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"Shocking" Peta advertising against buying leather products

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"Shocking" Peta advertising against buying leather products

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https://www.youtube.com/watch?v=qs8yqcrqo1s&t=67s

Luisa

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Caterina Eleonori - African textiles and fabrics

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Caterina Eleonori - African textiles and fabrics

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Aurélia Durand – Work (aurelia-studio.com)

the usage of color and mix of prints from traditional african textiles. uniqueness and celebration of culture.

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Work created by Aurélia Durand for clients like Apple, HP, Magnum, Instagram, Califia Farms, Skillshare and many more.

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Warm Colouration in design is the first thing that comes to mind Representing the climate? This seems to be evident in tapestries especially

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Elise R-T - African design elements. lovely colours!

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Elise R-T - African design elements. lovely colours!

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Whenever it came to looking at Afro-centric design, I had always tied it with art and fashion. In both senses, the colours are bright, bubbly, and you'd see a large mix of colours that complement each other and bring each of them out further combined.

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zayn - modern take of traditional afro centric fashion design 

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zayn - modern take of traditional afro centric fashion design 

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These textiles are imbued with meaning and stories by their authors that easily resonate with local people. This is something I find very interesting.

https://www.itsnicethat.com/features/spinning-yarns-how-african-textiles-tell-personal-and-universal-tales-yinka-ilori-guest-edit-textiles-010721

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This story and Yinka Ilori's guest edit series were made possible by Extra Nice and our supporters. To become a member, unlock an inspiring new way to explore It's Nice That, and get your hands on some exclusive perks, head below.

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Spinning Yarns: how African textiles tell personal and universal tales

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This story and Yinka Ilori's guest edit series were made possible by Extra Nice and our supporters. To become a member, unlock an inspiring new way to explore It's Nice That, and get your hands on some exclusive perks, head below.

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Elise R-T - various materials for fashion design

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Elise R-T - various materials for fashion design

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Caterina Eleonori - Blue mood Paper beads on bark cloth by Sanaa Gateja 

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Caterina Eleonori - Blue mood Paper beads on bark cloth by Sanaa Gateja 

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Based on images and ideas I've seen online, I think Afro-centric Design is a term that refers to designs from Africa and encompasses various forms of expression through architecture, fashion, textiles, etc.
Afro-centric Design uses a lot of vibrant and bold colour palettes along with shapes, patterns of animals, and ones that are unique to their culture.

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Using visual references/tradition/cues that proudly celebrate African culture while not drawing on stereotypes. Luisa

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https://tdsblog.com/barkcloth/

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The arc of black history shares an uncanny resemblance to the plot points of classic sci-fi including 'alien' abduction, enslavement and rebellion. It's this unlikely relationship that provides the inspiration for Afrofuturism, the broad cultural trend that encompasses works by Jean-Michel Basquiat to Grace Jones, Solange Knowles and Sun Ra. In this film, we meet, see and hear from artists across three continents who each, in their own way, explore the Afrofuture to look at the horrors of the black past and imagine alternative futures.

The mysterious yet influential Detroit techno duo, Drexciya, take the Atlantic Ocean, a site of death and destruction during the African slave trade and reclaim it as a place of creation and beauty. Through a series of releases from the late 1990s through the early 2000s, they envisage the unborn children of enslaved pregnant women, thrown overboard during the Middle Passage to the Americas, adapting to breathe under water and thrive in a Black Atlantis. The mythos is vividly brought to life by the Drexciyan collaborator and graphic artist Abdul Qadim Haqq as a thriving, technological undersea world.

Visual artist Ellen Gallagher similarly transforms the violence of the ocean into rebirth and renewal. Her film Osedax, made with Edgar Cleijne, is an imaginative retelling of how the skeletal remains of dead whales sustain new life in the curious form of the bone-devouring worm of the title. Whereas for artist Hew Locke, as well as the ocean itself, it's the Atlantic's coastal fringes that inspire his world of bricolage phantoms, plucked from the ghost stories of a Guyanese childhood.

The Afrofuture is perhaps most commonly imagined through the rubric of outer space, thanks in no small part to avant-garde jazz musician and poet Sun Ra. Born in the southern US in the early 20th century, Ra underwent an interplanetary conversion, claiming to have been teleported to Saturn. As with funk pioneer, George Clinton, who describes a similar close encounter with extraterrestrials, Ra's identification with an alien presence can be read as more than simple escapism. It's also a biting satire on the alienating experience of being black in America. For Ra, space is also an alternate destiny for black people, as the title of his 1973 Afrofuturist feature film Space is the Place insists.

Reaching beyond these fictional 'Afronauts' is the conceptual artist Tavares Strachan. His performance piece, Star City, Training in Six Parts, sees Strachan visit the famous Russian space centre to undergo the same rigorous - and often tortuous - training of the Cosmonauts. Strachan likens one of the exercises, which measures our capacity to withstand disorientation and gravitational stress, to his impoverished upbringing in The Bahamas.

The film concludes with an exploration of the idea of double consciousness. Coined in the early 20th century by WEB Du Bois, the influential African American sociologist, double-consciousness describes how black people in western societies see themselves twice over. Through their lived experience but also how they're perceived within a dominant white culture.

Curator and writer Ekow Eshun traces uses of the idea through Ralph Ellison's lauded mid-20th-century novel Invisible Man, and painter Kerry James Marshall's image of the same title, right up to the Black Lives Matter movement. Predicated upon recordings of anti-black violence often captured through digital tech, Eshun argues these 'expose' a double consciousness at work, the world as experienced and seen through black eyes, laid bare for all to witness.

Other artists and commentators featured in the programme include Nuotama Frances Bodomo, Aria Dean, Ayesha Hameed, Kiluanji Kia Henda, Shabaka Hutchings, Elvira Dyangani Ose, Cauleen Smith and Greg Tate.

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BBC Four - Dark Matter: A History of the Afrofuture

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The arc of black history shares an uncanny resemblance to the plot points of classic sci-fi including 'alien' abduction, enslavement and rebellion. It's this unlikely relationship that provides the inspiration for Afrofuturism, the broad cultural trend that encompasses works by Jean-Michel Basquiat to Grace Jones, Solange Knowles and Sun Ra.

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Marcus

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Stop what you're doing right now and Google "African Design." Browse a few entries and click down a bit to see if you can find anything that is close to coherent. Don't worry-I'll wait...

My own search resulted in a gallery of kitsch fabric styles, moribund web pages from African design institutions like the African Design Centre and, and specious pontifications from non-Africans. A 2013 HuffingtonPost article didn't mention a single country by name when its author wrote, "African design is founded in [sic] on Primitivism and is concerned with raw form, childlike lines, and references to wildlife, earthly hues and the color orange." The entire continent just sighed with exhaustion.

Kente cloth on display in eastern Ghana.

Orange? Since when is Africa's clock permanently stuck on sunset? For the record, "Primitivism" is a Western invention-not an African one. And common sense should tell you that very few Africans live on savannahs and nearly none do so with wildlife grazing in a backdrop of earthly hues. Yet, judging by the internet, this fiction is what most Westerners think Africa is. Americans should take this as a cautionary tale.

"Encapsulating the styles of 54 countries in one term is a stretch," explains Shila Abdula, an architect and interior designer from Mozambique. "African countries had different journeys throughout time and the impact of colonialism in the design evolution of each is often overlooked."

A wood statue in Madagascar.

Instead, Abdula argues, what Americans define as "African Design" is often something conjured from Western imagination. "The term 'African Design' makes me think of objects and artifacts that are idealized and built using local resources (material and labor), and reflect the culture, traditions, and habits of a specific region," she says. "I feel Westerners may associate 'African Design' with tribal artwork, which is what is usually highlighted in most media."

Zimbabwean writer NoViolet Bulawayo said it best with the title of her 2013 debut novel, "We Need New Names." The same is true for the term "African Design," which reduces the multitude of aesthetics found across the 46 countries in subsaharan Africa to just a few export-driven motifs from tourist art found in a few well-known countries, namely South Africa, Ghana, and Nigeria. If we extend our gaze to include the Sahel, for example, we can consider eight more countries that further expand the diversity of designs and patterns to include Persian, Arab, and Bedouin influences. Yet, from across the Atlantic Ocean, grossly inaccurate statements about Africa, Africans, and cultural productions originating from the continent are all too common. This is precisely why African creatives and designers have decided to tell their own stories, through online spaces, like a Portuguese-language website for designers and architects in Mozambique, and the satirically named, Africa is a Country, the South-Africa based research-hub that uses creators on the continent to document the diverse contemporary cultural production of each country.

Togolese artist Sadikou Oukpedjo paints in his workshop in Bingerville, outside Abidjan, Ivory Coast.

AFP Contributor / Contributor

Kevin Wainaina of Nairobi-based architectural firm IntrigAfrica adds, "Most westerners tend to think of Africans as one large collective community with the same culture, yet there are many tribes in Africa and each tribe has its own identity. For example, Kenya alone has 43 tribes and each tribe has its own culture, which influences its design perspective. African design cannot be summed up to a term or style. It is vibrant and dynamic depending on the location and community. There is no defined African design language, hence designers should pick from different cultures and blend them to create their own authentic style."

For consumers, Abdula advises a "search for specific countries and reaching out to local architects, design ateliers, and furniture stores." But she cautions that the internet has its limitations. Of course, the results are only as good as the keywords used. Luckily, you've already ruled out "African Design." While you're at it, ditch "tribal" and "ethnic" too. These overused words can be pejorative and simplistic, especially when they're used as euphemisms for Africa. Every country in the world has local cultures and art elements that define its geographies. The key is to identify the appropriate words to describe the specific style you seek.

Traditional house decoration in the old town, Tripolitania, Ghadames, Libya.

Over 2,000 languages are spoken on the African continent, making an English-language search a blunt filter. Image heavy Instagram might be a better place to browse design elements that appeal. Buyers can dig deeper into the country of origin and engross themselves in modern experiences from contemporary creatives without saying a word. The photos and the products will speak for themselves, making it that much easier to finally stop using "African Design" to describe the plethora of bespoke installations made by people living on the mother continent.
Nafeesah Allen is an independent researcher with an interest in literature, gender, and diaspora studies in the global South. In 2019, she completed her Ph.D. in Forced Migration from the University of the Witwatersrand (Wits) in Johannesburg, South Africa. She leads BlackHistoryBookshelf.com, a book review website that highlights global Black histories organized by language, theme, and country. Follow her on Twitter or Instagram @theblaxpat.
This content is created and maintained by a third party, and imported onto this page to help users provide their email addresses. You may be able to find more information about this and similar content at piano.io

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Let's Stop Referring to "African Decor' as One Style"

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Stop what you're doing right now and Google "African Design." Browse a few entries and click down a bit to see if you can find anything that is close to coherent. Don't worry-I'll wait... My own search resulted in a gallery of kitsch fabric styles, moribund web pages from African design institutions like the African Design Centre and, and specious pontifications from non-Africans.

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Ansel reference

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Colour is the closest thing to something spiritual for me. It's transformative and belongs to everybody and nobody.

An artist, musician, designer, British-Sierra-Leonean and previously a chef with The Groundnut Collective, Duval Timothy 's multidisciplinary creativity draws on his English and West African heritage as a point of departure for his lifestyle brand Carrying Colour.

Producing fabric, art and products with a minimal aesthetic centred on chromatic tones and cultural diversity, Timothy designs pieces in his London studio, manufacturing them in Sierra Leone by traditional weavers and artisanal tailors who work with him collaboratively.

The resulting West-African made products reinterpret traditional craft through a contemporary lens while highlighting the importance of indigenous weaving techniques in Sierra Leone. The fabrics developed have been used to create scarves, kimonos, jackets and trousers, therefore presenting a contemporary take on weaving culture. Living between London and Sierra Leone, Timothy believes in a dialogue between and across cultures, borders and identities, as well as the transformative and omnipresent qualities of colour in both art and life. In the interview that follows, he discusses the ways in which his diaspora experience informs his unique brand.
Q) How did the brand begin and is there a specific ethos behind the name?
I founded Carrying Colour after learning traditional weaving in Sierra Leone and I wanted to continue this historic craft by bringing my own aesthetic to it. The name is a manifesto of sorts, pointing to the bold colours I use, while also serving as a nod to heritage. This could be my own background, being English, Sierra Leonean and Ghanaian, but also the heritage of the products and the journey of their creation.

The name is a manifesto of sorts, pointing to the bold colours I use, while also serving as a nod to heritage.
Q) Everything produced by Carrying Colour - from music to artwork to clothing - is on a limited run. Is this in response to the throwaway culture associated with contemporary life?
Creating short runs of products means that as the manufacturer I am able to continuously develop ideas. I don't need to force the same product down people's throats on social media to get my investment back because I'm rarely left with a large inventory. Some of the items are one of a kind or one of five, ten or thirty so they sell out, which maintains an appetite for the next design. Whether I make one unit or one thousand, the concept has been brought to life and can disseminate online to a wider audience.
Q) How does your Sierra-Leonean identity and your multi-layered creativity intersect with and inform Carrying Colour?
Everything I've done creatively informs another thing in some way and brings a new approach to that discipline, so they have all fed into Carrying Colour. Having an independent brand to release all of these things means I can maintain control and authenticity. Exploring my British-Sierra Leonean identity has given me the desire to work in West Africa and contribute to development there in a sincere and lasting way.
Q) Could you speak about weaving in Freetown, as well as embracing traditional tailoring used in Carrying Colour's woven fabric products?
The woven products are made by Abu Bakar and other weavers in the 'War Wounded' community of Grafton on the Freetown Peninsular. I have also commissioned work in a small village called Folu in Eastern Sierra Leone, which is renowned for its master weavers. There is a constant influx of cheaply imported clothes and fabrics from Asia and second-hand clothes from Europe, which leads to an abundance of cheap clothing in the city.

Traditional woven fabric, which is more expensive, slower to make and often limited to a variety of traditional styles cannot compete and so the number of people weaving has diminished greatly. As a form of response to this, many weavers now go to second-hand markets in Freetown known as 'the junks' and buy old wool cardigans and jumpers, pull them apart completely winding the yarn onto a new bobbin and then weaving a new length of cloth from it. It is an incredible process. Although this is labour intensive, for many weavers it works out cheaper than buying new yarn, which is of worse quality than 100% wool that can be found in the imported clothes.
Q) Your 'Salone Scarf' range took two years of research in order to develop Carrying Colour's own fabrics. What was revealed to you in this process and were there any surprises or discoveries?
West-African weavers are talented at making quite complicated ornate designs, which I found fascinating. However, I found that it was ultimately most interesting to reduce the designs to a plain single colour or simple stripe design which allowed me to focus on the beautiful colours and human touches of the handwoven fabric.
Q) What are some of your insights about creativity in Sierra Leone - compared with elements in the UK?
In the UK after childhood we put creativity into a box. Consequently, it is common to hear remarks like "I'm not creative at all," "I can't sing" or "I don't understand art." We have put art on a pedestal and expect to encounter it mostly in predictable contexts such as galleries and concerts. In Freetown, creativity, sound and colour are woven into life and more people take part in the making and consumption of it.

Clever phrases are painted on poda podataxis and kekes, or [there's style] from the way an item of clothing is worn. You hear music in the street and in most of the places that you look, you can see an innovative design solution. If someone came looking for "art" in the way we know it in the UK, they are likely to encounter something pretty unoriginal, however, creativity can be seen in so many other places
Q) You dress in blue almost all of the time but what does colour mean to you?
I only wear blue as a homage to Lewisham, the area in South East London where I grew up, which is known locally as 'Blue Borough.' Colour is the closest thing to something spiritual for me. It's transformative and belongs to everybody and nobody.
Q) What's next for Carrying Colour?
There's new music on the way and more limited-edition clothing!

::

This interview, by Jareh Das, comes from a partnership between Let's Be Brief and People's Stories Project (PSP) - part of the British Council's arts programming across Africa.

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Carrying Colour: The art of vibrant minimalism

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Colour is the closest thing to something spiritual for me. It's transformative and belongs to everybody and nobody. An artist, musician, designer, British-Sierra-Leonean and previously a chef with The Groundnut Collective, Duval Timothy 's multidisciplinary creativity draws on his English and West African heritage as a point of departure for his lifestyle brand Carrying Colour.

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Ansel reference

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The release of 'Renaissance' in Israel has spelled the end of informed indifference when it comes to Beyoncé and other stars who choose to do business with the apartheid regime.

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"Uganda Craft Collection basket dishes and pots are all hand woven using traditional natural dyes, sisal and raffia straw." Luisa

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Exotic safari designs, Africa is known to be the home to many different wild animals and environments, and applying such African design in architecture or interior design gives a sense of nature to homes. (jerry)

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Gentle monster - eyewear brand in Korea marketing strategy 

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Gentle monster - eyewear brand in Korea marketing strategy 

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https://www.instagram.com/p/CVfHqV9F9Oh/?utm_medium=copy_link

Kimmy
In 2019, eyewear brand called gentle monster became very popular in Korea for it’s flagship stores or showrooms. The brand’s in-house designers would curate an exhibition collaborating with other celebrities and artists to portray the speculative scenario. Their eye wear product would only be displayed in the last room of the gallery or even not be displayed at all. People who visited the showcase room posted photos of the exhibition on Instagram and the brand was advertised by the audience.

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View this post on Instagram

A post shared by GENTLE MONSTER Official (@gentlemonster)

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Rachel Yu - Gentle Monster's Interior Design

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Rachel Yu - Gentle Monster's Interior Design

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I think Gentle Monster's store interior is interesting as the different futuristic themes shown through art installations and displays could attract customers and can also relate to the designs of their eyewear

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GENTLE MONSTER Store Locator | Store GentleMonster.com

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Select a location and find the nearest Gentle Monster stores.

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"In addition to partnering with existing charities and non-profits in developing countries, Warby Parker began their own venture, the Pupils Project. For this endeavor, 10 famous creatives from New York City designed their own pair of glasses to be sold at Warby Parker.

Not only does their work with Pupils Project further their socially conscious mission to bring affordable vision care to everyone, everywhere, it also shows their customers—and likewise other socially conscious companies—that a company can be successful and continue to expand the scope of their outreach."

–Marcus Djuhadi

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They manage to cater for a wide range of audiences from cycling to everyday use. I feel they advertise well as they manage appeal to people such as Dua Lipa for fashion while also appealing to the everyday person.

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Helmet Heads - Henry Moore - Alice Ref

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HENRY MOORE: THE HELMET HEADS

6 March - 23 June 2019
Organised with the Henry Moore Foundation

"...atmospheric drawings, lithographs and small-scale sculptures that will surprise visitors..."

"Credit to the curators..."

"Walking through this show...you suddenly start seeing the world like Moore does."

"I spent many hours at the Wallace Collection looking at armour..." - Henry Moore, 1980

Henry Moore: The Helmet Heads was the first major exhibition to explore the great twentieth-century British sculptor's fascination with armour. Ground-breaking new research revealed that Moore's long relationship with the Wallace Collection directly inspired the creation of his celebrated Helmet Head sculptures, which were shown here together for the very first time.

Presented in collaboration with the Henry Moore Foundation, the exhibition uncovered the previously unknown role of specific helmets and armour from the Wallace Collection in influencing Moore's ideas and creations. This was the first time that Moore's helmet-related works, comprising over sixty sketches, drawings, maquettes and full-sized sculptures in plaster, lead and bronze, were comprehensively assembled to be juxtaposed with the Renaissance armour that inspired them.

Read more about Henry Moore in our blog post 'Who Was Henry Moore?'
Explore the Henry Moore: Helmet Heads merchandise range online

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Henry Moore: The Helmet Heads exhibition

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6 March - 23 June 2019Organised with the Henry Moore Foundation "...atmospheric drawings, lithographs and small-scale sculptures that will surprise visitors..." "Credit to the curators..." "Walking through this show...you suddenly start seeing the world like Moore does." Henry Moore: The Helmet Heads was the first major exhibition to explore the great twentieth-century British sculptor's fascination with armour.

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Environmental Responsibility | Crap® Eyewear – Crap Eyewear

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Energetic and vibrant, confident - Luisa

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maybe problematic to use human suffering as a way to promote relatively expansive glasses? Luisa

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Tries to create a trusting bond with customers with encouraging quotes and to show that they care

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MASON, Ohio--()--LensCrafters is proud to launch a global creative campaign that will encourage consumers to stop and marvel at the vital role that eyes play in their emotional life, personal identity and overall health. The campaign, entitled "Take a Stand for Quality Vision Care", will communicate LensCrafters' passion for celebrating the eye and acting as a partner in total vision care-the synergy of trusted eye care and exceptional eyewear. LensCrafters is the North American representation of the Eye Love global retail brand family that also includes LensCrafters China (China), OPSM (Australia) and GMO (South America). The campaign launches for LensCrafters on Sunday, February 2 and on behalf of LensCrafters China and GMO in March 2014.

"Take a Stand for Quality Vision Care" will prompt the viewer to reconsider the eyewear retail category and who they trust to care for their eyes. It will inspire the public to seek a qualified partner who understands the importance of the eye, not only to vision, but also to the entire life experience. The campaign features striking imagery paired with bold, provocative language that pulls at the emotional essence of eyes and the preciousness of sight. It expresses the experience of staring deep into someone's eyes and getting lost, finding their humanity and gauging their spirit.

Owned by Luxottica-the leader in premium, luxury and sports eyewear-LensCrafters is the leading provider of truly complete vision care. The brand offers experts in vision care, including eye doctors and skilled opticians; personalized experience from knowledgeable staff aided by proprietary technologies, and a comprehensive selection of high-quality and name brand eyewear.

"The new campaign is more than a new creative direction-it is a common vision for our brand to make sure that everyone who sets foot in our stores leaves seeing what they love and loving what they see," says Eric Anderson, SVP & GM LensCrafters. "We accomplish this by offering the latest technologies for fitting and selecting glasses and the highest quality name brand eyewear. This campaign challenges people to think about how they care for their sight and who they trust to help them along the way."

"Take a Stand for Quality Vision Care" focuses on five key stories:

Why a Tenth of a Millimeter is Massive: Precision measurements matter. Just a tenth of a millimeter's discrepancy in placing your prescription can mean the difference between seeing clearly and enduring blurry vision. LensCrafters ensures every prescription is placed with AccuFit®, an exclusive digital scanning system that measures eyes five times more precisely than traditional methods, down to a tenth of a millimeter. This means LensCrafters can craft lenses more accurately and help their customers see the world more clearly.

We Listen to Eyes: Eye exams should do more than assess prescriptions. At LensCrafters, independent doctors of optometry are able to lookdeep into eyes with state-of-the-art AccuExam technology to learn about eye health and even overall wellness.

Be Clear: A trusted partner serves as a guide in selecting eyewear that fits well and expresses the wearer's personal style. LensCraftersprovides myLook, an exclusive technology that allows customers to see photos of themselves in up to four different frames side-by-side and choose a frame with better confidence.

Invest Here: Vision is priceless. LensCrafters is the partner in total vision care offering both trusted eye care and exceptional eyewear.

All Glasses are Not Created Equal: LensCrafters offers precision you can see and quality you can feel with name brand eyewear and state-of-the-art lenses.

The campaign will run on television, print and digital platforms.

About LensCrafters:

With its 30-year history, LensCrafters is a leader in optical retailing with more locations across North America than any other retailer in the category. LensCrafters is owned by Luxottica Group, a leader in premium, luxury and sports eyewear with approximately 7,000 optical and sun retail stores in North America, Asia-Pacific, China, South Africa, Latin America and Europe. LensCrafters is part of the Eye Love global retail brand family that offers complete vision care through trusted eye care and quality eyewear. Under the Eye Love brand umbrella, which includes LensCrafters China (China), OPSM (Australia) and GMO (South America), are inspiring people to fall in love with their sense of sight, investing in new technology and offering an exceptional range of eyewear with their parent company, Luxottica Group. The brands share a heritage of care and innovation that spans a total of more than 80 years.

For more information about LensCrafters, visit www.lenscrafters.com.

About Luxottica Group S.p.A.:

Luxottica Group is a leader in premium, luxury and sports eyewear with approximately 7,000 optical and sun retail stores in North America, Asia-Pacific, China, South Africa, Latin America and Europe, and a strong, well-balanced brand portfolio. House brands include Ray-Ban, the world's most famous sun eyewear brand, Oakley, Vogue Eyewear, Persol, Oliver Peoples, Alain Mikli, Arnette and REVO, while licensed brands include Giorgio Armani, Bulgari, Burberry, Chanel, Coach, Dolce & Gabbana, Donna Karan, Polo Ralph Lauren, Prada, Starck Eyes, Tiffany and Versace. In addition to a global wholesale network involving 130 different countries, the Group manages leading retail chains in major markets, including LensCrafters, Pearle Vision and ILORI in North America, OPSM and Laubman & Pank in Asia-Pacific, LensCrafters in China, GMO in Latin America and Sunglass Hut worldwide. The Group's products are designed and manufactured at its six manufacturing plants in Italy, two wholly owned plants in the People's Republic of China, one plant in Brazil and one plant in the United States devoted to the production of sports eyewear. In 2012, Luxottica Group posted net sales of more than €7.0 billion. Additional information on the Group is available at www.luxottica.com.

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LensCrafters Takes a Stand for Quality Vision Care with Global Advertising Campaign Launching Sunday, February 2, 2014

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MASON, Ohio--()--LensCrafters is proud to launch a global creative campaign that will encourage consumers to stop and marvel at the vital role that eyes play in their emotional life, personal identity and overall health.

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My understanding of afrocentric design is a way in which African culture is celebrated and portrayed via the means of architecture, art, textiles, ceramics, etc

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"The photoshoot is clearly an intended transgression between traditional notions of masculinity and femininity.
The sunglasses campaign features Israel Adesanya, "who started as a dancer and has a very modern take on masculinity," showing off Karen Walker's eyewear designs with a big smile and a flower behind his ear. In the end, the photoshoot intends to take a multifaceted approach to the notion of masculinity."  Luisa

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It's minimal and it's simple for its purpose, their brand identity is also admirable since that with each pair that has been purchased, another pair gets donated to a person that doesn't have that opportunity.

There is also a partnership opportunity with how the Product Photograph has been put together. You can do collaborate with the backdrop and the middle ground as well.

https://bloobloom.com/pages/about-u

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Comes across straight away as patronizing? (pinterest ad)

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I like the suggestion that everyone is different and not classed in the same 'package'

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I really like the brand bird eyeware's packaging. It aims at using sustainable packaging and uses dissolvable mailing bags.

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Whilst eyewear is our speciality, we totally geek out on all things material. Being on a mission to make the planet a better and safer place, means not only focusing on our frames, but the whole package (the whole company in fact).

We've been refining our packaging to have minimal impact on the environment since we started. Our newest addition is a hexagonal delight to our beloved nest box. We've teamed up with Flexi-hex and now use their incredible paper sleeves to keep our Birds snug inside their boxes as they journey to find new faces.

Flexi-hex's incredible paper sleeves go above and beyond in more ways than one... they are made from over 85% recycled paper pulp while all virgin paper is FSC Certified.

If you can't find a creative way to reuse them (like keeping a banana safe during your weekend bike ride), then it's good to know they are curbside recyclable, biodegradable and compostable.

Plus using Flexi-hex means reducing our shipping and storage costs, and ultimately the impact on our environment.

We'll keep experimenting if you will...

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Mindful Materials : Introducing Flexi-hex

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Whilst eyewear is our speciality, we totally geek out on all things material. Being on a mission to make the planet a better and safer place, means not only focusing on our frames, but the whole package (the whole company in fact). We've been refining our packaging to have minimal impact on the environment since we started.

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https://www.itsnicethat.com/articles/zac-fay-illustration-240420

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Zac Fay discusses his colourful characters and aligning his values with commercial work

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Zac combines the imaginative worlds he creates with strong principles and an open mind, from Covid-19 support to eyewear brand campaigns.

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https://www.harpersbazaar.com/fashion/trends/g5171/toast-karen-walker-campaign-summer-2015/

Luisa

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Karen Walker Goes to the Dogs for Summer 2015

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Toast the Dog faces the new eyewear campaign.

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https://www.viva.co.nz/article/fashion/karen-walker-models-eyewear/

reminds me of Cindy Sherman

Luisa

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Karen Walker's new eyewear collection - which she models in herself - explores the many facets of being a modern woman

Picture / Supplied

On the surface they are striking images of fashion designer Karen Walker modelling for the first time ever as she becomes the face of the campaign for her latest eyewear collection, Transformers. Dig a bit deeper and this campaign sets out to explore the many guises all of us create to face the world. Shot, appropriately enough, in Hollywood - the home of glamour, transformation and reinvention - it takes inspiration from populist artists such as Cindy Sherman, Robert Mapplethorpe and Andy Warhol and, as Karen explains, reflects her own life in the need to be "more than one woman" on a daily basis.

Expand on the idea of needing to be "more than one woman" - what does that mean and why explore it through the campaign?
This is just a reflection of people I know and myself - we're made up of many different identities and have many different roles that we push to the front when appropriate. Being yourself isn't as exciting as being lots of people. I don't know if people really know who "themselves" are actually. I think most of us have many versions of self.

This is relevant to this eyewear campaign because we find that when people put on eyewear they feel transformed into a new role or new character or a heightened version of some element of themselves. Of course, all this is especially apparent in the world of social media - where people have an edited/perfected/controlled/filtered version of themselves (and what they eat and where they travel) that they're prepared to present to the world.

Pictures / Supplied

Conversations around women and their influence, power, vulnerabilities are especially topical right now, following the Women's March - something passionately supported by the fashion industry. How can fashion as an industry acknowledge these conversations and movements in a way that feels authentic?
First of all, the best way to feel authentic is to be authentic. And I think the best way for the fashion industry to acknowledge the conversation around women and their influence, power and vulnerabilities is to embrace the multiple possibilities that women can be and are.

You're front and centre in the campaign, something you haven't done before - why cast yourself?
We felt that for the idea to work there needed to be a certain amount of familiarity - a base from which to create all these different characters that would disorientate/surprise/amuse the viewer.

James Dean, Dolly Parton, Princess Margaret - how do these various personas reflect the message behind the campaign and how did you settle on each? Why not all women?
This isn't about masquerading as these people. The characters we created are all fictional using a bunch of different people, real or imagined, as jumping off points. They represent the heightened reality you feel when you put on a new pair of shades. The idea of masculinity and femininity colliding has always been at the core of the Karen Walker brand - we always look to both the masculine and the feminine in our work and love it when the two collide.

Pictures / Supplied

You were part of a panel at the Cindy Sherman exhibition in Wellington last year, how did that - and Cindy's wider work - influence the campaign's message?
I've always been a big fan of Ms Sherman and what I love about her work is the idea of manufacturing characters and vandalising popular culture. Another thing I really love about her work is that she predicted the idea of the selfie and the edited version of self, which is exactly what social media has brought to the everyday and every person. This campaign was shot a couple of months before the exhibition opened but Ms Sherman, alongside Mapplethorpe and Warhol, was very much part of the idea.

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Karen Walker Models for New Eyewear Campaign

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Karen Walker's new eyewear collection - which she models in herself - explores the many facets of being a modern woman Picture / Supplied On the surface they are striking images of fashion designer Karen Walker modelling for the first time ever as she becomes the face of the campaign for her latest eyewear collection, Transformers.

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It is a Bold and colourful design style,

people can see this is come from Africa at a glance.

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Their about page is very informative but at the same time engaging to look at with their use of colours, typography and humour in some of the videos they provided.

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Skip to content If you have found yourself wondering what sets Oatly apart from other companies, and you've arrived at this very webpage for answers, then we are delighted to tell you-but we should probably warn you that we are not going to be able to do so in just a few succinct sentences.

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Luisa

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Luisa

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This ad was intended to promote Nivea’s “Invisible for Black and White” deodorant and was posted to the brand's Middle East audience but was perceived as racist due to the wording of the slogan

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- Source:
https://www.youtube.com/watch?v=jyocDeGh7Qs

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The Harley Davidson Experience - Living By It

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I like how Ikea is endorsing lowering carbon emissions (helping the environment) and the fact it indicates the walking distance being more plausible (in steps) 

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What I found cool about this campaign was that along with the fact they used the most popular names that were used in 2013 - 2014, you were also able to customise them to your name at their 'Share a Coke Tour'

The ‘Share a Coke’ campaign ran in 70 countries and picked up 7 awards at the Cannes Lions festival.

PS: The only peeve I have with it was the fact that I was never able to get a bottle with my name >:(

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https://www.youtube.com/watch?v=w90PUm6iVyg

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There is a Chinese beauty brand called "Hua Xizi", which stands out because it has a lot of Chinese elements and it is not only a beauty product but also a work of art for many people. A lot of people buy them for their packaging, it's a bit of a collection.

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Founder of rapha showing his way of taking down the industry's and marketing restrictions.

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Dior pop up in a mall in Hong Kong which could attract people to take/post photos, learn more about the new product they're advertising and perhaps purchase it

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Interesting / creative way to spread the brand message and create media attention

Luisa

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This ad was definitely the most creative for Pepsi toward their rival company Coke-Cola. This ad was later removed because of the overshadowing of the other rival brand.

In all fairness though, since the Pepsi ad overshadowed Coke-Cola, they increased their market penetration for the Pepsi brand which is considered as an unethical process.

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It uses one min to show the scene of the night and the midnight.

And the people who work and start their day at midnight while showing MC products.

And the music can bring the feeling of midnight to people. like, it makes people feel immersive. It also makes people feel real, so I think it’s a successful campaign.
https://www.youtube.com/watch?v=ciuuRnTEoTs
Tong Liu

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The 19th FAB Awards: McDonald's - Overnight (We are Awake)

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https://shevoke.com/products/dolce-noir

A sydney based eyewear brand that I love and admire their branding and stand point.

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DOLCE NOIR, made from polished black & cream acetate in a bold rectangular shape. Choose between a wide or thin arm to suit your style.

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https://estrid.com/uk/
Estrid is an affordable razor brand aimed at women. As well as being aesthetic and looking cool, Estrid run multiple campaigns about being body positive, inclusive and shaving being a personal choice. They are very current and keep up with trends on their socials & include relatable quotes on their packaging. The brand is over fun and successful and meet the needs of their target audience.

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https://www.youtube.com/watch?v=62mUh2MEQr8&ab_channel=ChristianDior

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PPU – Wazi Industry Brief, Online Whiteboard for Visual Collaboration (miro.com)

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https://miro.com/welcomeonboard/c2N5dENqWHRZMXZ2a0ZXMzF6QUg0aTd3M1JIZTZRMlA2SWRBZm5uSEZZWlNTMWlBTVhENnJaREpnN1J0NVZ0QnwzMDc0NDU3MzUxMzI5NDAxNTU1?invite_link_id=732536043026

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Sign up | Miro | Online Whiteboard for Visual Collaboration

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Scalable, secure, cross-device and enterprise-ready team collaboration whiteboard for distributed teams. Join 10M+ users from around the world

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https://miro.com/welcomeonboard/bWttZ211cXFlS3M2dmhRQW5sNDh3Y2kxSllrT2RBaWh0VWlRQk1oRVlvb21lbFhBWVFsQ01JeWFKcG1hakIxWnwzMDc0NDU3MzU0OTc0NDkyNDUx?invite_link_id=228820637068

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Sign up | Miro | Online Whiteboard for Visual Collaboration

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Scalable, secure, cross-device and enterprise-ready team collaboration whiteboard for distributed teams. Join 10M+ users from around the world

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https://miro.com/app/board/o9J_lk7hw6k=/

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Sign up | Miro | Online Whiteboard for Visual Collaboration

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Scalable, secure, cross-device and enterprise-ready team collaboration whiteboard for distributed teams. Join 10M+ users from around the world

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https://miro.com/app/board/o9J_lk9m1Rg=/

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Sign up | Miro | Online Whiteboard for Visual Collaboration

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Scalable, secure, cross-device and enterprise-ready team collaboration whiteboard for distributed teams. Join 10M+ users from around the world

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Japanese eye ware brand Megane Ichiba. Their website has illustrations as promotions and also some suggestions of how to pick glasses that match to your fashion. They also did several collaborations in a limited time period with some famous anime, which I admire a lot because they made these anime fans who want to collect these glasses their target audience as well.

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眼鏡市場【公式】(メガネ・めがね・サングラス)

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メガネのフレーム表示価格にレンズ代金は「こみこみ」。近視/遠視/乱視の方必見！超薄型レンズでも、遠近両用レンズでもめがねのお値段そのままなのは眼鏡市場だけ。