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Skip the Queue is brought to you by Rubber Cheese, a digital agency that builds remarkable systems and websites for attractions that helps them increase their visitor numbers. Your host is Paul Marden.If you like what you hear, you can subscribe on iTunes, Spotify, and all the usual channels by searching Skip the Queue or visit our website SkiptheQueue.fm.If you've enjoyed this podcast, please leave us a five star review, it really helps others find us. And remember to follow us on Twitter  or Bluesky for your chance to win the books that have been mentioned in this podcast.Competition ends on 21st May 2025. The winner will be contacted via Bluesky. Show references: Museum Wales website: https://museum.wales/Big Pit National Coal Museum: https://museum.wales/bigpit/Catherine Pinkerton LinkedIn: https://www.linkedin.com/in/catherine-pinkerton-b1905a110/Catherine Pinkerton is the Group Retail Manager at Amgueddfa Cymru - Museum Wales.Having worked in senior management positions for some of the high street's most recognisable brands such as Harrods, Selfridges, Dior and Guerlain to name but a few, Catherine spent 20+ years in London building her management career. Catherine is now the Group Retail Manager for Amgueddfa Cymru (Museum Wales). She is responsible for the management of all aspects of retail operations and development, across the national museums of Wales. Catherine is currently leading on a transformation project to create immersive retail experiences in each of the museum shops, reflecting the visitor experience and collections of each of the varied museums.Guests Also Featured in This Episode:Anya Kirkby, Freelancer - Anya Kirkby Ltd – Product Development and Graphic Design anyakirkby@gmail.comArantxa Garcia, Freelancer - Exibeo VM Creative Studio – Shop Design and Visual Merchandising Arantxa@exhibeovm.co.ukNia Elias, Director Relationships and Funding, Amgueddfa Cymru nia.elias@museumwales.ac.ukGuy Veale, Freelancer – Freelancer - Sound artist/designer - gbveale@gmail.comAmy Samways, Shop Supervisor, Amgueddfa Cymru - amy.samways@museumwales.ac.ukKate Eden, Chair, Amgueddfa Cymru - Members of Board | Museum Wales Transcriptions: Paul Marden: Welcome to Skip the Queue. I'm your host, Paul Marden. So today you join me on the top of a mountain in Blaenavon in Wales at Big Pit, the National Mining Museum. I'm here today for a really special event. I've been invited to the opening of Big Pit's new Museum Retail experience, which is a programme of work that's being done by the Museums Wales Group to improve the sense of place and the sense of feeling for what could be a blueprint for the rest of the group. We're going to be joined by a number of different people that have taken part in the project and without further ado, let's get started on our tour of Big Pit. Catherine Pinkerton: Morning, everybody. Hello, welcome. It is my absolute pleasure to welcome you all today and I know there's been a lot of you'd have travelled far and wide, so thank you so much for your time. I really appreciate you coming to see the amazing store that we've created and I hope you love it. We're just going to cut the river now. Paul Marden: First up I've got Catherine Pinkerton, Group Head of Retail at Museum Wales. Catherine, welcome to Skip the Queue. Catherine Pinkerton: Thank you very much. Thank you so much for having me. Paul Marden: Absolute pleasure. And this is a corker of an episode. I think everybody is going to be really interested in finding out about the retail, the gift shop experience that you guys have introduced at Big Pit and then you're going to go wider into. Into Museums Wales. This is a really weird episode because you and I are recording the morning after the day before. So yesterday was the big launch event and I was with you at Big Pit and I've met lots and lots of people and we're going to cut to them throughout the episode and hear from those people that were taking part in the project. But you and I have got the benefit of having enjoyed yester today's event and we can look back on what that experience was like and talk a little bit about the project. Paul Marden: Before we do that, I think it would be really lovely for you to introduce yourself and tell us a little bit about Museums Wales and Big Pit specifically. Catherine Pinkerton: Absolutely. Okay. So I'm Catherine Pinkerton. So I head up all of the retail stores within Amgueddfa Cymru, which is National Museums of Wales. I've been with the museum just under three years and I'm good that Cymru hosts seven sites. It's an incredible establishment to be part of and I think, you know, coming from a very commercial background, this is very different for me, but I think it's given me lots of insights into bringing kind of. Lots of. Kind of different skill sets, I guess, to this cultural sector. I think when I first initially joined Amgueddfa Cymru, there were lots of challenges. And that's not to say that we still have those challenges as they are in many of our museums. And I think coming from a retail background, it's. It's looking at something that's not. That's commercial, Paul.Catherine Pinkerton: That's key. But actually, how can we make it very collection and story based on our amazing assets that we hold within our museums? And I think that I felt was probably the biggest thing that was missing because I thought we've got these amazing exhibitions, these amazing collections, amazing, you know, opportunities, and how are we putting that into the retail structure and how do we offer that to us, you know, to our visitors? And I think. I think sometimes it may be. Have forgotten that you go around these amazing spaces and it's very based on that visitor focus and how can we make that visitor feel very happy and engaged. But actually the end part of that process is nearly always coming through, exiting through the retail space. Right. Catherine Pinkerton: And if they've had this amazing opportunity to go and, you know, a lot of investment in these amazing spaces, and then they come through that retail space which has some elements, but not all of what our collections hold, there's a confusion there. You know, that end piece. And for me, customer service and visitor experience is absolutely key to how they. How they finish and how they end their day. And if they're ending their day with something, oh, okay, I'll just have a magnet then. Because there's nothing really else here. Yeah, that pains me. That really hurts me. I think, come on, guys, we can do better than this. We are in an element of. We have our own assets, our own elements to be able to kind of display that. Catherine Pinkerton:  And I think very much it would be very easy and to take the kind of easy road of having, you know, let's. Let's pop a dragon on a mug and yeah, we're a Welsh museum. No, we're not. We have assets here. We have beautiful exhibitions, we have beautiful spaces. And actually looking from further afield into. In terms of an emotional connection. And I think, you know, for me, from all of my past kind of previous work, I'm working with Amgueddfa Cymru. It's probably been the most challenging to get perhaps senior management to understand a crazy way of Catherine Pinkerton working into a. What's emotional retail? What does emotive selling mean? This lady is crazy. What's she talking about? But actually, it's really basic, isn't it? Catherine Pinkerton: Because for me, if I take my daughter or my husband to any kind of day trip, I want to take something emotional that I've connected with home with me, and that's so simple. But actually, sometimes it's not thought about in that way. And, you know, for me, I'm all about the emotional connection. And I think we put so much investment in curatorial teams to kind of give that to our visitors. We need to end that. That end part is so important for them to finish, you know, that journey with that emotional connection that they can take home as a souvenir. So, yeah, I've probably said more than I needed to there, Paul, but.Paul Marden: Absolutely. So I think you're capturing the need to curate the. The ending experience because, you know, the nature of. The nature of people's memory is they remember the beginning and they remember the end and the bit that is in the middle is hugely important to the storytelling experience they have whilst they're at the attraction. But if you don't end on a high, then their emotional connection to you and the space and the stories they've heard is not going to be as impactful for them. Catherine Pinkerton:  Absolutely, totally agree. I think it's really key, and not just in the kind of, you know, the cultural sector, but in any sector, really. I think it's really important that connection is instant, really, because that is what you need to. That's the hook, isn't it, of getting that person, you know, and. And actually understanding what the visitor needs. I mean, it's very easy for me to say on a personal level, I'd love to have this collection of products within the shop, but actually, that's not what data tells us. That's not what our demographic tells know, you know. And they are the ones that are important. Our local communities, our demographic is key for us to be successful. Paul Marden: You know, so one of the things that I took from yesterday was the importance that you were moving away from being just any other generic Welsh gift shop to being a gift shop associated with the place. Yeah, that. That's the. That was the nub of I think, what you were trying to get to how do you go about doing that? How did you make it feel so much like a gift shop? About Big Pit? Catherine Pinkerton: It's taken a process of really pulling everything back and getting under the skin, what is the detail and the personality of the site. But actually it's talking to people and being humour. And Paul, you know, I think, very much, as I say, it'd be very ignorant for me to say this is what I think will work. And that's absolutely not what we want. What we want is for the visitors to say, I really. I mean, what was really interesting, actually, is that we did quite a lot of data analysis in terms of the demographics of customers that come through our sites. But also what was really key is areas of the sites that were really kind of, you know, three key areas that they really enjoyed or they really loved. Catherine Pinkerton:  And actually, one of the top ones was the pit ponies that they all love the pit ponies, they love talking about it, they love the stories that the mining team would talk about. It was a really inspiring, you know, inspirational moment for them to think, oh, my gosh, the pit ponies lived underground. This is really so, you know, I think in some respects that was probably missed in terms of our retail offer, because what we did after that is that we had a workshop with all our retail team and we almost did a little bit like a Dragon's Den effect. We said, right, these are the products that we have, right? Can you pick up out of these products, which products represent the pit ponies? Which products represent the shower rooms? Catherine Pinkerton: And actually, when you're talking to the teams in kind of a literal sense, there wasn't a lot within our retail offer that we already had. And I think it was a bit of a light bulb moment, really, for the retail team and said, “Oh, Kath. Right, I see, Yeah, I understand what you mean.” That's not represented in our retail offer. So what's represented currently was wonderful things and lots of Welsh kind of products. But actually, what. What makes that relatable to our site? And so I think what I wanted to do originally is just go on a journey and to kind of really, from a very basic stage, is understand what the site's POS was and actually understand what their personality was and what the curatorial team were trying to push forward as being their identity. Catherine Pinkerton:  And I think once we got the identity, we then broke that down into themes in terms of there's pit ponies. That's a huge part of the, you know, the exhibition. The other huge part of the exhibition were the canaries. So, you know, that was something that was talked about. There's a huge story around that. And then, you know, the kind of mining history and the community was massive. And actually that element was so important to me and the retail team to make sure that we got right. Because this is history, right? And this is. I come from both my grandparents were miners. So for me it was very much a, you know, a very emotional time for me to make sure that we got it right and that it was respectfully done. Catherine Pinkerton:  So that was really key in terms of how do we deliver this. That's really. That we are not stepping on people's toes. We're not profiting from something that was, you know, the strike range is very significant within what we've offered, but we really wanted to make sure that was respectful and that it was done in a tasteful way that people felt they could take a souvenir away, but know that was actually part of the exhibition. So it was those kind of areas that we really wanted to work. So once we have those themes in place in terms of what those looked like, it was then developing that and how do we develop that into an actual concept? Paul Marden: Yeah, and you've drawn in lots of people. You've already mentioned the kind of wide team that you brought in from Big Pit itself, but from the wider team in the group. Talk a little bit about what that experience has been like as a team. Who have you brought into this? Catherine Pinkerton:  So originally, when we wrote the retail concept and the retail strategy, you obviously have to kind of involve quite a lot of internal candidates to be able to allow them to believe that this journey and vision is a good one. And I'm super thankful. I've got the most amazing manager, Marc Simcox. He's the head of enterprises and he is incredible. He's very commercial, but very trusting in terms of understanding what the business should look like and actually giving that freedom to say, yeah, I think this can work. Kath. So you, you go ahead and that. That's huge. Right. We're not talking about a small project here. So that firstly was great for me. And then I think having the, you know, the opportunity to be able to get some key people. Catherine Pinkerton: And Matthew Henderson we've worked with previously and we've, you know, I knew straight away, for me, Matthew Henderson has gotten. Got a very unique way of working and we work very well together. We've got quite similar kind of ways of working, but I think that development and concept phase is really key and I think it really got to the point where we just sat in a room and kind of really understood what are we trying to achieve here, how can we achieve that? And really just making it very basic in terms of the key themes. And then in terms of product development, we brought on Anya Kirkby. So she is an illustrator and a very clever lady indeed. And we have worked with lots of illustrators and lots of suppliers over the years. Catherine Pinkerton: But what we wanted something for Big Pit was to be quite different in terms of the illustration and the product development. Because what we wanted to deliver with Big Pit was something that had been my vision since the very beginning when I started with Amgueddfa Cymru. And that is, you know, going into the shop and having those guidelines, you know, pricing guidelines, information guidelines, those small details which would probably mean nothing to the average person walking through, but actually a price ticket on something that's been illustrated pains me to see, because the work that's gone on behind that is so key. Catherine Pinkerton: And, you know, for most people not understanding that a price ticket on that is so I think those details are really key, Paul, and I think she really worked stringently with me to make sure that was, was, that was kind of a massive aspect of that role. And then Arantxa Garcia, who is just the most incredible designer. She's, she's a genius in what she does. She's incredibly creative and sometimes you have to kind of pull her back and say, okay, you want this? Okay, can you deliver this rancher? Paul Marden: Yeah. Catherine Pinkerton: And what was really interesting with a rancher is that, you know, she's got a huge, amazing CV of working with lots of people within the cultural sector and designing amazing, incredible pieces. But I think were very nervous because the, the original kind of renders that she sent through to us were quite amazing and impressive. And I said, arantha, are you able to deliver this under the kind of, you know, the budget? We've got a tight budget here. Paul Marden: That's the challenge, isn't it? Catherine Pinkerton: I mean, isn't it? Paul Marden: You do not want to be paying, you don't want to be offered the picture of a Maserati when you have got a Ford Fiesta budget, do you need to know that you can afford it. Catherine Pinkerton: Absolutely. And I think with Aranta, she was very, again, super creative lady. And I think I, as soon as I saw that image, I did say to her, right, you need to deliver this now. You've, you've committed to it, Arantia, so this needs to happen. And then finally, Richard Evans, who has, is hugely respected in the cultural sector and he really supported in terms of project management and the, you know, I hate to say this, and you won't mind me saying this, but the kind of boring kind of financial Gantt charts and keeping me in line actually. Right, Cath, we haven't got a budget for that. You can't spend that. Come on, Richard, make it work. Move some things around, you know. Catherine Pinkerton: So I think that was kind of the main area and then internally, Tracy Lucas, who was kind of my right hand woman, is our operations manager within Amgueddfa Cymru and she really supported me along with Amy, the shop manager, shop supervisor to really look at the product development. So I think, you know, and I think it was really nice actually to have them on board because I think it gave an opportunity for them to see what could be. And I think, you know, definitely in terms of retail, it's been an opportunity for us to be able to say, look, this, the impossible can be possible. Catherine Pinkerton: Actually this is an amazing project and I think what was really incredible is that when we decided to work on Big Pit, the Big Pit team and all of the mining team actually just came on board, Paul, they took it on board and I think the reason why they did that is that one of the mining teams said to me, he said, kath, you know, we never get any funding here. It's always in this big cities, you know, we, the Cardiff and it's never here, you know, we're just in the middle of nowhere. And I was like, absolutely not. That is not what this is about. It's about, you know, making sure that the community in that area is solid. Catherine Pinkerton: And I think the mining industry and they're very proud of that in terms of who works there, they're incredibly proud of what they do. And so because we chose that as our first project, they were so helpful in terms of, yeah, we're going to make this work, let's make it a success. Cath, how can we do that? What do you need from me? I mean at one point we had two of the mining staff pulling one of the drums which we upcycled out of it was like a lake or, yeah, I suppose a lake with a tractor. And I was like, this is crazy. This is crazy but just amazing that these team members are willing to do above and beyond to kind of go and help and support.Catherine Pinkerton: Dwayne Smith, finally I have to mention him because he went above and beyond. He, he's an electrical engineer for Amgueddfa Cymru and no feat was kind of Too hard for him. He helped us massively. He's got a huge team of people and anything that we needed done, I'm not, you know, I'm not a trades person, so anything Trady. I was like, Dwayne, yeah, I'm on it, Kath, I'll do it. Which is great because I was like, okay, yes, that was massively helpful, but huge learning curve, Paul. I feel I've never been so excited about drums in my entire working career as I am now. Paul Marden: And I never heard of one until yesterday. But what I found interesting was you see them all the way through the underground experience. I went down in the. The cage to the bottom of the pit head, did the whole tour. You talk about these drams and the importance of them and the transportation of the coal from throughout the mine back up to the top. And then you walk into the shop and it's subtle. The way that you've blended the museum into the shop is a subtle experience. It doesn't feel, it doesn't feel crude. But you've got a dram in the middle of the workshop. Now, I know it's a real one because we talked about it yesterday and I know the pains that you went through, but it's very subtle placed in there so that it doesn't feel crude. Paul Marden: It doesn't feel like you're trying to overwork the metaphor of the mine in the shop. It's very cleverly done. Catherine Pinkerton:  Oh, that's great, great, great to hear. Because that's absolutely what we did not want. And I think in terms of visual merchandising, actually, and picking up on your point there, is that it's very easy for us and this is something that we're doing in a different shop. It's very easy for us to look at some of our assets and pop them on a tote bag and say, there you go, that's done, we'll sell that. But actually, no, what can we do that's different? That's more kind of innovative? That's more creative. That is a hint or perhaps an opportunity for us to show and display something that is. Is then part of the visitors question. So when they're coming into store and they're speaking to our retail teams, they're questioning, is this a real drum? Catherine Pinkerton:  You know, and that is a conversation opener, isn't it? You know, and I think Kerry Thompson, who is the curator for Big Pit, he's a really inspiring man. I could listen to him all day. And he told me lots about kind of the drums and the history of Big Pit and the strikes. He's such an interesting man, but I think having the inspiration from him allowed us to make sure that we did it not in a crude way, actually, Paul, but that it was representative of the site, but not in a way that's, I guess, too obvious, you know. Paul Marden: Look, Kath, we could carry on talking for ages, but let's cut at this point to hear about some of the voices from the team that you worked with, your internal team, some of the partners that you worked with, about the experiences that they've had on the project. Paul Marden: So let's hear from some of the internal team members involved in the project. Firstly, we have Amy Samways, the retail supervisor at Big Pit, followed by Kate Eden, the chair of Museum Wales. And lastly, Nia Elias, the Director of Relationships and Funding at the Museum of Wales. Hey, Amy, how you doing? Lovely to meet you. What's your role at the museum, Amy? Amy Samways: I'm the shop supervisor for Big Pit. Paul Marden: What have you been doing in this whole project? I guess you've been integral to the whole kind of making it all about the place. Amy Samways: Yeah, so I've worked with Anya, who did all the products for the new shop. So we walked around all the exhibitions. We did a lot of underground visits and a lot of museum visits and just put things together. I've done a lot of work before this project for the last two years to try and get things more relevant to us and not just a Welsh souvenir shop. So a lot of those products stayed and then we just expanded them then. Paul Marden: So how do you go about looking for those products that make it local to here? Amy Samways: Well, we've got a fantastic exhibition at the top of the hill. We've got obviously our ex miners and we also have a lot of events through the times as well. So this year was a lot about the strike because obviously it's the 40th anniversary and we've got a massive exhibition down in Cardiff and also there's a smaller one up year as well. So we just walked through the museum and obviously, you know that disasters are obviously a big issue. We didn't want to make a big issue about those, but obviously they need. They're part of history, aren't they? So more books. We made sure we had books around that. And as you walk through, there's a lot of signs that the staff liked as well, because a lot of our guys have been done about the new projects with those as well on. Paul Marden: So do you then go looking for local suppliers to help you with that? And where do you find those? Amy Samways: Etsy, Facebook. Paul Marden: Oh, really? Amy Samways: Yeah, a lot of them. And also online. And then we've also. Because we work with a lot of suppliers as well, I'll say we need this and then they'll say, oh, you should ask so and so, and then we'll go and ask both. Paul Marden: Brilliant. So one of the things that's really interested me this year is talking to people that are running museum retail and that kind of process that goes from you as a buyer, having an idea, what do you want? How do you stock the shop? I think is really interesting process to go through, but flip it on the other side, as a local creator, you've got your thing and you want it in the shop. How do you get it found? Well, yeah, sticking it on Etsy is something that they're going to do, but then that might help them get into the museum. Amy Samways: Even if there is something that we want. Like at the minute, we're looking for NCB soap. Paul Marden: For what? Amy Samways: NCB soap. Paul Marden: What's that? Amy Samways: It's either bright green or bright pink and they used to buy it in the canteen shop and it's just imprinted with NCB. The guides have been asking and asking for it, but we have actually found a supplier now who's going to be working on it. So that should be coming this summer. Paul Marden: Wowzers. Amy Samways: Yeah. That's really exciting for you. Paul Marden:  What was the highlight? What's the one thing about this space, about the whole experience of the project. Amy Samways: That jumps out for me is seeing all the stock we've worked on and somebody actually buying it. Paul Marden:  And what is it that people are picking up? What are they walking in and gravitating to? Amy Samways: Anything Big pet, really. The little enamel little mugs have gone really well. I think the wording on those are great because it says they must not be removed from the premises. So our guides are loving those. And also our retro sign, which we had for our 40th anniversary and three years ago, but we kept it because it's such a brilliant design. It was the original from 1983 and it was on the original road sign as you drove in. So we've had that recreated and that sells really well. Paul Marden:  That's really interesting. So my wife with the family about 25, 30 years ago, came on a family holiday and they had the original guidebook that they picked up when they were here with the kind of the retro. Retro signage on there. Amy Samways: Yeah, we're back selling it again. Kate Eden: Yes, So my name's Kate Eden. I'm chair of the board of Amgueddfa Cymru. Paul Marden:  Tell me a little bit about your involvement in this project. Kate Eden:  As the board, we've been tracking the development of commercial and enterprises over the past year. Really. And really thrown our way, weight and support behind what the team has been trying to do here as a kind of flagship, really, for what we would all like the new benchmark to be across all of the seven sites of anger for Cymru. So seeing it all come together this morning has just been such a special experience. It's absolutely fantastic. I'm going to bring the rest of the board here as soon as I can so the trustees can see this and see the reaction of staff and of visitors as well, because it's a fabulous achievement and it shows us what we can do now as a national museum. Paul Marden: How well does it tie back into the original pitch at trustees? So I'm a trustee of a charity as well. The pressures that we're all under in terms of reducing funding and having to generate our own funding is so hugely important. This must be integral to the conversations that you were having as trustees. Did you have this in mind when you were signing off the agreement to spend the money? Kate Eden: Yeah. So I don't think anybody realised just how successful this could be. We'd had some mock ups and we'd had a presentation, so there was a lot of excitement and there was sort of the fledgling idea years. So we've got a sense of what it could be. But I think importantly for us, it's about that marriage of financial sustainability because it's got to wash its face, it's got to provide a working profit that can go back into the running of Big Pit here.Kate Eden: But it's got to be authentic to this place. It can't be the add on the visitor should shop that you walk through at the end. And it's a bit of a tedious thing to get back to the car park. It's got to be an integral part of the whole visitor experience in this place. And I think that's what they've achieved. Paul Marden: It's so impressive. So impressive. You know, just the structure that they've built to give you the impression of the mine in a really subtle way. The product that they've chosen, the way that they've laid out that, the shop is amazing. I think they've done an amazing job. Kate Eden: That's it. I mean, this is my local site. Paul Marden: Okay. Kate Eden: I live about three miles over the mountain there. So I bring my friends and family here. This is our go to place when I've got visitors. And I think just the way they've opened up the room, they've removed the barriers, which is really important. It's a small thing, but really important so that people feel welcome. They can walk in or they can walk ground. Paul Marden: Yep. Kate Eden: And it's. And it just feels a little bit more inclusive. It feels a bit more kind of, you know, we're here, it's easy to come and see us, you know, and spend time and then spend a little. Paul Marden: A little bit of money. Yeah. So where do we go from here as trustees? Are you fully behind rolling this out now? Kate Eden: Yeah, I mean, I think now that we've seen what we can do and the type of data that's coming through from sales, this is now the new. This is the bar. Paul Marden: Oh. So it has made a discernible difference to say. Kate Eden: So early data from Easter is really promising. Yeah. So this is the benchmark now from all of the other sites. Nia Elias: Hi, Paul. Hi, I'm Nia. Paul Marden: Lovely to meet you. Tell me about your role at the museum. Nia Elias: I am Director of Relationships and Funding. It basically means I get to work with all of the teams across the museum that work on the reputation, the reach, but also the revenue of this wonderful charity and national museum that we are. Because as well as getting funding from Welsh government, we raise our own income so it can be invested.Paul Marden: What sort of split? Nia Elias: What sort of split? So the majority of the money that comes to us does come from Welsh government because we're a public service, we're here free of charge for the people of Wales and we look after the national collection, which is over 5 million items across seven museums and a collection centre. Nia Elias: But there's a proportion then of money that we raise ourselves about sort of 30%, which is from our cafes and our car parks and the experiences that people have, and most importantly, our shops. Paul Marden:  So what was the inspiration for this project? Why kick off a strategy project around the whole retail experience? Nia Elias:  Well, this whole project, in essence started three and a half years ago when the museum decided that it would bring a strategy together for all of its self generated income. So that means our philanthropic income generation and through our enterprise, including our retail. And from a retail perspective, we knew that what we wanted to achieve with all of the money that we raise ourselves is that it's really rooted in the collection, because we have an amazing collection. It tells the story of Wales and it's owned by the people of Wales. Paul Marden: Right. Nia Elias: And from a retail perspective, we knew if people could engage with that and could take away something from the wonderful experience that they've had on site, that it would be something that they would want and it would make it unique that it's only possible to have here. Developing a project like this is quite challenging. You need the time, you need the teams and expertise, some of which are on your permanent team, some of which are naturally not. And also you need investment. And so by starting the thinking and the route of where we wanted to get to three and a half years ago, it meant when we had the funding and the opportunity to do so here at Big Pit, we knew exactly what to do. Paul Marden: Okay, so you. You put all of those pieces together and then came here and did the first cookie cutter stamp. But what's interesting is it's not a cookie cutter stamp, is it? This totally feels like the gift shop for this museum, doesn't it?. Nia Elias:  Yeah. So we feel really strongly that we wanted the balance of knowing that you're at a National Museum Wales site, knowing that you're somewhere unique, but equally that it has a sense of a place. Because all of our seven museums together tell the holistic story of Wales, but you really get a sense of personality on all of those sites, not just from the collection and the buildings and the items, but also from the colleagues that work here as well. Paul Marden: Right. Nia Elias: They're very much a part of that in terms of the stories that they tell, their lived experiences, and we had a sense of responsibility and fun to bring that through in the shop. Not just the ambiance, but also the products themselves, so much of them, the majority of them actually, are grounded in being inspired by the collection in some way, and also has a really strong Welsh and local profit as well. What we think that will come through to our customers and visitors and guests is that because we've worked across all of the teams in the museum, so curators and people who care for the collection, our colleagues here at Big Pit, many of whom are former miners, and our colleagues front of house, it means that everybody will be able to speak about the product. Nia Elias: So as you're walking around picking things up, imagining them in your home or as gifts, our colleagues can talk about what they mean to the place. And that brings something additional that you can't really buy. Paul Marden: Yeah. There's a story to it. There's a background to it that roots it. Yeah. Lovely. For you, what's the standout experience from the whole project? What have you enjoyed the most? Nia Elias: Two things I think in terms of the way that it's been done, the fact that so many teams have worked together behind the scenes to make it happen. That means that as we want to change things or tweak things or improve things, we'll have all of the knowledge and expertise already baked in, especially learning from other suppliers who've come along and helped us. So we've got that baked in now, which is really exciting. And the second thing is that I can stand here knowing that this is the standard of a national museum that our guests and visitors expect and want to see. Paul Marden: And now let's hear from a few of the external partners that Kath brought into the project. Arantxa Garcia was the shop designer and visual merchandiser. Anya Kirkby was responsible for product development. And Guy Veal was responsible for sound design. Tell me about your involvement in the project. Arantxa Garcia: Sure. So I'm the shop designer and visual merchandiser. It's a freelance role, so. So I worked with the team, Matthew, Richard, Anne and Guy. Paul Marden: Excellent. Arantxa Garcia: So we kind of all came as part of a team and each one of us looked after different areas of the project. And my involvement was to kind of reinvent and reimagine what was already here. And the idea was to create a space that was connected to the experience and to the site itself. So we've basically ripped the space apart. We've kind of kept the structure, obviously, but we've opened up the space as well. Before the shop, it would be very separate. You'd have admissions and then you have the shop area, which meant that you were only really accessing the shop if you came to visit the site. But as a local, you wouldn't be able to come, for example. Or you could, but maybe not in such an open way. Paul Marden: Yeah, you wouldn't feel welcome. Arantxa Garcia: Exactly, exactly. You may not want to just because you didn't know, whereas now you can just come in and basically hang around and also browse the shop. Exactly. We took inspiration from life underground, from the mine itself. So before the building was white, the units were white, so it could be a shop anywhere. You know, it didn't really have a DNA, so to speak, or an identity that related it directly to the site. So when visiting down to the underground and King Call as well, the exhibition that we've got just up the hill, we took inspiration from basically sort of like the. The cladding that you've got on the walls. Cladding is not the right word. So if one of the miners hears me saying that, they'll be. Arantxa Garcia: That's not the word that we told you, but the idea is that all the materiality that we're using, it's really evocative of. Of the site and it's the materials that have been used underground. So even, like the safety lamps, they'll set authentic safety lamps. And the team on site, Dwayne Smith, has electrified them. So it means that now they work, obviously, as a normal light, but it's a safety. Paul Marden: But they are the original safety. Arantxa Garcia: They are the original safety. Paul Marden: Wowsers. And what about these styles? Arantxa Garcia: So, yes, I always like going for a hunt on the side. So basically the team took me to different rooms and we just found stuff, if you like. So they're like the pressure gauges, you know, we're gonna use them just to add, again, like, references to the site and the authenticity, of course. So you also find loads of tools that would have been used underground as well. Paul Marden: I would imagine that this has been a really enjoyable project for you. I can see it on your face, how much you've enjoyed it. Arantxa Garcia: It has. And I think for designers, sometimes there's projects that take a bit longer to emerge and you keep changing things because you just don't feel probably quite right. There's something. But with this one, it kind of. After the site visit, it was just. Paul Marden: I clicked immediately.Arantxa Garcia: It just clicked immediately. So we darkened the wall. So we've kind of given that sort of grey background just to kind of creating more of like a cosy and shrinking the space. Paul Marden: But you. It pops the orange. Arantxa Garcia: Exactly. And the orange is everywhere. So, like, we've also changed the lighting, so it's a lot warmer. So again, that hint of orange. Yeah, orange on the back, orange on the miners on here. And then it comes also from the products. So the identity is there, but without going fully corporate, if that makes sense. That's the colour that you remember, isn't it? You've just been on the ground. All our guides and miners wear the orange overalls and the sort of, like the blue jackets over it, whether it's a donkey jacket in the winter or then they wear the soft shells as well. So, yeah, it's all those details, like those hints to the experience that kind of are embedded in the design. And these are regional as well. The drums are regional, all the flatbeds. Arantxa Garcia:  So the team here took the metal sides off and then sort of like left the skeleton of the drum, varnished it. And then our shop fitters aren't here. They did all the sort of the cladding using reclaimed scaffolding boards. But the original Drums would have been made out of wood. Paul Marden: Beautiful. It's so tactile, isn't it? Arantxa Garcia:  It's tactile. Again, we're looking at the DNA all the time. And shops can be more than just shops. Shops can tell stories. You just connect with it in a very different way. And just having the time the team on site involved has been absolutely incredible. Like the sense of pride and belonging and provenance that this kind of has awakened, it's been great. It's your job done really as a designer. When you just feel like everyone owns it, that's your job, that's when you can walk away. Paul Marden: What an amazing testimonial for you and the work that everyone feels like that. Anya, lovely to meet you. Tell me, what was your involvement in the project? Anya Kirkby: So I mainly focused on product development. So we looked at where we could get inspiration from the site and how we could translate that really from the site experience into the shop experience as well. Paul Marden: Okay, so you're coming, you're experiencing what's going on and then looking to the outside world as to how you can source your products. Where do you go for the inspiration for the products? Anya Kirkby: Working with the team a lot. So Amy was a huge help on guiding us on what things would be very useful for visitors, what they really enjoyed when they were on site, what were their key take home messages that they experienced. And then working with Amy and Tracey as well to look at what products people like when they're in the shop anyway and how we can kind of marry those two up. Paul Marden: So what is it that people like when they come to Big Pit? Anya Kirkby: Well, unsurprisingly, the mine, they enjoy the mines, the mining experience. So that was just something that we already had in the shop. So we just expanded on that more if possible. But then we've also taken inspiration from signage. So they already had the original Big Pit signage and we looked at that and kind of again expanded on it. So then we've kind of expanded that to signage that you find in some of the other exhibits. So up in the showers, for example, in the canteen, signage, some of the original pieces from collections. We then translated that into products. So you'll see we've got the designs across mugs, original little metal signs, moved that across to prints, notebooks, postcards. Paul Marden: You've been developing a lot of the products yourself, so bringing that kind of the unifying feel to everything. Anya Kirkby: Yeah. So along with product development and making all the kind of the new things that we can have it's just bringing across the branding through the AC brand really strongly across everything. It's got such a strong message that we may as well have that on as many products as we possibly can do. Paul Marden: And how much of the stuff is actually locally sourced? Anya Kirkby: Oh, it's huge amounts. And the exciting thing is after speaking to Amy, the things that she needs to reorder are the local suppliers, which is so nice. So a lot of the confectionery that's locally sourced candles, soap, the coal figures, the wooden spoons, chocolate boxes, the biscuit boxes. So as much as possible. And then we've worked with local suppliers as well to do photography, to do some of the signage, to do the original signwriting in the shop as well. So beyond products, we've looked at the POS points like elements of the shop as well. So thankfully we've used as many local spires as we possibly can. Paul Marden: You've enjoyed this project, haven't you? Anya Kirkby: I absolutely loved it, yeah. It's fantastic to see it's absolutely amazing. Paul Marden: Yeah. Anya Kirkby: So yeah, it's really special. Paul Marden: And then from here you springboard on to the other seven sites. How do you, how do you come up with the ideas then? Anya Kirkby: Exactly the same process. So working with the teams to find out what it is that visitors absolutely love about their sites and bringing that into the shop experience. So again I get very lucky. I get to go around a lot museums and experience it. Paul Marden: It's a tough job, isn't it?Anya Kirkby: It's tricky. But basically finding out what they love and bringing that through the really things that visitors take home with them anyway and just making it into a product that they can actually physically take a piece of the museum home with them as well. Paul Marden: It's great because there are some pocket money items here because I take kids on school visits and it's a very expensive experience. You know, if they catch take a fiver with them, often they can't get anything with a fiver but they can walk in and they've got pencils, they've got rubbers and they'll walk out happy with those little bits. But at the same time you've got some beautiful stuff that the grown ups can come and pick up and really enjoy. Anya Kirkby: It's the same as any museum visitor. You kind of have to look at who's going to be visiting. It's all types of people that come and just gauging it from that as well. So having an offer for everyone that they can enjoy. Someone said to me once that children for the first time. It's often their first time having a transaction monetary wise. Is that a museum on a school trip? So it's just lovely to kind of have something for them to experience that as well. Paul Marden: Never thought of it like that. They're out on their own. They're not with mum and dad. So they've got the money themselves and they've got to make the decision. So we are at. I took some kids to the science museum last year. Anya Kirkby: Oh. Paul Marden: And the amount of time we took in the shop because of the indecision that they had. Anya Kirkby: It's the indecision decision and then the queue of all them having a five pound note and having all the change come back or not having quite enough. But I think it's such an important. If you can't do that in a museum, where can you do it? Paul Marden: Guy. Hi. Guy Veale: Hi. Paul Marden: I just wanted to talk to you a little bit about what was your part of the project? Guy Veale: I was sound designer for the soundscape which we can't hear when everyone's chatting. Paul Marden: I can hear some birds in the background. Is that. Guy Veale: Is that canaries? Living canaries. Not dead gas. Paul Marden:  Coal mine canary. Guy Veale: So I did a little bit of research sort of towards the end of the project after lots of stuff had been built in, when they decided that some low level sound would be a good part of the experience. And looking at the brief and the shape of the room, the acoustics, a lot of this new ducting that's gone in that was not then easy to put cables into. We had to go for a wireless solution. Paul Marden:  Okay. Guy Veale: As part of that I found a Swedish company that had a system that creates its own network which is like a weird dream because normally you've got to go the IT guys and then something goes wrong and there's some sort of address problems or. Bluetooth is not always reliable. This has been a revolution just in terms of. Guy Veale: Don't if you can see them. There's little. They look like light fixtures that are centrally over these panels. Paul Marden: Oh right. Guy Veale: And they're quite. Paul Marden: Oh. And so they're speaking speakers pointing down onto the panel to separate it. So what. What. The other kind of sound pictures that you're painting. We've got the canary. What else have you got? Guy Veale: So the whole idea is that you're trying to represent the industrial heritage of the site and have as many authentic sounds from the site as possible. Paul Marden: Right. Guy Veale: So we've reused some of the really high quality recordings that also feature at different parts of the site already. Paul Marden: Yep. Guy Veale: But then, also sourced about another 70 or 80 sound from the BBC archive. Paul Marden: Oh, wow. Guy Veale: Paid for. And so. But if you think about those sounds, they're quite punctuated and aggressive. You think of any industrial sound and like chipping away or different tipples working. You know, the idea is that you don't want to surprise someone that while they're shopping and leaning over next to a speaker and hearing. So it needed to be softened in some way. And you know, traditionally the way I've done work is music and sound design is using different textures and tonal design and like a drone, I suppose, is this as a sort of basis that can be moving and organic, not totally static? Paul Marden: Yeah. Guy Veale:  And the idea was to sort of try and include fragments of relevant songs using the male voice choir.Paul Marden:  Really.Guy Veale: And we tried several things and I looked at it and I realised that you might catch someone coming in for five minutes here and they catch a snippet and it's all well and good for them, but the staff and you've got to hear this eight hours a day, every day, you know, four weeks, a month, so forth. So even just one little identifiable recurring melody starts to get too much, even on quite a long five. Paul Marden: Oh, really? Guy Veale: And I found that it wasn't sustainable. So I, in the end, I ended up using the. Almost like the vocal warm ups and breaths of the choir artificially extended out so they're not breathing, just this constant low level, breathy sort of expulsion. I mean, if went quiet now, we'd hear it as the. As a backdrop and it's embedded with a few other little musical elements that just sort of try and soften and support. I think of it like the vowels of the track and then the consonants. Paul Marden: Or the industrial chipping noises and the harsher noises. Guy Veale: So they're harsher but they're there and they're a bit removed and reverberate and in the background. Paul Marden: But it's really interesting how you describe it in that kind of. Using the metaphor of the letters. Guy Veale: Yeah, that's what it felt like. Just trying to find something that was like a vocabulary of work that has to tick so many different boxes, including like a therapeutic retail experience. People leaving the site with a sense of well being. Also like summarising what they've been through, not sort of projecting them out the door with, you know, a completely new thing or somewhere that they haven't been through yet. So, you know, fair few things to try and fit in there and, you know, hopefully it works and we'll see how things are in a year's time. Paul Marden: Yeah. Cath, the last point I wanted touch on before we finish today is oh my God, how happy everybody was at that event yesterday. How positive the experience was for all of the team members. What was for you the big standout moment for the entire project? Catherine Pinkerton: I mean, there's so many, Paul. But I think for me it's an opportunity to see what can be achieved when people collaborate. And I think, you know, joining the museum three years ago is really collaborating with lots of different departments to achieve something as a team.Catherine Pinkerton: Teamwork is absolutely the key to kind of success and I think you can only achieve that by having that really product professional kind of embodiment with all of the collaborative teams to work together for the same goal. And I, I was really proud yesterday that it took a lot of work, but actually without a team of 40 people as well as the wider organisation, it would not have been, it was no mean feat, but it was certainly wasn't just down to one person saying this is my project because it was a team effort. Catherine Pinkerton: And I was so proud of everybody that was there to kind of thank them along the way to say, this is, we've done this and now onwards and upwards. Paul Marden: Yeah, absolutely. You should be so proud. It really was. Catherine Pinkerton: Thank you. Paul Marden:  It's a demonstration of what a museum gift shop experience can really be like when you work together like that, when you collaborate. So well done to all of you. It was such a lovely experience yesterday. Thank you for inviting me. Catherine Pinkerton: Thank you so much for coming, Paul. I appreciate it. Paul Marden: Before we go though, I always ask for a book recommendation from our guests. Now it would have bankrupted me to have asked everybody yesterday for book recommendations. So you have to take the responsibility of a recommendation on behalf of everybody. What have you got for me? Catherine Pinkerton: The secret for me is, you know, that that book seems to be. I always go back to that book very often and I think it's a key one for lots of areas. So that's definitely a takeaway for me. But the other one I'm reading at the moment called A Monk's Guide to Happiness. I'm not sure if you've had enough to read it. Yeah, it's a 21st century take on A Monk's Guide. It's written by Gelong Thubten and he had a very high powered job and he had a burnout and interestingly he changed his whole mindset in terms of what makes him happy and really making it quite basic. Right. Catherine Pinkerton: So it's a, it's a real eye opener in terms of just pulling things back sometimes, you know, at the end of the day, come on, let's just live life and be happy but, you know, not stress out about things. I'm quite easy to do that. So this is very much a. Just breathe, Kath, get through it. But it's a good one. If you want to just strip it back and just kind of understanding the basics of being happy, then, yeah, he's great. Paul Marden: Oh, Cath, that's a great recommendation. If you go over to Bluesky and repost the show message that Wenalyn put out and say, I want Kath's book, then the first person that does that will get a copy of the book sent to them. Kath, it was absolutely delightful. I enjoyed my day wandering around Big Pit yesterday no end. Given that half my family is from the valleys and most of them were miners, I feel like I should have done this a very long time ago. But it was lovely. And to enjoy the experience of the celebration that you had yesterday, it was a real privilege. So thank you. Catherine Pinkerton: Oh, huge privilege to have you there. Paul. Thank you so much. I'm really appreciative. Did you purchase? Paul Marden: I did purchase on my way out. Catherine Pinkerton: Yay. Great, great, great.Paul Marden: Deal. Catherine Pinkerton: Deal. Thank you so much. Paul Marden: So after my trip 90 metres down to the bottom of the mine shaft, where I of course couldn't take microphones, I'm now back up on the surface, microphones back in hand and enjoying myself, wandering around currently in the winding house, which is where all the machinery is for lifting the cages that 90 metres down to the bottom of the pit head. I've had an amazing day here at Big Pit. It's been so interesting to see this museum and to talk to many of the amazing staff that have taken part in this big project to redesign their gift shops. Highly recommend a day trip to Big Pit. Really has been very enjoyable, if for no other reason, to see that amazing new gift shop experience. Paul Marden: Now, as always, if you'd like a copy of Catherine's book, head over to Blue sky and repost the show notice that Wenalyn will post out and say, I want a copy of Catherine's book and the first person to do that will get that copy sent over to them. So all that remains for me to say is thank you to Catherine for inviting me here to Big Pit today. And I'll see you again soon. Take care. Bye Bye. Paul Marden: Thanks for listening to Skip the Queue. If you've enjoyed this podcast, please leave us a five star review. It really helps others to find us. Skip The Queue is brought to you by Rubber Cheese, a digital agency that builds remarkable systems and websites for attractions that helps them to increase their visitor numbers. You can find show notes and transcripts from this episode and more over on our website, skipthequeue fm.  The 2024 Visitor Attraction Website Survey is now LIVE! Dive into groundbreaking benchmarks for the industryGain a better understanding of how to achieve the highest conversion ratesExplore the "why" behind visitor attraction site performanceLearn the impact of website optimisation and visitor engagement on conversion ratesUncover key steps to enhance user experience for greater conversionsDownload the 2024 Rubber Cheese Visitor Attraction Website Survey Report

In January 2024, the renowned French perfumery Guerlain is set to unveil a groundbreaking range of products inspired by quantum physics. Their marketing promises a revolutionary approach to skincare, stating: "After 20 years' research, Guerlain has created Orchidée Impériale Gold Nobile, revealing a new cosmetic rejuvenation pathway for skin, born of quantum science.". In layman's terms, Guerlain claims to have unlocked the secret to anti-aging with its new quantum cream. However, the scientific community has raised concerns about the misuse of scientific terminology How widespread is this phenomenon? So, what exactly is quantum medicine? Why is quantum physics part of this conversation? In under 3 minutes, we answer your questions! To listen to the last episodes, you can click here: Should you really drink hot drinks when it's hot? Could insects replace meat? How can I stop my plants from dying? A podcast written and realised by Amber Minogue. First Broadcast: 4/7/2024 Learn more about your ad choices. Visit megaphone.fm/adchoices

Jardins de Bagatelle by Guerlain (1983) + Jane Seymour's Guide to Romantic Living by Jane Seymour (1986) + Jeannot Szwarc's Somewhere in Time (1980) with Blake and Sara 4/7/25 S7E24 To hear the complete continuing story of The Perfume Nationalist please subscribe on Patreon. 

A very special episode this week with not one, but two hugely talented and in-demand perfumers. I am joined by (friend of the show!) Julien Rasquinet along with Paul Guerlain. The two of them were at Harrods in London to discuss ‘Lustre', a fragrance they co-created for the house of Amouage. ‘Lustre' is one of a trio of fragrances that make up ‘The Essences' and each one is double-infused and aged for 6 months. The other two fragrances in the new collection are ‘Reasons' and ‘Outlands.' They have all been created using a high concentration of 30% perfume oil, along with many other technical and aesthetic innovations that we discuss during our conversation. We had chance to talk about ‘The Essences', the opportunity to work with the prestigious Amouage, how they approached working as two perfumers on one fragrance and also (for Paul) what it means to be part of the Guerlain family.Paul mentioned the following products in his routine:Abeille Royale Day Cream - Guerlainhttps://www.guerlain.com/uk/en-uk/p/abeille-royale-day-cream-P061500.htmlAbeille Royale Night Cream - Guerlain https://www.guerlain.com/uk/en-uk/p/abeille-royale-honey-treatment-night-cream-P061850.htmlJulien is a man of simple pleasures and uses bar soap and anti-dandruff shampoo!You can find Amouage on Instagram at:https://www.instagram.com/amouageofficial/?hl=enOnline at: https://amouage.com/en-uk/pages/the-amouage-essences‘The Essences' are available in the UK at Harrods:https://www.harrods.com/en-gb/p/amouage-lustre-essence-de-parfum-100ml-000000000007713693Julien is on Instagram at:https://www.instagram.com/julienrasquinet/?hl=enPaul is on Instagram at:https://www.instagram.com/paulguerlain/?hl=en- - - - - - - - - - - - - - - - -You can ‘tip' me via the link below. This really helps me with the podcast running costs (it's a costly business!): https://ko-fi.com/maninthemirrorYou can follow me @maninthemirrorpod on IG:https://www.instagram.com/maninthemirrorpod/On TikTok:https://www.tiktok.com/@yousmellgreatwhatisit————————————————————————————————Thanks to Anders Sundberg for ‘Man in the Mirror' sound mixing and production, Andy Goff @goff_andy for the artwork and Andy Gilbert (ATRX) @andygilbert_atrx for the theme music. Special thanks to KGA for arranging the interview. Hosted on Acast. See acast.com/privacy for more information.

Le chanteur belge Marka est notre invité pour la sortie d'un album et d'un livre : "Appelez-moi Serge" (Lamiroy). Marka, Belge né en 1961. Autodidacte, chanteur enfin accompli et expert ès tomates. À ce jour il n'a traduit aucun livre de philosophie, ni aucun recueil faisant la part belle aux conclaves budgétaires ou autres synodes œcuméniques. Il n'est d'ailleurs jamais intéressé que par ses propres livres (5 à ce jour, 2 de plus qu'il n'en a lus), et n'en a publié aucun chez Flammarion (qui s'en mord les doigts). Il ne s'y connaît absolument pas en jazz, ni en cinéma. Tout juste joue-t-il un peu de guitare. Il n'est membre d'aucun club de gentlemen, si ce n'est le HCV Linkebeek, un club de football où il officie en tant que coach des jeunes. Fan de Vétiver de Guerlain, sa femme le préfère en Fahrenheit de Dior. Merci pour votre écoute Entrez sans Frapper c'est également en direct tous les jours de la semaine de 16h à 17h30 sur www.rtbf.be/lapremiere Retrouvez l'ensemble des épisodes et les émission en version intégrale (avec la musique donc) de Entrez sans Frapper sur notre plateforme Auvio.be : https://auvio.rtbf.be/emission/8521 Abonnez-vous également à la partie "Bagarre dans la discothèque" en suivant ce lien: https://audmns.com/HSfAmLDEt si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement. Vous pourriez également apprécier ces autres podcasts issus de notre large catalogue: Le voyage du Stradivarius Feuermann : https://audmns.com/rxPHqEENoir Jaune Rouge - Belgian Crime Story : https://feeds.audiomeans.fr/feed/6e3f3e0e-6d9e-4da7-99d5-f8c0833912c5.xmlLes Petits Papiers : https://audmns.com/tHQpfAm Des rencontres inspirantes avec des artistes de tous horizons. Galaxie BD: https://audmns.com/nyJXESu Notre podcast hebdomadaire autour du 9ème art.Nom: Van Hamme, Profession: Scénariste : https://audmns.com/ZAoAJZF Notre série à propos du créateur de XII et Thorgal. Franquin par Franquin : https://audmns.com/NjMxxMg Ecoutez la voix du créateur de Gaston (et de tant d'autres...)

SummaryIn this episode of the School of Healing podcast, host Dominiece Clifton welcomes Djali Vestella, a clairvoyant prosperity and energy mentor. They explore the power of vibrational alignment, intuition, and intentionality in business. Djali shares her journey of overcoming mental health struggles through meditation, breathwork, and energy work, as well as her approach to helping entrepreneurs align with their purpose. She also discusses the importance of quiet time, community support, and accessing the 95% of consciousness beyond the physical body. Djali offers courses and retreats to help entrepreneurs elevate their prosperity energy and business alignment.Key TakeawaysVibrational alignment is crucial in entrepreneurship, as it affects how we show up, feel about our work, and the outcomes we achieve.Being intentional and self-aware in your business allows you to design a life and business that aligns with your true purpose and brings you joy. Aligning with your purpose and tapping into your intuition and energy can lead to greater success and abundance in your business.Fire Sound Bites You Don't Want to Miss"Vibrational alignment is crucial in entrepreneurship""Pivoting and making shifts in business is a natural part of the entrepreneurial journey""Work with aligned clients who resonate with your purpose and values""If you look beyond the money and beyond the hours, and you don't see your purpose in there, that means you missed a line."Connect with Djali Email: info@djali.solutionsIG click hereLI click hereJoin Djali's 7 Days of  Prosperity Mindset Challenge hereAbout DjaliDjali Vestella is a Clairvoyant Prosperity & Energy Mentor who helps conscious entrepreneurial women work less while earning more in alignment with their purpose. With 22 years of experience as a successful business owner and formally trained intuitive, she guides clients to unlock intuition, leverage energy, and integrate modern business tools for greater income and joy. Djali has shared her expertise in conscious energy, mindfulness, and manifestation globally, collaborating with industry leaders like Gaia TV's Dr. Loren Cielo and Fortune 500 companies such as Google and Guerlain.Support the showIMPORTANT LINKS AND RESOURCES: Discover Where You Are Getting Stuck In Your Business, By Taking My Free 3-minute quiz: https://confusionloop.com/ Women Entrepreneurs, schedule your free Clarity Call here Learn more about Move And Still's service offerings: https://movexstill.com/ CONNECT WITH DOM: Learn about Transformation YOUniversity, my 12-week biz coaching program for women entrepreneurs at https://domrclifton.com/coaching-for-women/ IG - @DominieceRClifton LI- Dominiece R. Clifton Email me: hello@movexstill.com A GIFT FOR YOU! Don't forget to subscribe, rate, and review the show on Apple Podcasts to be entered into a drawing to receive my new book FREE! I will be picking one winner monthly. Just send me the screenshot at hello@movestill.com to enter.

Se llama Adrián Carrera (@dyanbay), es de Lanzarote, estudiante de perfumería e interpretación y divulgador de perfumes ante una audiencia formada por 1 millón de personas que le siguen en las redes sociales (entre Tik Tok e Instagram). Sus reviews de perfumes se vuelven virales en cuestión de minutos y ha trabajado como creador de contenido para marcas como Guerlain, YSL o Sephora. Con él hablamos del boom de la vainilla y los perfumes dulces, de cómo elegir bien tu fragancia, de cuánto es razonable invertir, cuántas recomienda tener y de por qué se ha desatado el furor por los perfumes en las redes sociales. See omnystudio.com/listener for privacy information.

Dans cet épisode de La Pépite, le podcast d'Europe 1 dédié aux entrepreneurs innovants, nous découvrons Fabienne Sebaoun, chimiste passionnée par la peau et ancienne formulatrice pour Estée Lauder et Guerlain. Face à la montée du Clean Beauty, elle reprend ses études pour approfondir ses connaissances et fonde Mimetic, une marque de cosmétiques haut de gamme.Grâce à une approche scientifique rigoureuse et un complexe d'ingrédients naturels développé avec AgroParisTech, elle prouve l'efficacité de ses produits par des études cliniques. Son succès repose aussi sur une communication digitale efficace et un lien fort avec sa communauté, lui permettant d'atteindre un million d'euros de chiffre d'affaires en un an et demi.Mais cette croissance rapide s'accompagne de défis : avec l'intérêt de grands distributeurs comme Sephora, Fabienne cherche 500 000 euros de financement pour accélérer son développement.Un parcours inspirant qui illustre comment expertise, innovation et stratégie digitale peuvent mener au succès dans l'univers exigeant de la cosmétique.

Dans cet épisode de La Pépite, le podcast d'Europe 1 dédié aux entrepreneurs innovants, nous découvrons Fabienne Sebaoun, chimiste passionnée par la peau et ancienne formulatrice pour Estée Lauder et Guerlain. Face à la montée du Clean Beauty, elle reprend ses études pour approfondir ses connaissances et fonde Mimetic, une marque de cosmétiques haut de gamme.Grâce à une approche scientifique rigoureuse et un complexe d'ingrédients naturels développé avec AgroParisTech, elle prouve l'efficacité de ses produits par des études cliniques. Son succès repose aussi sur une communication digitale efficace et un lien fort avec sa communauté, lui permettant d'atteindre un million d'euros de chiffre d'affaires en un an et demi.Mais cette croissance rapide s'accompagne de défis : avec l'intérêt de grands distributeurs comme Sephora, Fabienne cherche 500 000 euros de financement pour accélérer son développement.Un parcours inspirant qui illustre comment expertise, innovation et stratégie digitale peuvent mener au succès dans l'univers exigeant de la cosmétique.

Shalimar by Guerlain (1921) + The Prisoner (1923), The Fugitive (1925), and Time Regained (1927) by Marcel Proust + Raúl Ruiz's Time Regained (1999) with Ryan Simón of American Vulgaria 12/29/24 S6E99 To hear the complete continuing story of The Perfume Nationalist please subscribe on Patreon.

Jicky (1889), Mitsouko (1919), and Shalimar (1921) by Guerlain + À la recherche du temps perdu by Marcel Proust (1913-27) + Volker Schlöndorff's Swann in Love (1984) + Percy Adlon's Céleste (1980) + Raúl Ruiz's Time Regained (1999) with Ryan Simón of American Vulgaria 12/8/23, 3/26/24, 12/29/24 S5E77, S6E26, S6E99 12/29/24 S6E100 To hear this episode and the complete continuing story of The Perfume Nationalist please subscribe on Patreon. 

Dans ce nouvel épisode de L'Empreinte, Alice Vachet reçoit Hélène Valade, Directrice du développement environnemental de LVMH, le leader mondial du luxe. Le groupe couvre 6 secteurs d'activité avec ses 75 maisons à l'identité forte telles que Dior, Louis Vuitton, Ruinart, Kenzo… dont certaines qu'Alice a déjà reçues dans L'Empreinte comme Veuve Clicquot, Moët Hennessy, ou encore Guerlain ! Hélène est aussi Présidente de l'Observatoire de la RSE, l'ORSE, acteur très engagé dans le développement durable, et qui intervient dans plusieurs domaines : finance durable, climat, biodiversité, réduction des inégalités...  Peut-on vraiment espérer de la sobriété dans le luxe, ou devra-t-on imaginer une autre solution ? Quelles actions concrètes ont été initiées par LVMH face aux enjeux sociaux et environnementaux ? Comment embarquer 75 maisons aux identités différentes sur une trajectoire RSE définie ?  Tant de questions et bien plus, abordées dans ce nouvel épisode de L'Empreinte. Bonne écoute ! Dans l'Empreinte, nous essayons de comprendre, ensemble, comment les marques d'aujourd'hui s'engagent ou non, pour notre planète et pour notre société. Chaque semaine, Alice Vachet reçoit donc des start-upers, des PDG de grands groupes ou encore des directeurs de la RSE qui lui expliquent comment leur entreprise s'engage pour porter une révolution de l'impact sur notre planète, une empreinte. Première diffusion le 4 janvier 2023.

Dans ce nouvel épisode de L'Empreinte, Alice Vachet reçoit Hélène Valade, Directrice du développement environnemental de LVMH, le leader mondial du luxe. Le groupe couvre 6 secteurs d'activité avec ses 75 maisons à l'identité forte telles que Dior, Louis Vuitton, Ruinart, Kenzo… dont certaines qu'Alice a déjà reçues dans L'Empreinte comme Veuve Clicquot, Moët Hennessy, ou encore Guerlain ! Hélène est aussi Présidente de l'Observatoire de la RSE, l'ORSE, acteur très engagé dans le développement durable, et qui intervient dans plusieurs domaines : finance durable, climat, biodiversité, réduction des inégalités... Peut-on vraiment espérer de la sobriété dans le luxe, ou devra-t-on imaginer une autre solution ? Quelles actions concrètes ont été initiées par LVMH face aux enjeux sociaux et environnementaux ? Comment embarquer 75 maisons aux identités différentes sur une trajectoire RSE définie ? Tant de questions et bien plus, abordées dans ce nouvel épisode de L'Empreinte.Bonne écoute ! Dans l'Empreinte, nous essayons de comprendre, ensemble, comment les marques d'aujourd'hui s'engagent ou non, pour notre planète et pour notre société. Chaque semaine, Alice Vachet reçoit donc des start-upers, des PDG de grands groupes ou encore des directeurs de la RSE qui lui expliquent comment leur entreprise s'engage pour porter une révolution de l'impact sur notre planète, une empreinte. Première diffusion le 4 janvier 2023.

This week we had the joy of sampling a whole selection of vintage Guerlain perfumes courtesy of The Duck, who was kind enough to send us a lovely snapshot of some of his collection. We also talked a little about the joys and pitfalls of collecting vintage perfumes, old socks and the vintage cloud. In other news, we also discussed the many uses of BluRoll.  You can contact us via email at lesoderants@gmail.com or via Instagram:   Dan: fragrance_weirdo James: houdini_sotd   Ben: talking_scents   Fliss: fliss_sniffs_stuff    During the show we may mention perfumes that were sent to us for review. We will, at all times, be completely transparent about this when it is the case and I hope you'll come to trust us enough to see that whatever the method of acquisition, we will always speak our own minds about said perfume and/or house.

A 28 ans,  Delphine é créé un parfum qui est aujourd'hui, un des parfum les plus vendus en France : La Petite Robe Noire. Née en suisse, Delphine a vécu une enfance pas comme les autres, qui lui a donné envie de tout faire pour construire sa vie, une vie heureuse,  guidée par sa passion…Ici, Delphine nous parle du processus de création d'un parfum, et de ses sources d'inspiration pour inventer et créer des fragrances. Delphine est la maman de quatre enfants, elle nous parle aussi de l'importance pour elle de s'épanouir dans son travail, pour s'épanouir en tant que maman. Delphine nous raconte avec passion comment des odeurs et des parfums peuvent parfois combler des vides et nous rassurer..On parle des souvenirs d'enfances qui déterminent souvent nos goûts et nos sensibilités.En l'écoutant, on prends conscience plus que jamais de la vulnérabilité de la vie, et de la puissance de l'enfance dans la détermination de nos choix de vie.Musique : Stolen Heart - Henry and the WaiterHébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Tom Morton is a British, French, and Canadian actor and voice artist, set to appear alongside Demi Moore and Margaret Qualley in Coralie Fargeat's highly anticipated film, The Substance.  In addition to his on-screen work, Tom is an accomplished voice artist across various genres. He hosted the popular Spotify Original Podcast Real Pirates and has lent his voice to international campaigns for brands like Guerlain, Issey Miyake, and Azzaro. Most recently, he voiced the security announcements for the 2024 Summer Olympics in Paris.  Video game enthusiasts will recognize Tom as the voice of nightclub owner Floyd in Quantic Dream's Detroit: Become Human, as well as for his roles in Humankind, Welcome to ParadiZe, Solasta, Styx: Shards of Darkness, and Bound by Flame. In animation, he has voiced characters ranging from bumbling policemen (The Pirates Next Door) to German volcanoes (Paprika) and drill sergeants (Arthur and the Children of the Round Table). Tom is also a skilled dialect coach and a professional photographer. His photography work can be found on Instagram @shotbytommorton and @tommortonphotography.   Want to watch: YouTube Meisterkhan Pod (Please Subscribe)

Dans cet extrait Delphine, nous raconte comment des événements tragiques lié à son enfance ont développé son imaginaire et l'ont toujours guidée pour aller au bout de ses rêves, et se construire un avenir heureux. Musique : Stolen Heart - Henry and the WaiterHébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

L'Heure Bleue by Guerlain (1912) +  Anna Karenina by Leo Tolstoy (1878) + Edmund Goulding's Love (1927) + Clarence Brown's Anna Karenina (1935) + Julien Duvivier's Anna Karenina (1948) + Simon Langton's Anna Karenina (1985) + Joe Wright's Anna Karenina (2012) with Matthew Fresta of Rango Tango 9/20/24 S6E73 To hear the complete continuing story of The Perfume Nationalist please subscribe on Patreon. 

Si les mots « potentialisé », « intriqués », ou l'expression « lumière quantique », vous disent quelque chose, vous avez certainement été exposé à du bullshit quantique. Une stratégie marketing, notamment utilisée par des escrocs mais aussi des marques ayant pignon sur rue, pour surfer sur ce domaine des sciences, qui peut paraître magique à un esprit profane : la physique quantique. Abus de langage, publicités hyperboliques, ou arnaques pures et dures, le youtubeur G Milgram s'est fait une spécialité de repérer et démonter ces tentatives fumeuses de nous faire acheter des crèmes, bijoux ou lits quantiques aux propriétés miraculeuses. Nicolas Gutierrez, journaliste à Sciences et Avenir, s'est penché sur les origines et les mécanismes du bullshit quantique, qu'il dévoile à notre micro. Bonne écoute !> Guerlain sort sa crème quantique : la première vidéo de G Milgram sur le sujet>La deuxième et la troisième

We're a day late, and in the perfume collectors game, always a dollar short but here nonetheless. In this episode, we're talking some of the latest new releases from Liis, Arquiste, Byredo, and Guerlain. We have some great listener emails where we try to give our thoughts on licked arms, first date perfumes, and the gray markets. Also, our featured collection this week comes from the new house of Jouissance Parfums, who are bringing powdery, vintage, and very high-minded sexy fragrances to the market. All that, and of course, The Game.(00:00) - - Intro and New Releases (10:33) - - Jouissance (20:30) - - Scents of the Week (33:25) - - Listener Emails (43:30) - - The Game CALL TO LISTENERS - Please email or DM us your top first date fragrances.Perfumes Mentioned In This Episode:Almond Suede and Grove By The Sea by Arquiste / Into The Oud by Astrophil & Stella / Last Season by Meo Fusciuni / Of True Minds by Liis / Coromandel by Chanel / Desert Dawn, Super Cedar, De Los Santos, Eyes Closed by Byredo / Patchouli Paris by Guerlain / Rose Tonnerre by Frederic Malle / Reine de Nuit by Byredo / Psychedelique by Jovoy Paris / Coriandre 39 by Le Labo / La Bague D'O, Les Cahiers Secrets, and En Plein Air by Jouissance Parfums / Muscs Koublai Khan by Serge Lutens / Ambilux, Poudrextase, and Carnicure by Marlou / Estée Lauder Legacy Collection / Bienaimé Perfumes / Bal D'Afrique by Byredo / L'Etrog by Arquiste / Eris Parfums / Dégagé by La Curie / Tempo by Diptyque / MARS 20 2022 by Rundholz / Fille en Aiguilles by Serge Lutens / Epices and Pistil by Miskeo / Notorious Oud by DS & Durga / Oudh Infini by Dusita / Gucci Nobile by Gucci / Drakkar Noir by Guy Laroche / El by Arquiste / Belle Âme by Les Abstraits / Absinth and Nudiflorum by Nasomatto / Carnal Flower by Frederic Malle / Rose 31 by Le Labo / Ma Bete by Eris Parfums / Bo by Liis / Rose Aqor, Saffron Hamra, and Incense Rori by Amouage / Musc Ravageur by Frederic Malle / Radio Bombay, Bistro Waters, Grapefruit Generation, Amber Kiso and  Amber Teutonic by DS & Durga / Casablanca Lily by ByredoThe Game:Oud Ulya by Amouage / Coriander by DS & Durga / Montri by Dusita / Victoria by Frassai / Anima Dulcis by Arquiste / Pelagos by Dusita Please feel free to email us at hello@fragraphilia.com - Send us questions, comments, or recommendations. We can be found on TikTok and Instagram @fragraphilia

We had the pleasure of interviewing Gina Alice over Zoom video!International star, accomplished pianist, and dynamic vocalist Gina Alice shares her debut single “Slo-Mo” available now. It stands out as her first release for Republic Records, following her recent signing to the label. Listen to “Slo-Mo” HERE. Known worldwide for her impressive instrumentation, the track illustrates another facet of her artistry for the first time as she leans into a seductive blend of pop, R&B and cinematic soul. Meanwhile, she showcases her range on “Slo-Mo.” Handclaps accent the synth-laden production, while her voice hovers over the soundscape. She opens up without filter, and she issues a flirty invitation on the chorus, “Turn the lights low, love me slo-mo.”About the song, she commented, “It started with me playing piano chords. I was vibing over the harmonies and finding the mood. It's more of a sexy and vibey song. It's about this feeling when you meet someone and connect. You really feel the good moments, but they pass too fast, so you want them in ‘Slo-Mo'. When you hear it, I hope you feel yourself and have fun in the moment.”Gina has made headlines throughout 2024. She collaborated with her husband and iconic pianist Lang Lang on his latest full-length album, Saint-Saëns. She notably contributed to 18 of the 32 total tracks.Now, she embarks on her biggest, boldest, and brightest chapter yet with more music to come, beginning with “Slo-Mo.”ABOUT GINA ALICE:Renowned for her virtuosic piano playing on stages around the globe, vibrant personality on television in Asia, and inimitable presence, Gina Alice has emerged as an international star on her own terms. Balancing classical prestige and fashion-forward panache, she's the rare force of nature to be selected as an official Steinway Artist and grace the pages of Vogue, Elle, and Harper's Bazaar in addition to locking down alliances with Dior, Guerlain, De Beers, and Roger Vivier. She shines in her mega-popular reality show Gina's Motel—which averages a weekly audience of 300 million-plus across China. Following widespread success in classical with her acclaimed Wonderworld album and more, Gina started to showcase her voice. Disney recruited her to bring “River of Memories” to life in the Chinese version of the blockbuster Frozen 2. Collaborating with husband Lang Lang on his The Disney Book LP, she notably performed “When You Wish Upon a Star” in Chinese, English, and Korean for the project. Not to mention, the couple co-starred in the Disney+ special, Lang Lang Plays Disney. Simultaneously, she performed on some of the most hallowed stages in the world, including Hollywood Bowl, Radio City Music Hall, Carnegie Hall, and Royal Albert Hall. As if sharing a secret she couldn't wait to disclose, she finally realizes one of her most intimate dreams, picking up the microphone and making her pop debut as a solo artist for Republic Records in 2024.Stay tuned for more news and announcements coming soon.We want to hear from you! Please email Hello@BringinitBackwards.comwww.BringinitBackwards.com#podcast #interview #bringinbackpod #GinaAlice #LangLang#NewMusic #ZoomListen & Subscribe to BiBhttps://www.bringinitbackwards.com/followFollow our podcast on Instagram and Twitter! https://www.facebook.com/groups/bringinbackpodBecome a supporter of this podcast: https://www.spreaker.com/podcast/bringin-it-backwards--4972373/support.

In January 2024, the renowned French perfumery Guerlain is set to unveil a groundbreaking range of products inspired by quantum physics. Their marketing promises a revolutionary approach to skincare, stating: "After 20 years' research, Guerlain has created Orchidée Impériale Gold Nobile, revealing a new cosmetic rejuvenation pathway for skin, born of quantum science.". In layman's terms, Guerlain claims to have unlocked the secret to anti-aging with its new quantum cream. However, the scientific community has raised concerns about the misuse of scientific terminology How widespread is this phenomenon? So, what exactly is quantum medicine? Why is quantum physics part of this conversation? In under 3 minutes, we answer your questions! To listen to the last episodes, you can click here: Should you really drink hot drinks when it's hot? Could insects replace meat? How can I stop my plants from dying? A podcast written and realised by Amber Minogue. Learn more about your ad choices. Visit megaphone.fm/adchoices

En janvier 2024, la célèbre parfumerie française Guerlain sort une toute nouvelle gamme de produits fondée sur la physique quantique. Elle promet dans sa communication : “une nouvelle voie de réjuvénation basée sur la science quantique qui aide à restaurer la lumière quantique d'une cellule jeune.” Guerlain aurait percé le secret de la lutte contre le vieillissement en lançant sa nouvelle crème quantique. La communauté scientifique a tout de suite alerté sur les dangers de la récupération de ce vocabulaire. Depuis 2021, le terme "quantique" est devenu la vitrine des pseudo-sciences et des pseudo-médecines. Une arnaque qui prend une ampleur inattendue sur les réseaux sociaux. C'est si populaire que ça ? En quoi ça consiste exactement la médecine quantique ? Quels sont les dangers ? Écoutez la suite de cet épisode de "Maintenant vous savez". Un podcast Bababam Originals, écrit et réalisé par Samuel Lumbroso. À écouter aussi : Qu'est-ce que la "théorie du canapé" ? Pourquoi juin est-il le mois des fiertés ? Qu'est-ce que la gamophophie, qui nuit à votre couple ? Retrouvez tous les épisodes de "Maintenant vous savez". Suivez Bababam sur Instagram. Learn more about your ad choices. Visit megaphone.fm/adchoices

飯店除了提供住宿之外，早年有些會開設自己的紀念品店，有些則請來精品品牌進駐，一則讓住客方便購物，二來也是相互拉抬。 時至今日，飯店裡的紀念品店或精品店逐漸轉變成選品店，有特別和周邊社區合作，挑選在地手工藝品，有提供獨家的臥室衛浴備品，甚至還有飯店自家養蜂場的蜂蜜、特製糕點或義大利麵，讓這些原本放在飯店體驗的物品，現在可以直接購買，像是把一部分的旅遊記憶化為「實體」攜回家。 ※食物｜瑞士自製蜂蜜、花蓮蜂巢糕、義大利麵條買回家 ※香氛精品｜名牌聯名香水、地方限定香氛、飯店自創品牌 ※飯店用品｜用好喜歡就下手，把飯店氛圍買回家？！ ※紀念品｜紀念創立的貨布鑰匙圈、小朋友專用馬球組 ㊣合作聯繫： bsidetravel3@gmail.com ㊣臉書粉專：http://www.facebook.com/BsidetravelstoriesFB ㊣IG帳號：http://www.instagram.com/bsidetravelstories ㊣Youtube：https://www.youtube.com/@BsideTravelStories ☆訂閱、追蹤、關注「B面旅遊」，每週三讓聲音帶你看見世界☆ 節目中提到的飯店資訊： 瑞士 Baur au Lac．http://en.shop.bauraulac.ch 花蓮理想大地．http://www.plcresort.com.tw 巴黎 Le Bristol Paris．http://www.oetkercollection.com/hotels/le-bristol-paris/the-hotel/il-pastificio/ 白馬莊園與嬌蘭．http://x.com/Guerlain/status/1740490170682441733 麗池卡爾頓香氛．http://www.ritzcarltonshops.cn/en/ 義大利科莫湖 Grand Hotel Tremezzo ‧Passalacqua．http://www.senseoflake.com/en/home/ 圓山大飯店．http://shop.grand-hotel.org/products 瑞吉飯店．http://europe.stregisboutique.com/en/signature/the-st-regis-children-polo-kit#prettyPhoto ★喜歡請給五星評價，並告訴我們你對這一集的想法： https://open.firstory.me/user/ckie5fyeu0qyx09922pp3iabv/comments Powered by Firstory Hosting

En conversation avec Mathilde Laurent, la créatrice des parfums de la Maison Cartier : sentir nous rend meilleurs.Mathilde Laurent est la créatrice de parfums de la Maison Cartier. Et elle est bien plus que cela.Après ses débuts chez Guerlain pendant 11 ans, aux côtés de Jean-Paul Guerlain, où elle signe ses premiers succès (Pamplelune, Guet-Apens…), elle créée les parfums de Cartier depuis 2005, où elle a imaginé des jus tels que La Panthère ou L'Envol, et une collection de Haute Parfumerie, intitulée Les Heures, qui sont au nombre de 13. Car Mathilde Laurent est toujours là où on ne l'attend pas... La femme engagée

Vol de Nuit by Guerlain (1933) + Sophie's Choice by William Styron (1979) + Alan J. Pakula's Sophie's Choice (1982) 4/6/24 S6E28 To hear the complete continuing story of The Perfume Nationalist please subscribe on Patreon. 

Mitsouko by Guerlain (1919) + The Guermantes Way (1920-21) and Sodom and Gomorrah (1921-22) by Marcel Proust +  Percy Adlon's Céleste (1980) with Ryan Simón of American Vulgaria To hear the complete continuing story of The Perfume Nationalist please subscribe on Patreon. 

Dans ce podcast, nous explorons divers sujets, du bad buzz Guerlain, des influenceurs virtuels ou encore du nouveau casque Apple Vision Pro. La conversation touche également des aspects plus personnels comme les nouveaux recrutements d'Oussama pour son entreprise. Une discussion variée et enrichissante !

durée : 00:41:43 - Les Nuits de France Culture - par : Albane Penaranda - En 1979, dans une série d'émissions pour les "Nuits magnétiques", Olivier Kaeppelin explore le thème du masque pour exprimer l'ambivalence du rapport au monde. Cet épisode explore les secrets du maquillage à travers des témoignages de maquilleurs de chez Guerlain et Yves Saint Laurent.

For this episode we're thrilled to welcome our first guest of the fourth season - Tom, aka @thescentiest. Tom's stunning photos are immediately eye-catching on Instagram, and his fragrance reviews equally nuanced, captivating and thoughtful. He's a huge supporter of indie fragrance brands, retailers, and other creators; celebrating the industry with his annual The Scentiest Awards. Having met Tom for the first time in person at a recent fragrance launch, it's wonderful to welcome him to On the Scent!“My first memories are of my mum's L'Air du Temps miniatures, plus Rive Gauche, and Sun Moon Stars by Karl Lagerfeld. I was always so drawn to smelling them and loved how precious the bottles were...”Tom's personal fragrance journey shapes out like this (and we discussed as many as we could during this episode):CK Eternity - 12 y/oCK One - 13 y/oDrakkar Noir - 15 y/oD&G Pour Homme - 16 y/oPlus Plus Masculine, Diesel - 17 y/oGucci Pour Homme II - 21 y/oPaul Smith Extreme - 22 y/oSpicebomb - 34 y/oTerre D'Hermes Parfum - 35 y/oFall Into Stars, Strangelove - 37 y/oEverlasting, Zoo NYC - 39 y/oAnd a few things he's obsessed with now:“Perfumer H in general, but Ink, Incense Water, and Patchouli stand out. Plus Ink incense sticks are the best I've found!”Tobacco Honey - my first Guerlain, and the scent memory is of my late grandmother's cigar cabinet.Brompton Immortals, Exnihilo - the most zhuzhie rose ever!Fleur du mal, Dries Van Noten - Quentin Bisch does Osmanthus, with an artpiece of a bottle.Celine - Nightclubbing!Eris - Ma Bete (grrr)Isabelle Larignon - all three of her releases.We also mention:@houseofsarahbaker Gold Spot@lesabstraits La Douleur Exquise (from @sainte.cellier)Cacao Porcelana @ateliermateri

Insolence Eau de Parfum by Guerlain (2008) + Lana Del Rey's Did you know that there's a tunnel under Ocean Blvd (2023) with Dr. Benjamin Braddock 1/12/24 S6E8 To hear this episode and the complete continuing story of The Perfume Nationalist please subscribe on Patreon. 

Violette_FR, born out of Violette's meteoric rise in the beauty industry, gained recognition after being featured by Vogue France. With an impressive career working with renowned brands like Dior, La Mer, Estee Lauder, and Guerlain, Violette decided to venture into her own creative space. In 2016, she launched her YouTube channel, fostering a vibrant community of beauty enthusiasts. 2021 marked the debut of VIOLETTE_FR, her multi-category vegan beauty brand. Inspired by those seeking a natural yet creative aesthetic, the brand focuses on individuality, efficacy, efficiency, luxury, and accessibility. Violette prioritizes clean, highly pigmented formulas and environmentally conscious packaging, earning the brand popularity among celebrities such as Rosie HW, Drew Barrymore, Joan Smalls, Jen Atkin, Jessica Alba, Karlie Kloss, and more.In this episode, Violette also discusses:How she did it her way in beauty with no real training and a background in fashion and artThe importance of celebrating individuality and differences, rather than fixating on trends.Moving to the US and building the brand in a “French car with American gas”Creating truly innovative products like the new invisible bandage gel What's next for ViolleteWe hope you enjoy this episode and gain valuable insights into Violette's journey and the growth of VIOLETTE_FR. Don't forget to subscribe to the Glam & Grow podcast for more in depth conversations with the most incredible brands, founders, and more.Be sure to check out VIOLETTE_FR at www.violettefr.com and on Instagram at @violette_frThis episode is sponsored by Shopify.Shopify POS is your command center for your retail store. From accepting payments to managing inventory, Shopify has EVERYTHING you need to sell in-person. Sign up for a one-dollar-per-month trial period at www.shopify.com/glamThis episode is brought to you by WavebreakLeading direct-to-consumer brands hire Wavebreak to turn email marketing into a top revenue driver.Most eCommerce brands don't email right... and it costs them. At Wavebreak, our eCommerce email marketing agency helps qualified brands recapture 7+ figures of lost revenue each year.From abandoned cart emails to Black Friday campaigns, our best-in-class team manage the entire process: strategy, design, copywriting, coding, and testing. All aimed at driving growth, profit, brand recognition, and most importantly, ROI.Curious if Wavebreak is right for you? Reach out at Wavebreak.co

Samsara by Guerlain (1989) + Sexual Personae by Camille Paglia (1990) with Alec Mouhibian of Filthy Armenian Adventures and Jake 12/29/23 S6E5 To hear this episode and the complete continuing story of The Perfume Nationalist please subscribe on Patreon.

Jicky by Guerlain (1889) + Swann's Way (1913) and Within a Budding Grove (1919) by Marcel Proust + Volker Schlöndorff's Swann in Love (1984) with Ryan Simón of American Vulgaria 12/8/23 S5E77 To hear the complete continuing story of The Perfume Nationalist please subscribe on Patreon. 

Today I talk to Sandra Statz, Founder and CEO of A.P Chem. Sandra is Beauty executive. Chronic pain navigator. Mother. Sandra is a business leader and brand creator with more than 15 years of experience in the beauty industry working with brands including La Mer, Guerlain and Clinique. She's also a ketamine advocate – an educator and confidant for those exploring psychedelic treatment. She is also a member of the board for The Ketamine Fund and KetaMD. A.P Chem's mission is inspired by her journey following a life-changing medical diagnosis that led to her discovery of psychedelic treatment.The goal here is to break down taboos, destigmatize health conditions and illuminate options. A.P Chem creates a safe space to explore and share varying points of views while respecting everyone's path to wellness is unique and deeply personal. We talk about a psychedelic brand, how Sandra's skin care can raise awareness for psychedelics and how working with adaptogenes in your skin care is amazing for you skin, we address Sandra's healing journey with Ketamine and how the future of psychedelic brand building can look like.https://www.apchembeauty.com/INSTAGRAM : apchembeauty Hosted on Acast. See acast.com/privacy for more information.

Habit Rouge by Guerlain (1965) + The Beatles (1960-70) with Glen Rockney and Crypto Psi of Rare Candy 11/7/23 S5E73 To hear this episode and the complete continuing story of The Perfume Nationalist please subscribe on Patreon. 

Guerlain perfumer Delphine Jelk joins us in this episode to chat about the "Guerlainade" way of perfumery, the importance of bees to fragrance, the legacy of Shalimar, and how Le Maison Guerlain has maintained its perfumery legacy for nearly 200 years.Episode rundown:0:00 ~ A cursory glimpse into making the Die Hot With A Vengeance scent 13:30 ~ Sable smells like Future Society Floating  Forest16:54 ~ Tynan smells like Paco Rabanne Fame Parfum27:20 ~ Interview with Delphine JelkFind more info, episodes, and merch at Smellyalater.liveLeave us a message on the SYL Hotline at Speakpipe.com/smellyalaterFollow us on Instagram @smellyalater.mp3Leave a (nice) comment & (5-star) review wherever you stream

Violette Serrat, the mostly mononymous makeup artist behind the brand Violette FR, decided to become a makeup artist as the result of a costume party. She put some glitter on a friend's face for the event, and inspiration struck.  After pounding the pavement doing various makeup jobs, in 2011, she was discovered by Vogue France, which helped to kickstart her career. Since then, she has worked with the biggest beauty brands in the world. She's been a product development consultant for Sephora, an ambassador for La Mer and global beauty director of Estée Lauder. She is currently Guerlain's global creative director for makeup. In 2016, she launched a YouTube channel, where she started to build a following. She has 305,000 YouTube subscribers and 525,000 Instagram followers. In 2021, she launched her namesake brand, with a small assortment of makeup products, skin-care products, a dry shampoo and a fragrance. Since then, she has continued to build the brand across categories, despite the fact that she built her career on makeup. Violette joined the Glossy Beauty Podcast to discuss her brand's roots, evolution and future.

Aujourd'hui j'ai le plaisir de recevoir sur le podcast, Violette Serrat alias Violette FR, fondatrice de la marque éponyme et directrice de création de la gamme maquillage chez Guerlain. Violette est une jeune femme que je suis depuis des années sur Instagram et dont j'adore l'univers coloré, frais et très authentique. Ce qui m'impressionne aussi chez Violette c'est son parcours “hors norme”. Au cours de la dernière décennie, elle s'est imposée dans le secteur de la beauté : elle est devenue International Makeup Designer pour Dior, ou encore Global Beauty Director chez Estée Lauder et aujourd'hui directrice de création Maquillage pour Guerlain. Elle a également collaboré avec des photographes de renom et des magazines prestigieux (comme Vogue). En parallèle de ses aventures, Violette a créé un véritable univers autour de sa passion. Un univers qu'elle partage sur Instagram, YouTube où elle est suivie par des centaines de milliers de personnes.Et puis, en 2021, elle a donné un nouveau souffle à carrière en créant sa marque éponyme VIOLETTE FR.Dans cet épisode, on revient sur son parcours, les étapes de créations de sa marque mais aussi l'état d'esprit de Violette. Une femme indépendante et ambitieuse qui a réussi à inventer le métier de ses rêves selon ses propres règles. Je remercie Violette pour sa sincérité et pour ces beaux partages.Si l'épisode vous a plu, vous pourrez retrouver Violette sur son compte Instagram, n'hésitez pas à lui faire un petit coucou ;)Mais je ne vous en dis pas plus et laisse place à ma conversation avec Violette Serrat.Notes et références : Pour retrouver Violette : Sur InstagramSur le site de Violette_FRSur YouTubeSont cités dans l'épisode : Isabelle Autissier “She never looked nice. She looked like art, and art wasn't supposed to look nice; it was supposed to make you feel something” Rainbow Rowell*“La belle et la bête” de Cocteau“Le magicien d'Oz” de Victor FlemingKafka sur le rivage de Haruki MurakamiLes hauts de Hurlevent1. Faites vous coacher par moi !DEMIAN, un concentré de 10 ans d'expérience d'entrepreneur. Les formations DEMIAN vous apportent des outils et méthodes concrètes pour développer votre projet professionnel. Il s'agit d'un concentré maximal de valeur et d'expérience pour qu'en quelques heures vous gagniez l'équivalent d'années de travail. Découvrez DEMIAN !2. La NewsLa News du vendredi est une mini newsletter pour vous nourrir en plus du podcast. C'est une newsletter très courte, à lire en 5mn top chrono de ce qui m'a marqué dans les dernières semaines : livres à lire, réflexions, applis à télécharger, citations, films ou documentaires à voir etc. Pour la recevoir, il n'y a qu'à s'abonner à la newsletter sur mon site !3. Des conseils concrets sur ma chaîne YouTubeEnvie de lancer votre propre podcast ? De bénéficier de conseils sur quel matériel utiliser ? Ma nouvelle chaîne YouTube est faite pour vous !4.Contactez-moi ! Si le podcast vous plaît, le meilleur moyen de me le dire, ou de me faire vos feed-backs (et ce qui m'aide le plus à le faire connaître) c'est simplement de laisser un avis 5 étoiles ou un commentaire sur l'application iTunes. Ça m'aide vraiment, alors n'hésitez pas :)Pour me poser des questions ou suivre mes tribulations c'est par ici :Sur Instagram @paulinelaigneauSur LinkedIn @pauline laigneauSur YouTube Pauline LaigneauVous pouvez consulter notre politique de confidentialité sur https://art19.com/privacy ainsi que la notice de confidentialité de la Californie sur https://art19.com/privacy#do-not-sell-my-info.

Aujourd'hui j'ai le plaisir de recevoir sur le podcast, Violette Serrat alias Violette FR, fondatrice de la marque éponyme et directrice de création de la gamme maquillage chez Guerlain. Violette est une jeune femme que je suis depuis des années sur Instagram et dont j'adore l'univers coloré, frais et très authentique. Ce qui m'impressionne aussi chez Violette c'est son parcours “hors norme”. Rendez-vous ce lundi pour la suite de l'épisode !Vous pouvez consulter notre politique de confidentialité sur https://art19.com/privacy ainsi que la notice de confidentialité de la Californie sur https://art19.com/privacy#do-not-sell-my-info.

At just 19 years old, Violette Serrat shifted her career ambitions from fashion design and painting to makeup artistry. She began reaching out to photographers and models and producing shoots for free so she could practice her art and build a portfolio. Eventually, her work was recognized by Vogue France, and just a year later, she signed on as makeup director at Dior. Over the next decade, she took on roles at beauty companies such as Sephora, Estée Lauder, and Guerlain. Along the way, she developed her own aesthetic and technique, which she began to share on her popular YouTube channel. In 2021, she made the pivot to build her own company and launched Violette_FR, a beauty brand that encourages people to embrace their natural beauty while also being creative and having fun.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Vetiver by Guerlain (1959) + William Wyler's The Children's Hour (1961) + Robert Aldrich's The Killing of Sister George (1968) with Vera 09/16/22 S4E48 To hear the complete continuing story of The Perfume Nationalist please subscribe on Patreon.

I'm so excited to say that my guest in this episode is founder and CEO of VioletteFR, Guerlain's Creative Director of Makeup and mother of two, the wonderful Violette Serrat.Violette, (who is the absolute epitomy of French chic) shares her story...the story of a young makeup artist with a lot of drive and passion who did things HER way and by following her instinct and being just a little bit daring, has had an exciting and exceptionally successful career.During the episode we talk about her career journey, her approach to makeup, working with huge brands, starting her own (incredible) one and how she juggles motherhood with an incredibly busy career. Oh and we have a great chat about the power of glitter and what makes her products stand apart from the rest.I know that you're going to love getting to know Violette and I thoroughly recommend that you check out her incredible brand VioletteFR when you get a chance. (It's availably online and in the UK at Oh My Cream )

This episode is sponsored by Magnum Ice Cream. Follow @magnumicecream on Instagram and Twitter and @magnumicecreamUS on Facebook. Find Magnum ice cream at retailers nation-wide and at magnumicecream.com. When it comes to following her passions, French makeup artist Violette Serrat, Founder and CEO of VIOLETTE_FR has zero fears. At 19, while living in Paris, Violette was applying glitter to her friend's face for a party. At that moment, Violette realized doing someone's makeup merged her two loves of fashion and painting. She immediately decided she was leaving to pursue makeup in New York City and left two weeks later with no makeup or experience. After spending a short time in NYC, Violette returned to Paris. She was determined to become a makeup artist on her own terms while remaining authentic to herself, even if it meant going against industry standards.  Violette worked really hard and eventually caught her first break with an appearance in Vogue. Over the course of 17 years, Violette worked for numerous big-name brands including Dior, Estée Lauder, and Sephora. Violette knew the whole time she wanted to create her own brand for the community she had been building on Instagram and YouTube. Today, she is the creative director of makeup at Guerlain, as well as the founder and CEO of VIOLETTE_FR. Violette's own brand is dedicated to reminding you that perfection is not real and to celebrate yourself as both “the artist and the muse.” Thanks for listening!  Don't forget to order Rebecca's new book, Fearless: The New Rules for Unlocking Creativity, Courage, and Success. Follow Superwomen on Instagram. Guest Website: ⁠violettefr.com⁠ Social Media: Instagram: ⁠@violette_fr⁠ YouTube: ⁠@violette_fr⁠ TikTok: ⁠@violette_fr⁠ Big Ideas:  Taking big risks and having zero fear when it comes to work. Following your gut and being authentically yourself. --- Support this podcast: https://podcasters.spotify.com/pod/show/superwomen/support

The ultimate curator of the “French Girl” aesthetic, makeup artist Violette Serrat is back on the pod! We met up with Guerlain's Director of Makeup for the launch of the heritage brand's new foundation, Terracotta Le Teint, in New York. In this week's chat, we share all of Violette's tips on how to wear foundation the French way, the feminine makeup look she's feeling for Spring along with fascinating details on her creative process.   Tune in to hear about:    How-to find your your best foundation shade  Violette's signature “Zone & Tap” technique for applying foundation the French, “au naturale” way  The reason you're going to want to try lip balm on your cheeks this summer Why purple is Violette's colour mood of the season (and why you'll love it, too!) What she really thinks about makeup “dupes” Plus, personal details like Violette's nickname, the one time she saw a ghost and the last time she cried   Pssst! Tune into our Tiktok to find out what was in Violette's makeup bag during our interview!!   Get social with us and let us know what you think of the episode! Find us on Instagram, Tiktok, Twitter. Join our private Facebook group, or give us a call and leave us a voicemail at 1-844-227-0302.    For any products or links mentioned in this episode, check out our website: https://breakingbeautypodcast.com/episode-recaps/   PROMO CODES: When you support our show sponsors, you support the creation of Breaking Beauty Podcast!    DROPLETTE For a limited time, listeners can get 50% OFF your Droplette device at droplette.io and use code Beauty. OUAI The OUAI to healthy hair this season—and beyond—starts here. Go to theouai.com and use code BEAUTY15 for 15% off your entire purchase. NUTRAFOL You can grow thicker, healthier hair and support our show by going to Nutrafol.com and entering the promo code BREAKING to save $10 off your first month's subscription. Plus FREE shipping on every order. This offer is only available in the US for a limited time.    TLC'S DR. PIMPLE POPPER Watch an All New Season of Dr. Pimple Popper, Wednesdays at 9pm, 8pm central on TLC. Set your DVR.    *Disclaimer: Unless otherwise stated, all products reviewed are gratis media samples submitted for editorial consideration.*   Hosts: Carlene Higgins and Jill Dunn Theme song, used with permission: Cherry Bomb by Saya
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