choreography. The movements themselves were created by graduate Connor Masseurs, who performed the dance, playing the part of a “glitching” robotic man short-circuiting on stage with skilful, shuddering movements. Masseurs completely absorbed us with his solo: it wasnâ€™t just his limbs that Masseurs controlled, he extended the idea to facial movements, inventively finding new ways to glitch. Masseurs first performed the dance at the Grand Théâtre at the Maison de la Culture de Tahiti as part of a gala at the Académie de Danse Annie Fayn. Incant was mysterious, brooding, and ethereal: this all-female work saw dancers come together to generate new shapes, conveying to us notions of clouds, trees in a forest, or tunnels, at times passing a lit sphere between them. Hainesâ€™s choreography was meant to question traditional notions of beauty and got us successfully focusing on the collective moves of the dancers. â€˜This world,â€™ she notes in the programme, â€˜invokes a mesmerizing state of collective consciousness and celebrates the power and luminous beauty of shared intention.â€™ A captivating work, it ended the second set of dances. Dance Gallantries was another more traditional work, with 10 dancers telling more playful stories of romance, complemented by Otto Bubeničekâ€™s colourful costume design and solo violin music by J. S. Bach.
A group of 12 performed an extract from Political Mother, the eveningâ€™s one political work with jarring music and clever choreography by Hofesh Shechter. A couple merrily folk-dances in a town square, happy to be part of their society, but are they genuinely happy or manipulated by the state? Their expressions seem to suggest the latter, fooled into believing that all is well and happy in their naïveté. The action moves on to a prison, where the music is muffled and dancers ape being restrained by either arms or ankles. The final scene, with a large group of dancers back in the town, show that the entire society has succumbed to the illusion, raising their arms in acceptance. It makes you question about the times we live in, and whether intellectual discourse is suppressed in favour of simpler ideas, a population told to be happy without really knowing why.
Finally, Tchaikovskyâ€™s music from The Nutcracker was excerpted for the upbeat Tempo di Valse, with the NZSD returning to a ballet to finish the evening. The â€˜Waltz of the Flowersâ€™ was instantly recognizable, the 15 dancers showing classical movements. Nadine Tyson choreographed, while the colourful traditional costumes were designed by Donna Jefferis.
Depending on the show, the pas de deux from The Sleeping Beauty may be replaced by Jack Carterâ€™s Pas de deux romantique, with music by Rossini; while Glitch may give way to The Wanderer, choreographed by Columbus and perforned by Liang.
The season runs from November 16 to 26 at Te Whaea in Wellington, New Zealand, with prices ranging from NZ$18 to NZ$33. Tickets can be booked at the New Zealand School of Dance, or online at nzschoolofdance.ac.nz/book-tickets. Weâ€™d rate it another must-see, especially to catch some rising starsâ€”we understand that some are off overseas, already snatched up by dance companies.â€”Jack Yan, Publisher
Above: Gigi Hadid appears in a new film for Stuart Weitzman, promoting a boot named in her honour.
Gigi Hadid’s been donning boxing gloves a lot this monthâ€”first in a promotion for Reebok, where she says she found solace in fitnessâ€”and now in a film for Stuart Weitzman, directed by James Franco, shot at Gleason’s Gym in Brooklyn, NY.
The film, entitled (and presumably hashtagged) #Doitright, promotes the Gigi boot, a new design with a stacked heel, metallic eyelets, duo-toned laces and a detailed collar. The bootie is available in soft croco-calf leather and in two metallics (in iron and copper), retailing exclusively at Stuart Weitzman retailers and websites from US$565. The film is accompanied by a soundtrack by Martin Solveig and Tkay Maidza.
Unlike the Reebok promos, Hadid wears the Gigi boot in the boxing ring.
The well known model boxes as part of her fitness regimen. The campaign is being released globally.
Stuart Weitzman has also committed to build three schools, one each in Ghana, Guatemala and Laos, during the autumn 2016 season.
Lingerie brand HunkemÃ¶ller announced at a function on Wednesday at the Hotel de Rome in Berlin that Doutzen Kroes is its new brand ambassador. The collections, which have the international model’s design input, will be called Doutzenâ€™s Stories and will give a glimpse of Kroes and the Ã¦sthetic she brings to the brand.
â€˜Iâ€™m in the fashion business for quite some time now, but I never had the chance to design my own collection. This is an amazing new opportunity for me and Iâ€™m really proud to show the world a bit more about me and my passion for lingerieâ€”through my collection for HunkemoÌˆller,’ said Kroes.
The collection has a diverse range of looks, including bralettes combined with a high-waist slip, a seductive jumpsuit, a slip dress and a kimono. Together with ZoeÌˆ Price-Smith, the brandâ€™s design director, Kroes introduced her collection with a living installation at the hotel.
Besides the guests at the event, fans from around the world could follow the show via a Facebook live stream.
The event focused around a fashion show, in which the brand released the new collection. HunkemoÌˆller’s CEO Philip Mountford revealed Kroes to the audience with a video, followed by a personal appearance of the model on stage.
â€˜I am delighted that we have secured Doutzen Kroes as our new brand ambassador. Doutzen truly represents our brand values and as one of the top models in the world she will help endorse our brand awareness on an international scale. She is a natural, radiant, beautiful, glamorous and, of course, very sexy woman. Over the next two years we will work with Doutzen to design outstanding brand collaborations,’ said Mountford.
Alexandra Legro, global marketing and communication director at HunkemoÌˆller presented an interview video about Kroes, introducing the audience to her style and personality (below). ‘We are really proud to have Doutzen joining us as our new Brand Ambassador. Her personality and her passions are going to inspire a whole new direction for our products, our marketing and create some truly unique campaigns,’ said Kroes.
The event and Kroes’s appointment had been teased on social media and on YouTube.
The first Doutzen’s Stories collection will be released online on October 27, and heads into retail stores on October 31. Prices vary from â‚¬14Â·99 to â‚¬44Â·99. The collection can be previewed on the HunkemÃ¶ller website.â€”Bhavana Bhim
Franziska Krug/Getty Images; Isa Foltin/Getty Images
Kate Moss and Rimmel London have released their latest collaboration celebrating the supermodel’s 15-year relationship with the beauty brand.
The Kate Moss Rimmel 15th Anniversary Collection comprises Moss’s favourite nude and red lip and nail shades.
Journalists, bloggers and other guests were invited to a London house where Moss modelled two outfits, initially a black Equipment shirt with red hearts, and a green jacket over a sheer black top.
Guests were treated to manicures using Rimmel’s new Supergel nail polish shades by manicurist Adam Slee, before a lipstick master-class by make-up artist Kirstin Piggott.
Stylist ZoÃ« Bedeaux and Scott Wimsett hosted a session where Moss talked of her 15-year association and how her fashion outfits inspired the Collection. Guests then could inspect those outfits and discussed how they inspired the nude and red shades.
In a release, Moss said, ‘Iâ€™m incredibly proud of my 15-year relationship with Rimmel. Itâ€™s a brand very close to my heart; my first ever lipstick was Rimmel Heather Shimmer. The partnership has strengthened and evolved over the years, with me taking an actively creative role. The new anniversary collection echoes some of my favourite London looks from the last decade and a half. Iâ€™ve focused on reds and nudes because theyâ€™re the colours I love to wearâ€”each shade reflects a different side of me.’
In the collection, the Lasting Finish Lipstick by Kate comes in six shades and can last eight hours, numbered 51 through 56; and the Super Gel Nail Polish by Kate gives a shine that lasts for 14 days, and comes in four shades (nos. 15, 42, 44 and 71).
We love ideas that challenge convention (otherwise this title wouldnâ€™t exist), and Chris Fonsecaâ€™s work does just that.
Heâ€™s a dancer, choreographer and dance instructor who happens to be profoundly deaf after suffering meningitis as a child. But that didnâ€™t stop Fonseca from developing a love of dance, and itâ€™s that love that the Smirnoff Ice Electric Flavors range taps into with its latest campaign.
This hasnâ€™t been created cynically for marketing Smirnoffâ€”Fonseca has been teaching in South London, where both deaf and hearing people go to learn how to dance. He has, however, taken the idea across the Atlantic thanks to Smirnoff, and you can see his New York class for yourself on social media (check out Fonsecaâ€™s Instagram at instagram.com/cfofficial for more). Among those at one New York class were Jeremy Strong, a choreographer for Jason DeRulo, and C. J. Salvador, a dancer for Justin Bieber, notes Vibe, which attended in May.
Fonsecaâ€™s absolutely right: thereâ€™s no reason a deaf person cannot be great at dancing, and he gets his students to count the beat through vibrations, especially the bass. He further incorporates the lyrics of the song into his dance. His aim is to break barriers, and to make sure that that deaf people can do whatever they wish. â€˜[Being deaf] does not stop me from making everyday achievements,â€™ he told the BBC.
â€˜I always say to those young people not feeling body-positive to keep going, like everyday barriers, challenges, keep going: you donâ€™t know how close you are to making a breakthrough. Keep believing anything is possible. Your time is coming soon.
â€˜My motto is: dreams donâ€™t work unless you work. Dreaming, believing, and achieving.â€™
A very telling image on his Instagram shows Fonseca leading his class and on the mirror are the words, â€˜How do you know if you donâ€™t try?â€™, a term that he has hashtagged as well. Smirnoff, meanwhile, has taken more polished shots for its Ice Electric campaign, promoting its non-carbonated, plastic-bottled lineâ€”their idea is that you can take your Smirnoff drinks on to the dance floor more readily than when it was bottled in glass.
His teaching has reached the media, including a cover story for the British Deaf News, which he hashtagged as his proudest moment.