The 52nd annual Costume Institute Gala, also known as the Met Gala, took place at the Metropolitan Museum of Art in New York City on September 13, 2021—18 months after the 51st annnual Met Gala was cancelled in 2020, due to the COVID-19 pandemic. The 2021 edition of the Met Gala was the first to be held in September, since the Met Gala previously was held on the first Monday of every May. The event’s theme in 2021 was “In America: A Lexicon of Fashion,” so guests were encouraged to dress in American-inspired fashions. The Met Gala is an annual fundraising gala for the benefit of the Metropolitan Museum of Art’s Costume Institute. This year, the Met Gala was co-chaired by actor Timothée Chalamet, poet Amanda Gorman, singer Billie Eilish and tennis star Naomi Osaka. It was the first time that since Anna Wintour did not co-chair the event since she became Vogue editor-in-chief. Instead, she was an honorary chair with Tom Ford, and Instagram chief Adam Mosseri. Here are photo and video highlights from the event.
HBO Max has released the trailer and key art for “The Hype,” a streetwear competition series debuting Thursday, August 12, 2021, where fashion visionaries elevate their designs and entrepreneurial sense to avoid elimination while remaining authentic to their style. Produced by the Emmy®-winning team at Scout Productions, Speedy Morman hosts the eight-episode season, which will feature co-signers, including Grammy nominated recording artist and designer, Offset; creative director and founder of Bephies Beauty Supply, Bephie Birkett; and Emmy® nominated costume designer and renowned stylist, Marni Senofonte. The panel of judges will critique the competing streetwear’s unique DNA, combining fashion, music, art and lifestyle to refine the idea of a “runway” and the balance between art and commerce. The series will also feature special guests including A$AP Ferg, Cardi B, Dapper Dan, and Wiz Khalifa.
“The Hype” is produced by Scout Productions, the team behind the Max Original ballroom competition series “Legendary” and Emmy®-winning series “Queer Eye.” Scout’s David Collins, Rob Eric and Michael Williams developed the series with Emmy® winner Rachelle Mendez (“Undercover Boss,” “Leah Remini: Scientology & the Aftermath”). Collins, Eric and Williams will also executive produce with Mendez, Jay Brown and Tyran “Ty Ty” Smith. Emmy® and Grammy®-winning producer Rikki Hughes (HBO Max’s “The Fresh Prince of Bel Air Reunion Special”) will showrun and executive produce.
As part of Pride month, Nordstrom announced today it will be providing a grant to the Trans Lifeline x FOLX Hormone Replacement Therapy (HRT) Care Fund, to support transgender, nonbinary and gender nonconforming individuals. For anyone struggling to access hormone care, this fund will underwrite their choice of Hormone Replacement Therapy (HRT) care through FOLX, with 75% of funds reserved for Black and Indigenous people, and people of color (BIPOC)
Additionally, Trans Lifeline is the giveback partner for our BP. Be Proud brand with 10% of net sales being donated towards the peer support and crisis hotline, and microgrants providing financial resources directly to transgender people across the U.S. and Canada. Between these efforts, Nordstrom hopes to give $350,000 in support of the Transgender community.
“We’ve long believed that we’re all made better by the diversity that exists both within our communities and our workforce. Our values are centered on the notion of creating a place where every customer and employee is welcome, respected, appreciated and able to be their authentic selves,” said Farrell Redwine, senior vice president of human resources, Nordstrom, Inc. “This year, we are honored to partner with Trans Lifeline to extend those values and support the transgender community in accessing resources that make their lives easier.”
“Trans Lifeline is thrilled to be partnering with Nordstrom to invest in the transformational power of peer support and redistribute resources to trans people,” said Bri Barnett, director of advancement, Trans Lifeline. “This historic gift will be instrumental in helping us answer over 25,000 calls this year and it will also provide 100 people with a year of life saving medical care.”
Nordstrom will also be highlighting brands founded or designed by the LGBTQ+ community. It is Nordstrom’s priority to support the community year-round by offering a dynamic assortment of products and experiences, including:
The BP. Be Proud collection features a range of silhouettes for people of all gender expressions. The lead designer for this collection is queer and we engaged different members from the LGBTQ+ community to provide insight on what they see as missing from the current apparel landscape. Sizes range from XXS – 4X and prices range from $25 – $59.
MANTL, co-founded by Karamo Brown – the best-selling author, producer and Emmy-nominated host on Netflix’s Emmy-winning series Queer Eye – will be available at Nordstrom. Karamo created the skincare line for both the face and scalp after going through his own balding journey, with the mission to empower the bald and balding to live their fullest lives comfortably and confidently.
Packaged in pink and conceived beyond the gender binary, Boy Smells makes loving your identity a daily ritual. Co-founders and real-life partners Matthew Herman and David Kien created Boy Smells as items they’d want to use on a daily basis and products that were fluid and essential.
Leeway Home launched in March 2021 and is launching on Nordstrom.com in May. Leeway Home celebrates everyone at every stage of life and offers products to fit them. Founded by partners Sam Dumas and Lyle Maltz, they’ve leaned into the way real people live and offer everything you need to set your table your way.
Nordstrom is kicking off an ongoing partnership with The Phluid Project with an exclusive Pride capsule featuring gender-free accessories including hats, bags and socks starting at $12, launching at the end of May. The Phluid Project launched in March 2018 in NYC and online as a gender free fashion brand and is known for breaking the binary. The Phluid Project joined a movement of humans committed to challenging the ethos of traditions of the past that inhibit freedom and self-expression.
Nordstrom’s celebration of Pride Month and support of the LGBTQIA+ community are a part of the company’s broader efforts and commitments to diversity, inclusion and belonging (DIB). The company recently set goals to guide its DIB efforts and reports annually on its progress. To learn more about the company’s DIB strategy, goals and programs visit Nordstrom.com.
Nordstrom, Inc. is a leading fashion retailer based in the U.S. Founded in 1901 as a shoe store in Seattle, today Nordstrom operates 357 stores in the U.S. and Canada, including 100 Nordstrom stores; 248 Nordstrom Rack stores; two clearances stores; and seven Nordstrom Local service hubs. Additionally, customers are served online through Nordstrom.com, Nordstrom.ca, NordstromRack.com and TrunkClub.com. Nordstrom, Inc.’s common stock is publicly traded on the NYSE under the symbol JWN.
ABOUT TRANS LIFELINE
Trans Lifeline connects trans people to the community, resources, and support they need to survive and thrive–building a resilient trans community through trans-led direct services. Trans Lifeline’s Hotline provides peer support and crisis support, and their Microgrants program provides low-barrier grants to trans people in need of legal name changes and updated IDs, HRT, and funds for incarcerated trans people.
ABOUT FOLX HEALTH
Launched in December 2020, FOLX Health is an LGBTQIA+ healthcare service provider built to serve the community’s specific needs. The company delivers a new standard of healthcare that’s built to serve LGBTQIA+ people, rather than treat them as problems to be solved. For more information, visit folxhealth.com
Culture Representation: Taking place in various parts of the U.S. and Canada, the documentary film “Subjects of Desire” features a predominantly black group of women discussing the intersection between beauty standards and what it means to be a black female.
Culture Clash: Several people in the documentary say that black beauty characteristics are often co-opted when white people benefit from cultural appropriation, but the same characteristics are used against black people, who are subjected to racist ideas of what is considered “beautiful.”
Culture Audience: “Subjects of Desire” will appeal primarily to people who are interested in an impactful and honest examination of how racism plays a role in how black females are perceived in American society.
The empowering statement “Black is beautiful” first emerged in the 1950s. And since then, a lot has occurred in civil rights for black people in the United States. However, the insightful documentary “Subjects of Desire” shows how black women feel about the still-prevalent and damaging racism in how black females are treated and perceived by beauty standards in American society. Astutely directed by Jennifer Holness and narrated by Garvia Bailey, “Subjects of Desire” had its world premiere at the 2021 South by Southwest (SXSW) Film Festival.
Grammy-winning singer India.Arie talks about the impact of her breakthrough 2001 hit “Video,” a song about how she accepts how she looks, even though she’s doesn’t fit the stereotypical image of a light-skinned video vixen. “That song taught me a lot about people. The whole time I was writing it, I thought, ‘This is how I want people to understand who I am.’ And then [the song] came out, and people were telling me, ‘That’s how I felt!'”
“Subjects of Desire” has the 2018 Miss Black America beauty pageant (the event’s 50th anniversary) as a central focus of the documentary. The movie includes footage of behind-the-scenes pageant preparations, as well as interviews with several of the contestants. However, the documentary also gives a cultural overview of how systemic racism affects people’s perceptions of what is considered “beautiful” or “desirable” in society. Only black women are interviewed in this documentary, so that their voices are heard and not drowned out by people who haven’t lived the experience of being a black woman their entire lives.
The only exception is an interviewee who has lived her life as a white woman and as a black woman: controversial activist/artist Rachel Dolezal, a woman who is biologically white/Caucasian, but she began self-identifying as black around the time that she wanted to have Afro-centric jobs. Dolezal, who was born in 1977, used to be the president of Spokane, Washington’s chapter of the NAACP, and she taught Africana studies at Eastern Washington University. The controversy over her race made headlines when she admitted in 2015 that she was born to white parents and lived as a white female until sometime in the mid-2000s, when she began living as a black woman.
In 2002, when Dolezal was still living as a white woman, she unsuccessfully sued her alma mater Howard University (a historically black-majority school) for racial discrimination, by claiming the university denied her a job, a scholarship and other opportunities as a white woman. Dolezal doesn’t talk about that lawsuit in the “Subjects of Desire” documentary, but she does complain about being misunderstood, and she compares her situation to experiences of transgender people. “I get a lot of hate from different groups,” she claims. “I cancelled my white privilege.”
Dolezal’s presence in this documentary doesn’t take up too much screen time (only about 10 to 15 minutes in a 103-minute film), and she doesn’t say anything new that she didn’t already say in her 2018 Netflix documentary “The Rachel Divide.” Dolezal seems to have been included in “Subjects of Desire” as part of a necessary but uncomfortable topic discussed in the documentary: White people co-opting aspects of black beauty culture for their own self-benefit. Kim Kardashian, Khloe Kardashian and Kylie Jenner are frequently mentioned in the documentary as celebrities who are guilty of excessive appropriation of black culture to get attention for themselves.
“Subjects of Desire” does an excellent job of explaining the current dichotomy in beauty standards for women in American society, where many white women try to look more “black” and many women of color try to look more “white.” On the one hand, physical characteristics that are usually attributed to women of African biological heritage—darker skin, fuller lips, a more pronounced rear end—have become desired characteristics in how numerous women alter their physical appearance through tanning, lip fillers and butt implants.
African-styled braids or Afro-Caribbean-styled dreadlocks are other Afro-centric beauty characteristics that have been co-opted by people who are not of African descent. Even the hair perms that were popular in the 1970s were based on a desire to have hair resembling black people’s natural hair. It’s pointed out in the documentary that the rise of the Black Power movement in the late 1960 and 1970s coincided with the rise in popularity of these hairstyles until they became more accepted in mainstream society.
On the other hand, several people in the documentary point out that black women and women of color are often treated better based on how close to “white” they can look. Skin bleaching, having straight hair (through chemical treatments or hair weaves), having blonde hair and wearing blue or green contact lenses are all mentioned as examples of how black women alter their appearances to try to look more “white.” The natural hair movement (the practice of black people wearing their hair unprocessed and not straightened) has popularity that goes up and goes down. But what hasn’t changed is the fact that how a black woman wears her hair can determine what types of employment or other opportunities that she gets or is prevented from having.
“Subjects of Desire” has footage of a group of black teenage girls (of various skin tones) who discuss how beauty standards, particularly when it comes to hair and skin color, affect their self-esteem and any sense of power that they might have. The girls give some real and raw insight into how acutely aware they are that how they wear their hair will affect how a lot of people will treat them or perceive them. And the “white preference” bias doesn’t just come from white people. It also comes from many people of color who’ve internalized the racist belief that anything to do with non-white culture is inferior to white culture.
Although there are people of many different races, beauty standards in the United States are often seen in terms of black and white. Broadcaster/author Amanda Parris explains: “Because of racism, that [beauty] binary also included the binary of black and white. And that led to black women being on one end, and white women being on the other.”
Because the Internet has provided larger mass communication than ever before, today’s young people have grown up more accustomed to cultural differences than previous generations. And therefore, society’s views of beauty are more intertwined with race and political issues than ever before. The rise of Instagram, YouTube and other social media—where everyday people can become their own influencers instead of leaving everything to the usual elite gatekeepers—have also caused a massive shift in who gets to define what is “beautiful.”
“Perfect Me: Beauty as an Ethical Ideal” author Heather Widdows, a professor of global ethics at the University of Birmingham in Alabama, comments on this cultural change: “Appearances were becoming more and more dominant in young women’s lives. And this was an issue of justice too. Beauty has become an ethical ideal.”
However, old stereotypes remain. Dr. Cheryl Thompson, an assistant professor at Ryerson University and the author of “Beauty in a Box: Detangling the Roots of Canada’s Black Beauty Culture,” has this to say about the racism that still exists in beauty ideals: “In beauty culture, black has to be minimized as much as possible, or exoticized in a certain way, so that you really see the difference.”
Thompson says that this racism has been taught for generations because of the United States’ shameful history with slavery and how that has affected people’s perceptions of white women and black women: “Getting married was kind of difficult [for black people] during slavery, so we’re already seen as ‘immoral’ and not holding the sanctity of womanhood … The history of black womanhood and white womanhood, it is so overlayed with labor and issues of purity and domesticity.”
Lighter-skinned black women in the slavery era were more likely to be chosen to work in the home, while darker-skinned black women were more likely to do the hardest labor outside. The repercussions of white slave owners enacting this favoritism based on skin color (also known as colorism) can still be seen and experienced today. Several people who comment in the documentary point out that black people who rise to the very top levels of high-profile professions tend to be lighter-skinned than the average black person.
Beauty pageants have come a long way in being more diverse and inclusive, when it comes to race. Black women weren’t allowed to compete in the Miss America Pageant until the 1950s, but the pageant didn’t have its first black contestant until 1971. It’s why the Miss Black America Pageant (founded by the black entrepreneur J. Morris Anderson) launched in 1968.
“Subjects of Desire” mentions that 2018 was a historic year for black women in beauty pageants: For the first time in beauty pageant history, Miss Universe, Miss America, Miss USA and Miss Teen USA were all black females in the same year. However, the Miss Black America contestants interviewed in the documentary say that these breakthroughs don’t mean that they do not experience the same racist prejudices inside and outside the beauty pageant circuit.
Miss Black America 2018 winner Ryann Richardson says that she learned early on in her beauty pageant experiences to put on makeup that would tone down her African-looking ethnicity, such as contouring her nose to look thinner. She makes no apologies for it and explains: “It was a means to an end. I never believed that I needed to look that way to be beautiful, to be Ryann, to be great to be excellent. But I did it to win.”
Richardson acknowledges that even though some judges still might prefer black contestants to look as “white” as possible, black women in beauty pageants are now given more freedom to wear their hair in different ways, compared to the hair restrictions that black beauty contestants had to adhere to in previous generations. Richardson adds, “I am a product of what Miss Black America inspired [by launching] in 1968, so it’s really interesting and really cool to think that 50 years later … I could be part of that Miss Black America legacy.”
Other contestants from the Miss Black America 2018 pageant who are interviewed in the documentary are first runner-up Alex Germain and second runner-up Seraiah Nicole. Just like the other contestants interviewed in the documentary, they both say that the best way a contestant can approach being part of a beauty pageant isn’t to see who’s judged as more “beautiful” than others but to build confidence and appreciation for an individual’s unique qualities. A beauty pageant is supposed to be a learning experience on how contestants, whether they win or lose, want to present themselves to the world.
Germain reveals another motivation for her to enter the world of beauty pageants: “I needed to feel as though I mattered and my voice mattered.” She remembers experiencing racist bullying when she was a child, when some boys from her school lined up and made monkey noises at her.
Germain comments on these painful memories and any racism she still experiences: “I had to be strong in myself and let those voices go … There are times when it still gets to me. You have to be your biggest motivator.” She adds, “You see the shifts in the North American beauty standards, but on the backs of black women.”
Like it or not, perceptions of beauty also spill over into how people judge other people’s personalities and intelligence without even knowing them. For black women, the stereotyping goes back to slavery and is often perpetuated by images in the media and in entertainment. “Subjects of Beauty” mentions three main stereotypes of black women, with video clips and photos used as examples:
Mammy: Nurturing, subservient (usually to white people) and sometimes sassy. In entertainment and media portrayals, she is usually a maid, housekeeper, nanny or some other type of servant.
Jezebel: Sexually promiscuous, usually dressed in revealing clothing and obsessed with being perceived as sexy. In entertainment and media portrayals, she is often a singer, actress, model, stripper, prostitute or other sex worker.
Sapphire: Quick-tempered, usually hostile and often a bully. In entertainment and media portrayals, she is the “angry black woman.”
Dr. Carolyn West, a psychology professor at the University of Washington, comments on these stereotypical images that don’t apply to all black women: “The Mammy, Jezebel and Sapphire stereotypes are deeply rooted in history. They haven’t gone away. They’ve just changed and morphed into different stereotypes.”
In “Subjects of Desire,” it’s pointed out that the Mammy physical stereotype (as illustrated by the controversial Aunt Jemima logo) is historically inaccurate because photos from the slavery days show that the house servants who helped take care of the kids were usually young and thin, not middle-aged and overweight. “Subjects of Desire” director Holness wrote the script used in the movie’s voiceover narration, which mentions that the Aunt Jemima brand “wasn’t just selling pancakes. They were selling the Mammy fantasy.”
The voiceover continues: “The de-eroticization of Mammy meant the white wife and, by extension, the white family [were safe]. But in truth, the Mammy was re-imagined to hide an extensive history of sexual violence and rape against black women.” The Jezebel stereotype was created to justify this sexual violence. The documentary mentions that it wasn’t until 1959, with the Betty Jean Owens case in Florida, that white men in the U.S. were given life sentences for raping a black woman.
And the Sapphire stereotype comes with a whole other set of issues. If a black woman is confident and asserts herself in the same way that men are frequently allowed to do, she is labeled “difficult.” Men can yell and scream on the job, but if a black woman does the same thing, she’s labeled a “problem” and is more likely to be fired because of it.
Simply put: The “angry black woman” stereotype has worse repercussions than the “angry white man” stereotype. In the documentary, black actress/singer Jully Black recalls the heated debate that she and white TV journalist Jeanne Beker had during the 2018 Canada Reads event (which is televised in Canada) as an example. In a clip shown in the documentary, Beker was quick to try to label her as an angry black woman on the attack, even though Black was being calm, articulate and reasonable.
“Subjects of Desire” asserts that white women also benefit from white supremacy when it comes to what is considered “attractive” in American society. A woman’s physical appearance can determine how she’s perceived and how much agency she has in public settings. White women can cry on the job, but if a black woman does it, she’s more likely to be labeled “out of control” and “unprofessional.” Crimes against white females are given higher priorities in media coverage than crimes against non-white females. And there’s no need to rehash obvious statistics of how black women are rarely allowed to advance to the top levels of an organization.
And that’s why representation matters. When people see only one race dominating as the gatekeepers of an industry, it creates a vicious cycle of racism where people think other races are not capable of doing just as well or better than the dominant race. And when it comes to female beauty standards, the general consensus in “Subjects of Desire” is that there’s been some progress in racial representation in front of the camera, but not enough progress behind the camera with people who make the major business decisions.
Thompson comments, “There’s a quote by [American feminist] Peggy Phelan: ‘If representation equaled power, then white women should feel like the most powerful people in the world, because that is actually the [beauty] image you see the most. White women are everywhere.'”
India.Arie says, “We all feel insecure about something. We live in this world that tells us that somebody is perfect, and you’re not.” The documentary mentions the Black Girl Magic movement, created by CaShawn Thompson in 2013, as a big leap forward in celebrating black female beauty. Black Girl Magic includes mentorships and other programs intended to help black females embrace themselves for who they are and not believe the racist lies that people are superior or inferior because of skin color.
If there’s any takeaway from this documentary, it’s that real change can only come when people push for it and stop supporting the people and practices that demean one race in order to elevate another. Cosmetics, hairstyles, clothing and plastic surgery are all personal choices. However, they shouldn’t come at the expense of people feeling devalued because of their race.
Germain says in the documentary: “The eyelashes, the lipstick—that doesn’t mean anything. I think when people see a pretty girl, you think they don’t have issues. But when you don’t love yourself, you don’t love anything.” And that’s why self-respect and healthy self-care are probably the biggest beauty assets of all.
Urban Beauty TV, the first syndicated show dedicated to health, beauty, and style told through a multicultural lens, premieres Saturday, March 27, 2021 at 10 PM EST exclusively on BET Her. Hosted by model and media personality Midori Amae, Urban Beauty TV shines a spotlight on some of our culture’s most innovative style architects as they share the stories behind building their successful brands.
R&B superstar Monica appears in the premiere episode alongside Michelle Rodriguez, Founder/CEO of Mielle Organics; Tahirah Carter, Founder/Owner of The Faded Beauty & Barber; Brianna Walton and Ashley Williams, Noire Beautè; Dr. Nia Banks, plastic surgeon; and Ms. Bling, Owner/Designer of MsBlingBling.com. Each week viewers will discover the latest in beauty products, trends, and routines from leading experts and pop culture staples including Yandy Smith-Harris, Serayah, Deborah Cox, and more.
ABOUT BET BET, a subsidiary of ViacomCBS Inc. (NASDAQ: VIACA, VIAC), is the nation’s leading provider of quality entertainment, music, news and public affairs television programming for the African-American audience. The primary BET channel is in 90 million households and can be seen in the United States, Canada, the Caribbean, the United Kingdom, sub-Saharan Africa and France. BET is the dominant African-American consumer brand with a diverse group of business extensions including BET.com, a leading Internet destination for Black entertainment, music, culture, and news; BET HER, a 24-hour entertainment network targeting the African-American Woman; BET Music Networks – BET Jams, BET Soul and BET Gospel; BET Home Entertainment; BET Live, BET’s growing festival business; BET Mobile, which provides ringtones, games and video content for wireless devices; and BET International, which operates BET around the globe.
On March 24, 2021 at 3 pm EST, BET (a subsidiary of ViacomCBS Inc., NASDAQ: VIACA, VIAC), the nation’s leading provider of quality content for African American audiences, and Vaseline® are partnering to host a powerful Zoom discussion for consumers featuring award-winning director and actress Regina King around skincare equity for skin of color.
“Over the past year, we’ve seen the challenges that people of color face in achieving equitable health outcomes and unfortunately, the dermatology practice is no different,” said Louis Carr, President of Media Sales at BET. “Through our partnership with Vaseline®, we’re committed to increasing awareness of the importance of health through skincare. We’re honored to have the opportunity to partner with and lend our platform to amplify Vaseline’s Equitable Skincare for All campaign.”
The Equitable Skincare for All discussion will highlight the healthcare and skincare inequities that negatively impact Black and Brown communities, the importance of bringing true equality to care for skin of color and how individuals can make a difference.
Skin health needs for Black and Brown communities continue to be underserved and without access to proper care comes the likelihood of misdiagnosis or no diagnosis leaving them at risk for long-term consequences.This is in part the case as nearly half of dermatologists say they were not adequately trained to treat skin of color. Representation is also an issue in dermatological care with only 3% of practicing dermatologists identified as Black and 4.2% identified as Latinx.1
For over 150 years, Vaseline® has been committed to helping heal dry skin everywhere, but this goal can’t be achieved if part of the Vaseline® community doesn’t have access to equitable care. That’s why Vaseline® has teamed up with BET to bring awareness, education and drive meaningful discussions around healthcare and skincare inequities that negatively impact Black and Brown communities.
Hosted by veteran beauty expert Tai Beauchamp, Vaseline® spokesperson Regina Kingalong with other guests such as prominent doctors, experts and skincare enthusiasts, will share their experiences with inequity, current inequities Black and Brown people face, the consequences of these disparities and the importance of properly treating Black and Brown skin.
“As a heritage brand, our goal is to achieve equitable skincare for all,” says Kevin Tolson, Senior Brand Manager for Vaseline. “As part of that larger commitment, this event not only seeks to highlight the problem, but also arm Black and Brown communities with effective tools and immediate solutions to work toward skin equity now and for the next generation.”
To expand this important conversation, BET and Vaseline® have worked together to create a video content series to further educate people around the issues of skincare inequity in addition to the Zoom event. The first video of the Equitable Skincare for All series will air on BET.com, and across BET’s social handles on March 18, 2021.
BET seeks to leverage its position as a leading provider of entertaining, engaging and empowering content and its partnership with Vaseline® to contribute meaningfully to the current conversation about racial equity in healthcare, while equipping our audiences with tools and resources to take control of their own health.
To register, consumers can visit BET.com and submit their questions ahead of the event using the #Skincareforall hashtag.
BET, a subsidiary of ViacomCBS Inc. (NASDAQ: VIACA, VIAC), is the nation’s leading provider of quality entertainment, music, news and public affairs television programming for the African-American audience. The primary BET channel is in 125 million households and can be seen in the United States, Canada, the Caribbean, the United Kingdom, sub-Saharan Africa and France. BET is the dominant African-American consumer brand with a diverse group of business extensions including BET.com, a leading Internet destination for Black entertainment, music, culture, and news; BET HER, a 24-hour entertainment network targeting the African-American Woman; BET Music Networks – BET Jams, BET Soul and BET Gospel; BET Home Entertainment; BET Live, BET’s growing festival business; BET Mobile, which provides ringtones, games and video content for wireless devices; and BET International, which operates BET around the globe.
About Unilever North America
Unilever is one of the world’s leading suppliers of Beauty & Personal Care, Home Care, and Foods & Refreshment products, with sales in over 190 countries and products used by 2.5 billion people every day. We have 149,000 employees and generated sales of €50.7 billion in 2020. Over half of our footprint is in developing and emerging markets. We have around 400 brands found in homes all over the world. In the United States and Canada, the portfolio includes iconic brand such as: Dove, Knorr, Hellmann’s, Lipton, Magnum, Axe, Ben & Jerry’s, Degree, Dollar Shave Club, Q-tips, Seventh Generation, St. Ives, Suave, TRESemmé, and Vaseline.
Our vision is to be the global leader in sustainable business and to demonstrate how our purpose-led, future-fit business model drives superior performance. We have a long tradition of being a progressive, responsible business. It goes back to the days of our founder William Lever, who launched the world’s first purposeful brand, Sunlight Soap, more than 100 years ago, and it’s at the heart of how we run our company today.
The Unilever Compass, our sustainable business strategy, is set out to help us deliver superior performance and drive sustainable and responsible growth, while:
improving the health of the planet;
improving people’s health, confidence and wellbeing; and
contributing to a fairer and more socially inclusive world.
While there is still more to do, we are proud to have been recognized in 2020 as a sector leader in the Dow Jones Sustainability Index and – for the tenth-consecutive year – as the top ranked company in the 2020 GlobeScan/SustainAbility Sustainability Leaders survey.
The following is a press release from Canada Goose:
Today, Canada Goose launches its first-ever capsule collection, created in partnership with guest designer, Angel Chen. With her experimental approach to design and color, coupled with a fusion of Eastern and Western aesthetics, Angel Chen is one of fashion’s brightest young talents. Through her design language, she brings Eastern elements and traditional techniques to life, creating a contemporary collection without boundaries between countries, age and gender. This capsule collection combines the traditional with the modern, highlighting functional expertise and unique style. With digital-first innovation at the forefront, Canada Goose and Angel Chen are bringing this campaign to life through both augmented reality (AR) and Computer-Generated Imagery (CGI).
“Over the years, we have worked with some of the world’s best. This season, we introduce a new type of partnership with Angel Chen, our first ever guest designer,” said Woody Blackford, EVP Product at Canada Goose. “In our approach, we look for unique and creative perspectives, drawing inspiration from distinct aesthetics that challenge us. Our brief is to reinterpret and reimagine our core design DNA through their eyes. Angel has done just that, putting her signature spin on our most iconic products.”
Initially revealed during Shanghai Fashion Week in October 2020, the exclusive 13-piece collection for women and men follows the transformational journey of the garments from winter in Canada to spring in China, showcasing the evolution of Canada Goose’s most iconic parka: the Snow Mantra. Putting her signature twist on the brand’s most comprehensive offering in outerwear, Angel Chen creates two distinctive pieces within the collection: the Women’s Cropped Snow Mantra Parka for Angel Chen ($1,595 CAD), which can be worn upside down for a discerning look and the Men’s Convertible Snow Mantra for Angel Chen ($1,795 CAD), which can be worn four ways by experimenting with the removable lower half, sleeves and hood. This collection leverages Canada Goose fabrics and technologies, which were developed for the harshest weather conditions and proven in the field for decades by scientists, arctic workers and explorers. Angel Chen interprets the brand through her unique perspective, not only through modern silhouettes but also with vibrant colours. Unique colourways, including a bold new red and two new shades of pink, are included to further honour Angel’s culture and heritage.
“Canada Goose is iconic, the reference for outerwear in the world, and it was so exciting to work with their heritage pieces, reinterpreting them through a new lens for this collection,” said designer Angel Chen. “Visiting the brand’s headquarters and touring their archival collections was so inspiring! This collection represents the transition from winter in Canada to spring in China. It is a dream watching it come to life through my eyes on the runway to seeing it uniquely styled in the city.”
This collection further extends into Lightweight Down, Windwear, Rainwear, Knitwear and Accessories categories. The women’s collection features the Chaka Vest ($795 CAD), the Mordaga Rain Jacket ($1,295 CAD), the HyBridge Knit Jacket ($895 CAD), the Logo Sweater ($595 CAD) and the Serdang Down Jacket ($895 CAD). It also includes the versatile Crossbody Bag ($595 CAD), which easily converts to a backpack and the Mini Crossbody Bag ($350 CAD). The men’s pieces feature the Arxan Bomber Jacket ($995 CAD), the Mogan Rain Jacket ($1,495 CAD), the HyBridge Knit Hoody ($950 CAD) and the Logo Sweater ($695 CAD). The garments are designed to be layered, mixed, matched and transformed for a truly distinctive style, as well as provides custom warmth and protection no matter the conditions.
The Angel Chen for Canada Goose in-store visual display includes design elements that bring HUMANATURE to life; Canada Goose’s purpose platform, which unites the brand’s sustainability and values-based initiatives. The majority of materials used in these displays are recycled, recyclable or biodegradable. The brand is also incorporating an augmented reality (AR) experience to its store windows globally. Starting at the end of January, guests can unlock natural elements, such as blooming flowers by pointing their camera at a QR code on the window. This AR experience will also unveil product features and buying options through hotspots available on the screen.
The Angel Chen for Canada Goose Spring 2021 collection is available starting January 15, 2021 at select Canada Goose retail stores and select wholesale partners, canadagoose.com, TMall and WeChat.
About Canada Goose Founded in 1957 in a small warehouse in Toronto, Canada, Canada Goose (NYSE:GOOS, TSX:GOOS) is a lifestyle brand and a leading manufacturer of performance luxury apparel. Every collection is informed by the rugged demands of the Arctic, ensuring a legacy of functionality is embedded in every product from parkas and rainwear to apparel and accessories. Canada Goose is inspired by relentless innovation and uncompromised craftsmanship, recognized as a leader for its Made in Canada commitment. In 2020, Canada Goose announced HUMANATURE, its purpose platform that unites its sustainability and values-based initiatives, reinforcing its commitment to keep the planet cold and the people on it warm. Canada Goose also owns Baffin, a Canadian designer and manufacturer of performance outdoor and industrial footwear. Visit www.canadagoose.com for more information.
About Angel Chen Angel Chen is a Chinese designer whose colourful approach to fashion coupled with the brand’s core-concept of fusion of Eastern and Western aesthetics, has made her one of the country’s brightest young talents, stocked internationally at 80+ retailors. Chen is part of a new wave of young Chinese designers making an impact locally and globally.
Pierre Cardin, a pioneering French fashion designer of the 20th century, died on December 29, 2020, at the age of 98. According to Associated Press: “The French Academy of Fine Arts announced Cardin’s death in a tweet. He had been among its illustrious members since 1992. The academy did not give a cause of death or say where the designer died.”
Born on July 7, 1922 as Pietro Costante Cardin in San Biagio di Callalta, Italy (near Venice), he moved to France with his family when he was a child. While living in France, he began going by the first name Pierre.
At the age of 14, he began is fashion career as a clothier apprentice. He moved to Paris in 1945 and worked for fashion house of Paquin, as well as for designer Elsa Schiaparelli. In 1947, he became head of Christian Dior’s tailleure atelier. And by 1950, Cardin began his own fashion house.
Cardin was best known pioneering “mod” fashion of the late 1960s and the 1970s. One of his best known creations was to combine the concepts of miniskirts and maxiskirts by having short dresses or skirts with cascading designs. He was also one of the first fashion designers to license his brands worldwide for not just clothes and accessories but also fragrances, luggage and other household items. At the time of his death, Cardin’s company (which remained privately owned) still held hundreds of licenses, although he had sold off many licenses over the years.
In his personal life, Cardin never married or had children. He reportedly had affairs mostly with men and sometimes with women. His most high-profile relationship was a four-year romance in the 1960s with French actress Jeanne Moreau.
Cardin was the subject of the documentary “House of Cardin” (directed by P. David Ebersole and Todd Hughes), which made the rounds at several film festivals in 2019 and was released in several countries (including the U.S.) in 2020. It is unknown at this point who will inherit Cardin’s vast fortune and how this inheritance will affect the leadership of his company.
HBO Max debuted today the official trailer and key art for the new Max Original “Stylish with Jenna Lyons.” All eight episodes will be available to stream on Thursday, December 3, 2020 on HBO Max.
As president of J. Crew, Jenna Lyons became “the woman who dresses America”—a formidable business and style icon. Now, Jenna is experiencing a rebirth, and her reputation is on the line. Like many others in 2020, her lofty plans required some adapting and rethinking. From this emerged her very first beauty line, LoveSeen; a ground-up build of a boutique hotel in the Abaco Islands; and several soon-to-be-revealed creative surprises. In a refreshing mix of elevated documentary and formatted competition, “Stylish with Jenna Lyons” follows Jenna as she tackles design projects that will help define her future business. These include renovating her friend’s Brooklyn townhouse, hosting mobile fashion makeovers, designing her new office, and launching LoveSeen—her fresh take on false lashes. Along the way, she’ll test a diverse group of creative associates, all vying for a life-changing spot in Jenna’s growing team. Jenna’s staff, including her chief-of-staff Kyle DeFord and stylist Sarah Clary, join her in this ambitious new venture, delivering a masterclass in taste, design, and fashion with every episode.
To complement the series launch, Jenna is also creating a virtual pop-up shop featuring covetable, handpicked home, beauty, and fashion goods from local makers that highlight Jenna’s discerning point of view. The pop-up shop will be open from November 26 through December 18, 2020. More information can be found on @popupish’s Instagram.
“Stylish with Jenna Lyons” is produced by Our House Media with OHM’s Simon Lloyd and Matt Hanna serving as executive producers, along with Lyons, David Tibballs, Paul Storck, Hillary Olson, Jae Goodman, and Michael Bloom for Bongo Pictures.
Culture Representation: Taking place in New York City, the documentary “Calendar Girl” features a group of predominantly middle-aged and senior citizen white people (with a few Asians and African Americans) discussing Fashion Calendar founder Ruth Finley, who also participated into the documentary.
Culture Clash: Finley was very resistant to new technology and refused for years to sell Fashion Calendar.
Culture Audience: “Calendar Girl” will appeal primarily to people who are interested in the American fashion industry and New York Fashion Week.
Long before software spreadsheets and the Internet existed, the schedules of the U.S. fashion industry in New York City were and still are largely influenced by the subscription publication Fashion Calendar, which launched in 1941. Ruth Finley was the founder of Fashion Calendar, which is still considered the most influential scheduling “bible” for people in American fashion, especially those who attend New York Fashion Week. Finley’s name might not be as famous as longtime Vogue (U.S.) editor-in-chief Anna Wintour, but Finley holds a place in fashion media as an underrated pioneer. The engaging documentary “Calendar Girl” tells Finley’s story.
Directed by Christian D. Bruun, “Calendar Girl” (which had its world premiere at DOC NYC in 2020) was filmed over the course of several years in the 2010s. Finley passed away in 2018, at the age of 98, but she fully participated in the film, which includes interviews with numerous colleagues and family members of Finley. A few of the interviewees have also since passed away, such as photographer Bill Cunningham and former Bloomingdale’s executive Joseph “Joe” Siegel, who was Finley’s beau toward their end of their lives. Therefore, “Calendar Girl” looks dated in some ways, but the inspiring message of the movie is timeless.
Rather than giving a boring and predictable chronological telling of Finley’s story, “Calendar Girl” gives a non-chronological but insightful overview of Finley as a businessperson, mother and beloved influencer, as well as how she fits into the larger cultural context of the fashion industry. The movie begins with footage of her being honored at a 2014 Hall of Fame Tribute to celebrate Fashion Calendar, an event presented by Citymeals on Wheels. Later in the documentary, there’s footage of Finley getting the Board of Directors’ Tribute at the 2014 Council of Fashion Designers of America (CFDA) Awards, as well as Finley receiving the Fashion Institute of Technology (FIT) President’s Lifetime Achievement Award in 2016.
Through Finley’s own words and the words of her colleagues and her three sons (Joe Green, Jim Green and Larry Lein), a story emerges of a dedicated and sassy woman who went against society norms to start Fashion Calendar during an era when women were expected to not have careers. She was a single, working mother for most of her career, long before it was common or even acceptable to be a mother who worked outside of the home. Finley also kept working well past the age when most people are expected to retire.
And her passion for fashion is almost unparalleled, as she kept up her rigorous work schedule for decades. She was tirelessly attending fashion shows well into her 90s. “Calendar Girl” includes footage of her attending some of these shows. In the documentary, Finley says, “Sometimes I do as many as 12 shows a day.” She also mentions that her personal career record for going to fashion shows was attending 150 shows in one week.
Fashion Calendar had a very simple concept that worked extremely well: Publish a calendar schedule of all the major fashion events happening in New York City. For years, before Fashion Calendar had office space, Finley worked out of her home. Fun fact: Before Emmy-winning actress Doris Roberts was famous, she worked as a teenage typist for Fashion Calendar in the publication’s early years.
The Fashion Calendar newsletter eventually grew into a booklet-styled publication years later. CFDA founder Eleanor Lambert, who started out as a fashion publicist, rose to prominence at around the same time that Finley did. Lambert, Finley and former Vogue (U.S.) editor Diana Vreeland are mentioned by several people as the three most influential women in fashion in the 1950s and 1960s.
Fashion Calendar, which was published weekly and then bi-weekly, was typewritten or mimeographed on pink paper for years, before computer technology existed. Finley and her small staff also kept files and Rolodexes that they still used until CFDA purchased Fashion Calendar in 2014 and Finley took on the role of consultant. At the time Fashion Calendar was sold to CFDA in 2014, the publication had only three full-time employees, including Finley and longtime Fashion Calendar editor Mary Hackle.
The idea of making Fashion Calendar pink ended up being one of the best ideas for the publication, not only because it made Fashion Calendar stand out from other fashion publications, but also, as Finley says, “The reason why we kept this color is so people would find it on a messy desk.” It’s why Fashion Calendar ended up being nicknamed “The Pink Bible.”
Finley (who was born in 1920, in Haverhill, Massachusetts) launched Fashion Calendar while she was still a student at Simmons College in Boston, where she majored in journalism and minored in nutrition. After graduating from college in 1941, she moved to New York City and devoted herself full-time to Fashion Calendar, which included listings for movie premieres and Broadway shows in the publication’s early years. Under her ownership, Fashion Calendar never had ads or took sponsorship money, which is unusual for any print-media publication.
Finley’s youngest son Larry Lein comments in the documentary: “She realized all along that she could’ve taken ads and she could’ve made more money, but she thought it would ruin the integrity of what she was doing and ruin her credibility. It never occurred to her that her business should be anything but an impartial listing service.” He also says that his mother’s business success could be attributed to her frugality, because she learned early on to keep overhead costs low.
While her Fashion Calendar business was thriving, Finley experienced major heartaches and tragedies. Her first marriage to businessman Hank Green ended in divorce in 1954, at a time when being divorced was considered somewhat scandalous, especially for women. Finley’s sons Joe and Jim Green were born from that marriage.
In the documentary, Finley says that her first marriage was a mistake that happened because she wanted to rebel against her domineering housewife mother, who didn’t approve of Hank Green and thought that women should not have careers. Finley and her mother didn’t see eye-to-eye on a lot of issues, but their relationship is described as close, despite any ongoing tensions.
Not long after her divorce from Hank Green, Finley married second husband Irving Lein, who owned a women’s designer sportswear company. Her third and youngest son Larry was born from that marriage. However, Irving tragically died of a heart attack at the age of 44 on January 14, 1959, which also happened to be Finley’s 39th birthday.
The widowed Finley told people at the funeral that she never wanted to get married again. And she never did. Finley says in the documentary that her way of dealing with tragedy and setbacks was to try to be as positive as possible: “I always believed in looking at the happy side. And too many people don’t know how to do that.”
That optimistic outlook on life served her well in an industry that tends to be very fickle and not well-suited for people who are sensitive to criticism. As the fashion industry grew in America (especially in New York City, the fashion capital of the United States), so too did Fashion Calendar’s influence. Finley found herself not just publishing the fashion schedules of the industry but also becoming a power broker who could decide who and what could be scheduled where and when. It was also a job that required a lot of negotiating skills to deal with the huge egos and histrionics in the fashion industry.
Her clout had a major effect not just with big-name designers but also with up-and-coming designers. Several people in the documentary, including fashion designers Betsey Johnson and Jeffrey Banks, have nice things to say about how Finley have them big breaks in their careers. And her Fashion Calendar work also affected the careers of countless other industry people besides designers, such as buyers, media, retailers and wholesalers. Ellin Saltzman, a former Saks Fifth Avenue buyer, says of Finley: “Without Ruth, I couldn’t do my job.”
Fashion designer Nicole Miller says in the documentary that for Miller’s first New York Fashion Week show in 1991, Finley was “tough” in insisting that then-newcomer Miller get a less-than-desirable time slot: 9 a.m. on a Tuesday. Miller says, through a lot of heated discussions with Finley, she was able to negotiate for a better time slot at 12 noon. Miller says that these negotiations weren’t easy because Finley was considered an industry powerhouse that a lot of upcoming designers did not want to alienate.
Fashion designer Nanette Lepore comments in the documentary that although Finley was no pushover, she still brought a sense of decorum and politeness to her job, in an industry where screaming tantrums and rudeness are very common: “She was constantly smoothing over egos, negotiating for someone … There was a gentlemanliness about how people approached fashion and Fashion Week, mostly because of how Ruth’s gentlewomanliness was managing it.”
Because she conducted most of her business over the phone, Fashion Calendar had a personal touch that many other fashion media executives lost as computer technology took over many businesses and people used email or social media to communicate with each other. In the documentary, Finley says that as long as she owned Fashion Calendar, she made sure that she and her small number of employees were always accessible through phone calls.
It was a very traditional mindset that people in the documentary say was both an asset and a detriment. Even though Crafting Beauty CEO François Damide says in the documentary of Finley, “I really think she’s the Steve Jobs of our industry,” that comment might be overstating her influence. Even Finley herself admits that she was far from a technology pioneer, and she didn’t really invent anything. She just provided a particular news service for the fashion industry before anyone else did.
Finley’s resistance to new technology would ultimately lead to her decision to sell Fashion Calendar. For decades, Finley turned down offers from other companies to buy Fashion Calendar. One of the reasons why Finley’s family convinced her to sell Fashion Calendar was that the American fashion industry and New York Fashion Week were just too big for Finley and her small staff to handle just by their old-fashioned methods of Rolodexes and hand-written drafts of schedules.
The Fashion Calendar staff eventually used computers, but former CFDA executive director Fern Mallis says, “Ruth was very late to get to the technology. People begged her to be online. She resisted.”
In 2014, CFDA president/CEO Steven Kolb and then-CFA chairperson Diane von Furstenberg approached Finley to sell Fashion Calendar to CFDA. Kolb says in the documentary that CFDA had been considering launching a rival fashion calendar business, but approached Finley to sell Fashion Calendar to CFDA, out of respect for Finley and with the promise that they would keep her core integrity for the business intact. The CFDA took over Fashion Calendar in October 2014. Fashion Calendar’s last print edition was published in December 2014.
Kolb comments in the documentary, “Technology, whether we like it or not, whether we accept it or not, it forces us to move forward in a way, because if we don’t, then we become irrelevant.” Kolb adds that Finley was also convinced to sell Fashion Calendar because he told her that stepping away from day-to-day managerial duties “frees her up … and lets her focus on the fun stuff.”
The documentary also gives a great overview of the priceless contributions that Finley made to the fashion industry, in terms of historical significance. She meticulously kept all of the Fashion Calendar issues, which she donated to the FIT Museum for posterity. These archives are incredible resources for research and for examining what was going on in fashion at the time. There are no other archives like it in the world.
Fashion Calendar wasn’t a flashy publication and there was “not a lot of production value,” comments independent archivist David Benjamin, who helped transfer Fashion Calendar archives to the FIT Museum. “But it’s important, in terms of the information it contains.”
Because “Calendar Girl” was filmed over several years, there are many other people who were interviewed for the documentary. Fashion designers who offer their glowing commentary on Finley include Carolina Herrera; Mark Badgley and James Mischka of Badgley Mischka; Tadashi Soji; Thom Browne; Ralph Rucci; Dennis Basso; and Steve Herman, a former CFDA president.
Other “Calendar Girl” interviewees include FIT Museum director/chief curator Valerie Steele; FIT Library head of special collections and college archives Karen Trivette; former Costume Institute/Metropolitan Museum of Art curator-in-charge Harold Koda; Costume Institute/Metropolitan Museum of Art communications officer Nancy Chilton; Fashion Group International creative director Marylou Luther; Cushnie et Ochs CEO Peter Arnold; Paper magazine editorial director Mickey Boardman; The Ground Crew CEO Audrey Smaltz; Victoria Royal president Alan Sealove; KCD co-chair Julie Mannion; and InStyle magazine editor-at-large Eric Wilson.
Even though all of these talking heads in the movie are very laudatory of Finley, “Calendar Girl” does an admirable job of not placing her too high on a pedestal, since it includes some constructive criticism of how Finley’s technophobia affected her business. “Calendar Girl” director Bruun was also the film’s cinematographer, and he brings an unpretentious intimacy to this fashion documentary, in contrast to so many other documentaries about fashion influencers that tend to lean into “larger than life” pomp and circumstance. Most of all, “Calendar Girl” is a noteworthy tribute to Finley, by showing that her name might not be well-known outside of the fashion industry because she remained humble and cared more about her work than she cared about being famous.