Podcast appearances and mentions of Nina Ricci

Join us for an inspiring conversation with Barbara Kotlikoff Harman, a master of reinvention who transitioned from leading luxury brands like Nina Ricci and Harry Winston to launching The Butler's Closet, a bespoke storage business devoted to preserving your favorite fashion and lifestyle pieces. Harmon delves into the art of balancing high-level corporate leadership with innovative side hustles, sharing the challenges and triumphs of building customer loyalty and developing unique products in competitive markets. Listeners will gain valuable insights on navigating career shifts, embracing creative problem-solving, and finding their niche through perseverance and strategic innovation. Tune in to discover practical lessons that empower you to transform challenges into opportunities for lasting success. Watch the interview or read the transcript About Barbara Kotlikoff Harman After a successful career as the CEO of Parfums Nina Ricci, the Managing Director of Harry Winston and CEO of Monet, the costume jewelry company, Barbara K. Harman ran Development and raised funds for The Paley Center for Media and The Steinhardt School at NYU. The Butler's Closet was launched in 2011 when Harman decided she wanted to create her own business. Connect with Barbara: Website LinkedIn   Time Stamps: 03:03 - Growing up in New Jersey and early studies 04:45 - How Harman got into the beauty business 08:24 - Harman's first side hustles in design 10:26 - Starting The Butler's Closet as a side hustle 14:07 - Harman's best-selling preservation products 17:09 - The biggest surprise of entrepreneurship 19:30 - How the election impacted Harman's business 24:36 - Harman's tips for reinventing through a side hustle   30:59 - A glimpse at the more than 200 tips in Sollman's book Connect with Lesley Jane Seymour: Website Instagram LinkedIn Substack If you found this episode insightful, please follow the podcast and leave a review on Apple Podcasts. For more resources and community support, join me on Substack. Until next time, keep reinventing!    

And we're back with all the latest F1 updates! Zhou Guanyu is heading to Ferrari as a reserve driver, Drive to Survive returns next month, and Lewis Hamilton's first piece of Ferrari merch sold out instantly!Pierre Gasly & Jack Doohan's hair has everyone talking... mainly us! F1's biggest off-track drama: Franco Colapinto on Raya, Alexandra Saint Mleux x Nina Ricci, and Esteban Ocon's luxe Tiffany & Co campaign.Our 2025 season predictions – who's winning, who's flopping, and who's causing the most drama?And, of course, it wouldn't be an episode without Green Flag, Red Flag of the Week! Hit play now and let's talk all things F1! Hosted on Acast. See acast.com/privacy for more information.

Van flyeren bij fashionweeks tot een eigen prijswinnend modelabel: in deze aflevering niemand minder dan Lisi Herrebrugh, co-founder en creative director van Botter. We bespreken haar avontuur als creative director van Nina Ricci, de cultuurshock van Parijs, en de keuze om terug te keren naar Nederland om zich volledig op Botter te richten. Met succes.Zie het privacybeleid op https://art19.com/privacy en de privacyverklaring van Californië op https://art19.com/privacy#do-not-sell-my-info.

Romano Ricci—Juliette Has a Gun Founder, great-grandson of Nina Ricci, and Co-Founder of Nose Paris—joins me in the Perfume Room this week! We discuss everything from rebelling against the fam biz, reimagining it, what gender in fragrance means to him, the idea behind Nose Paris, and why fragrance pyramids are a thing of the past. Plus, I live-smell the newest Juliette Has a Gun launch, Juliette! SOTD/review: Fueguia Ett Hem FRAGS MENTIONED: Fueguia Ett Hem, D'ORSAY Nous Sommes Amants MD, Creed Millesime Imperial, Juliette Has A Gun Not A Perfume, Acqua di Parma Colonia, Dior Eau Sauvage, Nina Ricci: Coeur Joie, L'Air du Temps; JHAG: Ode to Dullness, Pear Inc;  JPG Le Male, Narciso For Her, JHAG: Citizen Queen, Calamity J, Juliette; Chanel Egoiste Platinum, JHAG: Sunnyside Up, Lady Vengeance; Bond No. 9, Cacherel Amor Amor, Creed Millesime Imperial FOLLOW: @juliettehasagun FOLLOW: @perfumeroompod 10% OFF Juliette Has A Gun at twistedlily.com (code: perfumeroom10)

Juliette Has A Gun's founder Romano Ricci may be more of a Mercutio in the Shakespeare-coded and metaphorical world of this episode. With Not A Perfume, Anyway..., Mmmm..., Ode To Dullness, and others, Juliette Has A Gun has undone haute parfumerie's formalities and proven that levity can be luxury as well. We speak with Ricci about the risk of launching an unserious fragrance brand in the height of mid-aughts fragrance culture, his roots in fragrance and fashion legacy, and how fragrance can be invisible armor. Find more info, episodes, and merch at Smellyalater.liveLeave us a voice message on the SYL Hotline at Speakpipe.com/smellyalater and we may respond on a future episode.Follow us on Instagram @smellyalater.mp3Leave a (nice) comment & (5-star) review wherever you stream, and if you feel so inclined, respond to our Spotify episode prompts please!

Puig, multinacional española de belleza dueña de marcas como Carolina Herrera, Paco Rabanne, Jean Paul Gaultier, Nina Ricci o Charlotte Tilbury, oficializó su salida a Bolsa a través de una colocación de entre 2.500 millones y 3.000 millones de euros que combinará una oferta pública de suscripción (OPS) de nuevas acciones de clase B -con menos derechos políticos- con una oferta pública de venta (OPV) de las acciones en poder de la familia fundadora. El tramo de ampliación de capital (OPS) será de 1.250 millones para pagar las compras de Charlotte Tilbury y Byredo. Es el mayor estreno bursátil desde Aena en 2015.  El grupo de fragancias, cosmética y moda, especializado en el sector de la belleza prémium, está cumpliendo por ahora con todos los plazos de la operación y tiene previsto debutar en el parqué en los primeros días de mayo. Se espera que la compañía alcance un valor empresa en el entorno de los 15.000 millones de euros. La previsión es que coloque alrededor del 25% de los derechos económicos de la empresa, pero apenas el 5% de los políticos, gracias a la estructura de acciones de clase A y B. El Real Madrid, una máquina de hacer dinero. Nos hemos leído las cuentas anuales del Real madrid, el club más valioso del mundo, bordeando los US$ 4,300 millones. En el año 2000 se encontraba al borde de la quiebra. El campeón de Champions arrastraba 23 millones de euros en pérdidas anuales y su modelo económico-financiero era catalogado por su auditor Deloitte & Touche como insostenible. El año pasado facturó más de 800 millones de euros con un beneficio superior a los 10 millones de euros.

Son nom ne vous évoque rien et pourtant, dans les années 1960 et 1970 il était sur les lèvres du tout Paris de la mode. “Une nouvelle étoile se lève dans le ciel de la mode parisienne” écrivait le magazine américain Women's Wear Daily en 1959. Jules-François Crahay, venait alors de signer sa première collection pour la maison Nina Ricci, qu'il quittera en 1963 avant de rejoindre la maison Lanvin. En 20 ans, il y signe plus de 40 collections de haute couture et de prêt à porter. Qui était ce styliste né à Liège en 1917, que la presse a comparé à Christian Dior? Comment est-il devenu le premier couturier belge à prendre la direction artistique d'une maison de mode parisienne ? Pour tenter de répondre à ces question, une viste s'impose à exposition lui est consacrée jusqu'au 10 novembre au Musée Mode et dentelles à Bruxelles. Elle déploie une collection unique des 65 silhouettes créées par Jules-François Crahay, augmentée de croquis de films, de photographies. Son commissaire, Denis Laurent, également auteur d'un livre accompagnant l'expo, Jules-François Crahay, grand couturier redécouvert (Lannoo), résultat de cinq années de recherche, est au micro de Nicolas Bogaerts pour retracer le destin d'un génie trop vite oublié. Sujets traités : Jules-François Crahay, haute couture, Liège,Lanvin,Nina Ricci, collection,Christian Dior, couturier, Claudia Cardinale, génie Merci pour votre écoute Un Jour dans l'Histoire, c'est également en direct tous les jours de la semaine de 13h15 à 14h30 sur www.rtbf.be/lapremiere Retrouvez tous les épisodes d'Un Jour dans l'Histoire sur notre plateforme Auvio.be : https://auvio.rtbf.be/emission/5936 Et 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.

Ana María Holguín es una diseñadora colombiana y Senior Accessories Designer en LOEWE. Originaria de Bogotá, Ana María reside actualmente en París, donde ha dejado su huella creativa en diferentes casas de moda como Louis Vuitton, Balenciaga, Kenzo y Nina Ricci.En este episodio exploramos sus decisiones personales, su experiencia con Jonathan Anderson en LOEWE y cómo mantiene viva su cultura colombiana en París.Si deseas conocer más historias de creativos de Latinoamérica, visita www.latinness.com o síguenos en @latinness__.-------------Ana María Holguín is a Colombian designer and Senior Accessories Designer at LOEWE. Originally from Bogotá, Ana María currently resides in Paris, where she has left her creative mark at various fashion houses such as Louis Vuitton, Balenciaga, Kenzo, and Nina Ricci.In this episode, we explore her personal decisions, her experience with Jonathan Anderson at LOEWE, and how she keeps her Colombian culture alive in Paris.If you want to discover more stories of Latin American creatives, visit www.latinness.com or follow us at @latinness__.Un abrazo y porfis te encargo que me pases los links para enviarles cuando estén en plataformas.

A perfume is a work of art, and the object that contains it must be a masterpiece”. Those are the famous words of Robert Ricci of The House of Nina Ricci. Over the years, many of the perfume bottles that have been produced have been nothing short of masterpieces. Many of these vintage perfume bottles are now serious collectibles that are very valuable. They are now sought after as much as the fragrances they once held. In this vintage perfume bottle price guide, we'll look at 10 of the most valuable vintage perfume bottles and their worth. The top 10 are: Check Images: Valuable Antique Detector(https://www.txantiquemall.com/vintage-perfume-bottles/) Pin: https://www.pinterest.com/valuableantiquedetector/ FB: https://www.facebook.com/valuableantiquedetector/ TW: https://twitter.com/antiquedetector Ins: https://www.instagram.com/valuableantiquedetector/   Hosted by Ausha. See ausha.co/privacy-policy for more information.

We are back with Philippe to review this past Fall / Winter 2023 Women's fashion show season. We dive into many shows, concentrating on the many debuts, of Daniel Lee at Burberry, Ludovic de Saint-Sernin at Ann Demeulemeester, and Harris Reed at Nina Ricci.Support the show

Dans cet extrait, Alexis Mabille explique comment il choisit ses mannequins et les lieux insolites pour ses défilés. Il décrit son type de clientèle : des princesses et monarques, des hommes et femmes politiques, ou encore des stars internationales comme Rihanna, Beyoncé ou Lady Gaga ! Il nous partage également comment le jeune Alexis de 15 ans a pu assister à des défilés Nina Ricci, Chanel ou encore Christian Lacroix avec qui il a échangé pendant des années... Ecoutez la suite de cet entretien entre Héloïse Giraud et Alexis Mabille dans l'épisode complet de Mannequin etc.

IN THIS EPISODE: In this episode our host, Denise Silber is joined by Françoise Bouyer, a Harvard Business School Amp alumna,  a self-described gender-free entrepreneur, with expertise in the luxury industry and in HR. Together they discuss how gender inclusivity and understanding in the workplace has become crucial for the entrepreneur interested in  building a richer sense of self, engaging a more fulfilled and successful team, and  producing relevant goods and services for the customer of today   As CEO of BeThe1, an international consulting firm in human relations and recruitment of middle and senior managers, Françoise is an expert on all things diversity, equity, inclusion, and gender identity in the workplace. Françoise reminds us  that the binary gender identity is a cultural convention, that  sexual orientation and gender are distinct, and that a gender savvy leader will foster a richer company culture and brand following. With new generations becoming more engaged in the societal evolution regarding gender, value-driven, inclusive companies are being rewarded with more loyal customers. Tune in to find out how your business can join the global shift towards creating a more inclusive workplace and innovative products and services. GUEST BIO: Françoise Bouyer is CEO of BeThe1, an international consulting firm in human relations and recruitment of middle and senior managers. She has two complementary expertise: extensive managerial experience in the fashion, luxury, beauty and retail industries with brands including Celine, Christian Lacroix, Nina Ricci, and  as an HR consultant in recruitment, gender and gender identity, diversity, equity and inclusion. Freed from the binary feminine/masculine norm of gender identity, Françoise is engaged with the public and organizations to share her understanding of what gender is, and advocate for a more open and inclusive culture, attitude and behavior towards gender.”  HBS AMP 156 ('99), Françoise Bouyer leads the HBS Club of France Career Commission, supporting HBS alumni with career advice.

Christopher Sarfati, Président d'Ecopel, nous dévoile son parcours en tant qu'entrepreneur, commençant dès l'âge de 19 ans dans la vente de glace. Il rejoint par la suite l'entreprise familiale qui produit et fabrique des pièces pour Nina Ricci. C'est en acquérant de l'expérience et un réseau de contact qu'il contribue à l'évolution de l'entreprise familiale. Aujourd'hui l'entreprise se concentre sur des solutions plus durables pour proposer une nouvelle fibre en gardant une qualité irréprochable.   

Welcome to Touch of Truth, the podcast that connects you to the unsung heroes and power players of our industry as they share the human truth behind the glossy experience. No schmooze, no rehearsal, just pure unadulterated honesty. Their stories might just make you a little more successful and a lot happier.In episode one, host Jackie Cooper sits down with fluid fashion designer Harris Reed, creative director for French fashion house Nina Ricci. During the episode, they discuss how Reed has trailblazed design, creativity, gender fluidity, and advocacy. They also discuss the trials and tribulations of working in the fashion industry, sustainability, and how to address Gen Z without being canceled. Subscribe to Touch of Truth on your favorite podcast platform!You can listen and subscribe to all of Adweek's podcasts by visiting adweek.com/podcasts.Stay updated on all things Adweek Podcast Network by following us on Twitter: @adweekpodcasts.Follow our host on Twitter: @JackiePRCooperAnd if you have a question or suggestions for the show, send us an email at podcast@adweek.com. Hosted on Acast. See acast.com/privacy for more information.

Lorsque l'on pense à la mode, une des premières images qui nous vient inexorablement en tête est celle de la figure du « Grand Couturier » . Tel un Clarence fou de génie dans le film Falbala, ou un Yves Saint Laurent solidement amarré à son Stockman et ses aiguilles, ou encore un Karl Lagerfeld au trait infatigable : on imagine toutes sortes de réalités qui façonnent un fantasme.Mais aujourd'hui, à l'époque de la valse des Directeurs Artistiques qui sont remerciés bien rapidement, qu'en est-il de cette figure d'autorité qui a marqué nos imaginaires ? Quelle est la réalité du métier de ceux et celles qui créent les designs tant admirés sur les podiums ?C'est ce que nous allons voir avec le couturier et designer Olivier Theyskens, un homme à la créativité singulière, hors système dans le fond comme dans la forme. Après avoir officié chez Rochas puis Nina Ricci ainsi que la marque Theory à New York, Olivier Theyskens se consacre à sa propre maison, qui a vu le jour en 1998. Amour de la coupe, de la matière mais également conscience du business sont les axes du créateur. Et aujourd'hui pour Décousu, il revient sur son parcours, sa démarche créative, son rapport au milieu et à la mode en général, ainsi que ses doutes et les questionnements qui ont parsemé son travail. Alors sans plus tarder, bon épisode à tous!(retrouvez le podcast sur instagram @decousupodcast)

Lorsque l'on pense à la mode, une des premières images qui nous vient inexorablement en tête est celle de la figure du « Grand Couturier » . Tel un Clarence fou de génie dans le film Falbala, ou un Yves Saint Laurent solidement amarré à son Stockman et ses aiguilles, ou encore un Karl Lagerfeld au trait infatigable : on imagine toutes sortes de réalités qui façonnent un fantasme.Mais aujourd'hui, à l'époque de la valse des Directeurs Artistiques qui sont remerciés bien rapidement, qu'en est-il de cette figure d'autorité qui a marqué nos imaginaires ? Quelle est la réalité du métier de ceux et celles qui créent les designs tant admirés sur les podiums ?C'est ce que nous allons voir avec le couturier et designer Olivier Theyskens, un homme à la créativité singulière, hors système dans le fond comme dans la forme. Après avoir officié chez Rochas puis Nina Ricci ainsi que la marque Theory à New York, Olivier Theyskens se consacre à sa propre maison, qui a vu le jour en 1998. Amour de la coupe, de la matière mais également conscience du business sont les axes du créateur. Et aujourd'hui pour Décousu, il revient sur son parcours, sa démarche créative, son rapport au milieu et à la mode en général, ainsi que ses doutes et les questionnements qui ont parsemé son travail. Alors sans plus tarder, bon épisode à tous!(retrouvez le podcast sur instagram @decousupodcast)

Welcome to Touch of Truth, the podcast that connects you to the unsung heroes and power players of our industry as they share the human truth behind the glossy experience. No schmooze, no rehearsal, just pure unadulterated honesty. Their stories might just make you a little more successful and a lot happier.In episode one, Jackie sits down with fluid fashion designer Harris Reed, creative director for French fashion house Nina Ricci. During the episode, they discuss how Reed has trailblazed design, creativity, gender fluidity, and advocacy. They also discuss the trials and tribulations of working in the fashion industry, sustainability, and how to address Gen Z without being canceled. Subscribe to Touch of Truth on your favorite podcast platform!You can listen and subscribe to all of Adweek's podcasts by visiting adweek.com/podcasts.Stay updated on all things Adweek Podcast Network by following us on Twitter: @adweekpodcasts.Follow our host on Twitter: @JackiePRCooperAnd if you have a question or suggestions for the show, send us an email at podcast@adweek.com. Hosted on Acast. See acast.com/privacy for more information.

For Video Edition, Please Click and Subscribe Here: https://youtu.be/84LgcSSnx5o Internationally acclaimed designer, Marc Rosen, is known for his award winning fragrance, cosmetic, and fashion packaging, A creative entrepreneur, his foresight has established him as a leader in the fields of design, marketing and public relations. His vision has been inspired by working with famous 'beauty' manufacturers and fashion names such as; Elizabeth Arden, Coty, Revlon, Estee Lauder, Nina Ricci, Perry Ellis, Oscar de la Renta, Avon, Halston, Chloe, Proctor & Gamble, Karl Lagerfeld, Fendi, Bath & Body Works, Victoria's Secret, Ellen Tracy and Burberrys, etc…He has worked with celebrities ie; Christina Aguilara, Joan Rivers, Celine Dion, Paris Hilton, Stephanie Powers, Joan Collins. Just prior to establishing his own firm in 1989, Mr. Rosen was Senior Vice President — Corporate Design and Communications for Elizabeth Arden Global for over a decade. In that role he was responsible for all corporate design, packaging, in-store merchandising and public relations. He is a seven time FiFi award winner. Mr. Marc Rosen has been involved in three highly acclaimed museum exhibitions: In 1979 he created "Cosmetic Packaging: A 20th Century Art Form" at the Fashion Institute of Technology, New York City and co-chaired the Fragrance Foundations "Scents of Time" exhibit (1986-87) that traveled nationwide. In September 2002 he created an exhibit entitled "Glass Houses" featuring his perfume bottle designs to celebrate the opening of Pratt Institute's new graduate center in Manhattan. His designs are represented in the permanent collections of the Museum of Modern Art, New York and the Musee de La Mode, Paris. 

In 2007 Kate Sheldon founded Fashioneering LLC; a management consultancy working internationally across classifications advising brands, retailers, investors, and service providers in the luxury goods, affordable luxury, and sustainability spaces. Kate formally launched the Fashioneering Lab in January 2022. A new division of her management consultancy comprised of a global team of industry leaders built to future-proof the fashion industry. The Fashioneering Lab is a comprehensive growth hub, working globally with purpose-driven luxury brands (and those who hope to be) providing advisory and tactical services, curated think tanks, collection audits, to fractional c-suites. Leveraging three decades of success, deep industry knowledge, and an extensive network in the world of luxury fashion; Kate currently works as a Fractional Brand President and Chief Merchandising Officer and through the development platform, The Fashioneering Lab to help emerging to heritage brands develop collections, assortments, and businesses that are both profitable and responsible. Kate got her start in Luxury Fashion as a designer with Victor Costa; notoriously known as “the knock-off king.” Eventually, Kate found her way to Neiman Marcus. After that, she would go on to spend over a decade as a merchant in Fine Apparel, and Couture Foundations buying the likes of CHANEL, DIOR, Ungaro, Christian Lacroix, PRADA, Etro, Missoni, Roberto Cavalli, Moschino, Alberta Ferreti, Nina Ricci, Donna Karen, Pucci, La Perla, SPANX, Carine Gilson, Wolford, Vera Wang, Reem Acra, Richard Tyler Couture, Badgely Mischka, Monique Lhullier, Oscar de la Renta and many more for the then 43 store chain and online business. Equally passionate and skilled in both the creative and business sides of the industry she describes her unique approach in three words... Creative Thinking Fashioneering In this episode, Kate talks with Holly Cole about how powerfully the word "no" influenced her career path from designer to merchant to entrepreneur.

Esta semana, el legado de Nina Ricci, la diseñadora de moda francesa-italiana.

Esta semana en Visionarios, la diseñadora europea, Nina Ricci.

Esta semana en Visionarios, la diseñadora europea, Nina Ricci.

Esta semana en Visionarios, la diseñadora europea, Nina Ricci.

Mais um ELLE News, mais uma Semana de Moda. E, dessa vez, o destino é Londres. Nesse episódio, a gente fala dos principais desfiles que rolaram na LFW de verão 2023. E ainda: Harris Reed assume a direção criativa da francesa Nina Ricci; chega ao fim a parceria entre Kanye West e GAP; os 50 anos da Arezzo; a nova marca de Brad Pitt e muito mais. Roteiro: Gabriel Monteiro, Giuliana Mesquita e Patricia OyamaMontagem e publicação: Compasso Coolab  Este episódio usou trechos das músicas Royals, de Lord; Smile, de Lily Allen; Say You'll Be There; das Spice Girls; As it was, de Harry Styles; B-Day song, de Madonna; Spaceship, de Ye; Brad Pitt, de MØ; House I Built, de Snoop Dogg.

Découvrez RÉUNI, mon nouveau projetEcoutez le podcast Building RÉUNI sur Apple Podcast I Spotify I SoundcloudSuivez les aventures de RÉUNI sur InstagramJe partage chaque vendredi dans ma newsletter des actus, des outils, des process et des stratégies pour vous aider à monter votre marque. Inscrivez-vous sur www.entreprendredanslamode.comPour soutenir le podcast:1. S'inscrire sur Entreprendre dans la mode pour ne rater aucun épisode.2. Mettre 5 étoiles sur Apple Podcast pour aider d'autres entrepreneurs et acteurs de la mode à découvrir le podcast.3. Vous pouvez aussi me soutenir en participant au financement de ce projet sur https://www.patreon.com/entreprendredanslamodeMusiques : Théo DarcelDans ce nouvel épisode, nous allons à la rencontre de René Célestin, il est le fondateur de OBO et actionnaire d'Ubi Bene. Dans cet épisode, René nous parle de son parcours, des grands milestones de sa carrière et d'OBO, son rapport aux regards des autres et on parle de beaucoup d'autres sujets. J'ai adoré interviewer René, j'espère que vous prendrez autant de plaisir à l'écouter.SE RETROUVER DANS L'EPISODE00:54 René Célestin se présente et revient sur son parcours.17:22 Les grands milestones de sa carrière.26:19 Comment il organise un show, son rapport à la mode, les milestones d'OBO, la création d'un défilé.50:02 Ce qu'il retient de ces milestones.1:01:47 Ses souvenirs marquants, comment gérer le stress, l'acquisition de l'agence Ubi Bene, la relation avec le designer.1:16:44 La façon dont les maisons communiquent sur les défilés, est-ce qu'ils travaillent sur différents supports médias, l'arrivée du sport dans la mode, le sustainability.1:32:26 Qu'est ce qu'il se dirait à lui, 20 ans, est-ce qu'il ferait des choses différemment, les gens qui l'inspirent.1:40:10 Comment il gère le regard des autres, qui souhaiterait-il entendre dans ce podcast.KEYLEARNINGSQuand tu es un ultra intuitif, tu peux pas négliger que le process ça aide les autres à venir avec toi.Je n'ai jamais vécu le challenge comme une chose désespérante, ça me fait marrer de pas savoir faire un truc.Il y a toujours un quotient de douleur dans notre apprentissage.Un des trucs que je regarde beaucoup et qui me touche presque autant voire plus, ce sont les gens que j'ai laissé dernière moi à qui j'ai eu l'opportunité soit d'amener de l'aide, soit de leur apprendre quelque chose ou de leur permettre de gagner en connaissance ou en assurance ou ce genre de choses. Le temps passant, le côté humain joue un rôle de plus en plus important pour moi.REFERENCES :OBO https://oboglobal.eu/Ubi Bene http://ubi-bene.fr/Institut Savignac https://www.ecole-de-savignac.com/Relais & château https://www.relaischateaux.com/fr/Potel & chabot https://poteletchabot.com/Victoria Secret https://ww.victoriassecret.com/fr/?cm_mmc=SEM-_-Google-FR-_-vsint_brand_FR_FR_Brand_HighVis-_-ST_Exact_victoriasecret&gclid=Cj0KCQjwl6LoBRDqARIsABllMSYjyrSGwFf6ARHG7KGcURtb0n4mJMJxzf8MlY3qee5ag6JCfYLXjI0aAqyZEALw_wcB&gclsrc=aw.dsMET Gala https://fr.wikipedia.org/wiki/Met_GalaJohn Galiano https://www.johngalliano.com/LVMH https://www.lvmh.fr/Vogue US https://www.vogue.com/magazineMusée Rodin http://www.musee-rodin.fr/Bureau Betak http://www.bureaubetak.comKCD https://www.kcdworldwide.com/Stella McCartney https://www.stellamccartney.com/frGucci https://www.gucci.com/fr/fr/Nina Ricci https://www.ninaricci.com/fr-FR/Eva Herzigova https://fr.wikipedia.org/wiki/Eva_Herzigov%C3%A1Made Fashion Week http://ma.de/Joseph Altuzarra https://www.altuzarra.com/en-fr/Alexander Wang https://www.alexanderwang.com/fr-en/Episode Alexandre Mattiussi https://soundcloud.com/entreprendre-dans-la-mode/79-alexandre-mattiussi-amiL'ANDAM https://andam.fr/Antonin Tron https://fr.wikipedia.org/wiki/Antonin_TronAtlein http://www.atlein.com/L'Oréal Paris https://www.loreal-paris.fr/Giorgio Armani https://www.armani.com/fr/armanicom/unisexe/giorgio-armani/cross_sectionBalenciaga https://www.balenciaga.com/frLouis Vuitton https://fr.louisvuitton.com/fra-fr/homepageVêtements https://fr.wikipedia.org/wiki/VetementsTom Ford https://fr.wikipedia.org/wiki/Tom_FordBernard Arnault https://fr.wikipedia.org/wiki/Bernard_Arnault See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

This week, I am coming from the floor of my daughter's unused nursery to discuss the infamous Oud Satin Mood knock-off, L'Extase Rose Absolue from the house of Nina Ricci; talking details about a perfume sale going on right now (just in time for Valentine's Day); and discussing an influencer who allegedly plagiarized a more famous brand (surprise, surprise). Mentioned in the Show L'Extase Rose Absolue (FragranceNet): https://www.fragrancenet.com/perfume/nina-ricci/lextase-rose-absolue-nina-ricci/eau-de-parfum?gclid=Cj0KCQiAi9mPBhCJARIsAHchl1xIkM24bric3g3ePLHYVbNQteFB93X4cHAWm_iEp9HCeMMq2vbI5KMaAsj_EALw_wcB&mv_pc=gawus_pla_c_g_1740087040_317358&utm_campaign=g&utm_medium=cpc&utm_source=google_us#317358 These fragrances are now at their lowest prices for Valentine's Day: https://nypost.com/2022/01/30/these-fragrances-are-on-sale-for-valentines-day/ People are Calling Out This Influencer For Copying A Perfume & Passing It Off As Coincidence: https://www.scoopwhoop.com/news/influencer-called-out-for-copying-jo-malone-perfumes/ Contact @pinotandperfume (Instagram) pinotperfume.wordpress.com pinotandperfumepodcast@gmail.com Check out my other podcast, Savoir Shade: https://anchor.fm/sarah-chacon--jenna-broughton/

W odcinku rozmowa z Kingą Malisz, absolwentką Central Saint Martins School of Art and Design. Ukończenie prestiżowej uczelni w Londynie otworzyło rozmówczyni podcastu drzwi do pracy w takich domach mody jak Alexander McQueen, Nina Ricci, Tom Ford, Oscar de la Renta. Obecnie Kinga Malisz jest dyrektorem projektowym (design director) w domu Mody Jasona Wu w Nowym Jorku.

In less than five years, designer duo, Rushemy Botter and Lisi Herrebrugh have made major inroads into the fashion industry establishment. Back in 2018, their Botter menswear label got them to the finals for the LVMH Prize and a few months later they nabbed the Grand Prix du Jury at the Festival d'Hyères fashion competition. It wasn't long after that that the pair were tapped to design women's wear for the famed French fashion house Nina Ricci. But what is most exciting about Botter and Herrebrugh is how they are bringing a sense of social responsibility and environmental awareness to the work they do; framing their colorful, roomy, and approachable clothing within a world that is facing a global wake up call.

Dans cet épisode rediffusé sorti initialement en août 2020, nous allons à la rencontre de Sophie Templier, elle a travaillé au sein de la maison Chloé et Nina Ricci en tant que directrice générale. Dès le début de sa carrière, elle souhaite travailler en proximité avec les créatifs tout en intégrant une dimension commerciale. Son parcours riche en expériences dans le secteur du luxe l'amène aujourd'hui à développer son activité en tant que consultante. Sa mission ? Accompagner le développement des marques émergentes et les aider à structurer leur entreprise.Avec Sophie, on a parlé de comment trouver sa voie, comment elle a développé des grands noms du luxe, et de l'importance de rester cohérent.« La cohérence au sein d'une marque, c'est un élément essentiel pour la faire grandir sereinement. »Ce que vous allez apprendre dans cet épisode: Le parcours de SophieComment elle a déterminé son orientation à la fin de ses étudesQu'est-ce qu'une licence Sa méthode pour relancer une marqueSes missions au sein de la maison ChloéComment elle est devenue directrice généraleComment trouver l'équilibre entre la création et le businessComment déterminer si un emploi vaut son investissement personnelSon départ de la maison ChloéSon expérience chez Nina Ricci Comment elle accompagne les marquesSoutenir la création en respectant le positionnement de la marqueComment structurer en interne son entrepriseLe suivi des KPI'sSe poser les bonnes questions avant de développer de nouvelles activités dans une marque« Plus tu avances en expérience, plus tu as envie aussi de découvrir d'autres choses. Quand tu te rends compte que tu explores, que tu t'impliques dans quelque chose, ça donne un résultat, t'as encore plus envie d'explorer des choses plus diversifiées. Avec l'expérience vous avez envie de découvrir d'autres dynamiques, explorer peut-être moins en profondeur un sujet mais plus en diversité. »« Je pense que pour réussir un projet de développement d'une marque, il faut que tout le monde en ait envie, que tout le monde s'aligne sur une même vision, une même motivation. Il faut qu'il y ait un accompagnement financier avec de l'innovation, avec des projets. Quand il n'y a pas cette dynamique on peut faire, mais c'est moins amusant. »« Il faut laisser une part d'intuition, il faut suivre ses envies. Parce que si tout est moulé, cadré, enfermé dans des formules, c'est oppressant et ça peut être source d'erreurs. Il faut avoir une vision mais il faut se laisser porter par ce qu'il se passe progressivement, voir comment les choses évoluent. Il y a une notion de pouvoir du temps à laquelle je crois énormément. »Vous souhaitez contacter Sophie ? Retrouvez là sur son LinkedIn: https://www.linkedin.com/in/sophie-templier-a8048b11/ Ou tout simplement par mail: templier.sophie@gmail.com Aussi, si vous souhaitez me contacter ou me suggérer de nouveaux invités, vous pouvez le faire sur Instagram sous le pseudonyme @entreprendredanslamode Enfin, le plus important : laissez-moi un avis sur Apple Podcast ou iTunes, 5 étoiles de préférence ; cela m'aide à faire connaître le podcast à plus de monde et me motive à faire de meilleures interviews ! Merci de soutenir ce podcast et à bientôt pour un nouvel épisode !See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Dans ce nouvel épisode, nous allons à la rencontre de Guillaume Henry, il est le directeur artistique de Patou. Dans cet épisode, il nous parle de son parcours, de son premier stage chez Givenchy à son arrivée chez Patou, de l'importance d'avoir envie, de la différence entre faire de la mode et des vêtements, de Jean Patou, de l'importance d'avoir une équipe soudée et du partage des informations et de beaucoup d'autres sujets. J'ai adoré interviewer Guillaume, j'espère que vous prendrez autant de plaisir à l'écouter !SE RETROUVER DANS L'EPISODE01:00 Guillaume se présente et revient sur son parcours.33:02 La création de sa marque, son arrivée à l'IFM, le conseil de Jean-Jacques Picart, son stage chez Givenchy, son travail chez Paule K.01:04:34 Son arrivée chez Nina Ricci, la femme Carven et Nina Ricci, son expérience chez Nina Ricci.01:25:15 Son départ de chez Nina Ricci, sa rencontre avec Sidney Toledano, son arrivée chez Patou, Jean Patou, le changement de nom de la marque, la vision et les bureaux Patou.2:01:15 Comment il a choisi son équipe, sa méthode de management, son processus créatif, ce qu'il dirait à Guillaume 20 ans, qui souhaiterait-il entendre dans ce podcast.KEYLEARNINGSCe fameux conseil avisé de Jean-Jacques Picart, LE conseil : « Vous devriez rentrer dans une maison, observer, apprendre, vous frustrer et c'est de votre frustration que naîtra votre talent. Vous aurez quelque chose à dire quand vous saurez qui vous êtes et vous saurez qui vous êtes, en travaillant pour les autres ». Et il a eu tellement raison !C'est génial quand tu rencontres le succès mais c'est problématique quand tu dois le maintenir. Je n'ai jamais su associer une marque à des codes vêtements. J'ai toujours associé une marque à des femmes. Je n'ai jamais réussi à associer une marque à un produit, j'ai toujours envisagé une femme comme quelqu'un. Quand je suis arrivé chez Patou, je me suis dit : Patou, c'est qui ? Une entreprise ce n'est pas qu'un DA, une entreprise c'est une entreprise, une vision commerciale. Ce qui m'a bluffé, c'est l'intelligence d'Henri Sebaoun quand je suis arrivé chez Carven. Cela faisait trois mois que je dessinais dans mon coin la première collection et il ne me demandait rien. Un jour, je dis « Henri, tu ne veux pas voir ce que je suis en train de faire ? », il me fait « Non non ça va ». Je dis « Mais, tu es sûr ? Parce que quand même, je voudrais que ça te plaise.». Il me fait « Non, je t'ai choisis donc ça me plaira, et puis ça ne plait pas, c'est de ma faute parce que je t'ai choisis». C'est quand même formidable, cela te donne des ailes, l'envie de l'envie de l'envie. Après ça, tu as non seulement envie de travailler pour toi mais pour lui. Tu veux le rendre fier, tu veux qu'il soit fier, tu veux lui rendre ce qu'il t'a dit. T'es obligé, tu veux lui rendre ce qu'il t'a dit, tu veux le rendre fier tellement il t'a laissé cette liberté.Chez Nina Ricci, j'habillais des femmes que je ne connaissais pas, les fameuses clientes de l'avenue Montaigne mais je n'habillais plus du tout, du tout celle que je connais. Et ce trop de robes que je croisais dans le métro, je ne les voyais plus du tout. C'est comme si tu n'entendais pas du tout ta musique à la radio, c'est terrible. Ça m'a tellement manqué.La première personne que j'ai voulu toujours satisfaire, c'est moi. Ce n'est pas égoïstement, c'est que, si tu n'aimes pas ce que tu fais, comment veux-tu que les autres l'aiment ?Au quotidien, on te demande d'être définitif : c'est rouge ou blanc ? C'est long ou c'est court ? Par contre, tu passes ton temps à te contredire, c'est quand même un sacré casse-tête. C'est-à-dire que c'est jaune parce que ce n'est pas rouge, mais dans 6 mois, ce sera rouge parce que ce n'est pas jaune. On passe notre temps à dire « ça, ce n'est pas possible » et la saison d'après : « c'est génial ! ». C'est fou mais c'est ça que j'adore dans ce métier, sauf qu'il faut absolument que tu aies envie. Et si tu as envie, tu peux quand même donner un tout petit peu envie aux autres et il faut bien s'entourer, avoir une équipe de choc.Je n'aime rien de plus que d'habiller mes amies.Pour plaire, il faut d'abord aimer.Je voulais ramener Jean Patou dans la vie, mais Jean Patou c'est un homme. Et on voulait vraiment, avec Sophie, revenir à l'idée d'entreprise et de marque. Ce n'est pas péjoratif quand on dit « marque », c'est vraiment un label, c'est comme une griffe. Jean, il est avec nous tout le temps mais quand tu es née en 1997, tu veux vraiment t'habiller en Jean Patou ? Il faut être tout à fait objectif. Patou, il y a une forme d'immédiateté, ce qui compte c'est le respect des valeurs, de l'héritage. Jean Patou, il n'est plus avec nous physiquement, mais par contre, il est avec nous tout le temps dans tout ce que l'on entreprend, dans toutes nos réflexions.Parfois, quand on est en essayage, je vois un vêtement sur un cintre qui est bof comme ça, un peu triste. On me dit « il faut avoir porté », mais tu essayes quand tu n'aimes pas sur un cintre toi ? Donc donnes lui de l'amour pour que tu aies envie de l'enfiler sinon ça sert à quoi ?Je me suis mis à Instagram il y a très peu de temps, mais typiquement, Instagram, j'ai découvert que c'était une source d'inspiration extraordinaire donc j'essaye de chopper pas mal d'images. Je suis vraiment un mangeur d'images, bizarrement et cela se voit un peu sur le portant, je ne regarde pas beaucoup de choses de mode ou alors quand il y a des vêtements, ce n'est pas des vêtements griffés, j'adore la notion d'anonymat. Les inspirations peuvent venir de partout, mais j'emmagasine et à un moment, cela fait comme une espèce de scénario ou de pêle-mêle d'images et cela se clarifie : des couleurs qui sortent ou qui reviennent, des mantras…Une collection, c'est comme des ingrédients dans un plat : tu as un peu de sucré, un peu de salé, un peu de piquant, un peu de doux. Pour moi, c'est ça une recette réussie.Les équipes, je leur demande à tous de ramener des images de choses dont ils ont envie, et moi, je suis comme une photocopieuse, je les avale. Après, il y en a qui survivent et d'autres qui ne surviennent pas mais doucement la collection se met en place, des envies de longueur, de couleur, de volume, la fille : c'est qui, c'est quoi la femme cette saison, elle rit, chez Patou, elle rit de toutes façons, d'où elle vient, où elle va, est-ce qu'elle a différentes aspirations diverses, variées. Ça commence à se composer un peu comme un story-board, un portrait-robot et après je vais aller voir les équipes en leur disant « voilà, en quelques mots, cette saison c'est…. » Et ils vont aussi travailler de leurs côtés des volumes, des proportions, des maquettes. Et on commence à faire du stylisme avec une amie mannequin, et on l'habille, on lui met des trucs, et là, il y a une femme qui arrive doucement et on s'enthousiasme, et ça grandit. Après cette réunion où on joue un peu à la poupée, on réunit les équipes et on va leur dire « voilà c'est ça, alors on aimerait ce genre de choses, ce genre de main » et là, on va encore plus précisément.L'ambition c'est bien, mais le transforme pas en handicap.REFERENCESPatou https://patou.comDuperré https://duperre.org/Pierre Hardy https://www.pierrehardy.com/IFM https://www.ifmparis.fr/fr/Citizen K http://www.citizen-k.com/Maria Luisa https://fr.wikipedia.org/wiki/Maria_Luisa_PoumaillouJean-Jacques Picart https://www.instagram.com/p/B3654ydot8y/Carven https://www.carven.com/Henri Sebaoun https://www.linkedin.com/in/henri-sebaoun-a1353a72/enMarie-Louise Carven https://fr.wikipedia.org/wiki/Marie-Louise_CarvenDéfilé Nina Ricci aux Invalides https://www.marieclaire.fr/les-legionnaires-du-defile-nina-ricci-printemps-ete-2018,1237450.aspSophie Brocart https://fr.fashionnetwork.com/news/Lvmh-nomme-sophie-brocart-directrice-generale-de-jean-patou,1023478.htmlClaude Montana https://www.instagram.com/p/B6uua5ACw-U/See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Welcome to Monday Morning Critic Podcast!Episode 244.Author."Jojo Rabbit" (Caging Skies).Christine Leunens.Christine Leunens was born in Hartford, Connecticut to an Italian mother and a Belgian father. As a teenager she  moved to Paris,  where she had a close relationship with her grand-father, Guillaume Leunens, the Flemish painter and sculptor. She funded her study and early writing by modelling in Europe, becoming the face of Givenchy, Paco Rabanne, Nina Ricci, Pierre Balmain and Sonia Rykiel, acting in TV ads such as Mercedes Benz, Suzuki and House of Fraser. She went on to earn a Master of Liberal Arts in English and American Literature and Language from Harvard University in 2005, and a PhD at Victoria University of Wellington in 2012. Since its first publication in 2004, Caging Skies    has become an international bestseller, translated into over twenty languages. In 2007 the French translation was nominated for the Prix Médicis  Étranger and the Prix du Roman FNAC.   Over time, Caging Skies    was adapted to stage and film. The play adaptation, written by Desirée Gezentzvey and directed by Andrew Foster, had its world premiere at the Circa Theatre, Wellington in 2017.  Taika Waititi's film adaptation,   Jojo Rabbit,  won the People's Choice Award at the 2019 Toronto International Film Festival, was nominated in 2020 for two Golden Globes, six Baftas,  and six Oscars, including Best Picture. It won the WGA Award,  the BAFTA Award as well as the Oscar for Best Adapted Screenplay. It also won the Humanitas Prize for writing intended to promote human dignity, meaning and freedom. Both the film and the book were nominated for the USC Scripter Award 2020 and won AFI Awards for their contribution to America's Cultural Legacy.  Christine currently lives with her family in New Zealand.  Her new novel  , In Amber's Wake, is to be published in early 2022 and her film adaptation of the  same  title has been taken  for production.Welcome, Christine Leunens.​Instagram: Monday Morning Critic Podcast.Facebook: Monday Morning Critic Podcast.Twitter:@ DarekThomasWebsite: www.mmcpodcast.com

Aurelien Guichard is one of France's top-flight perfumers. He has worked for brands like Nina Ricci, Guerlain, Gucci, Issey Miyaki and many more. Coming from a family who have been in and around the perfume industry for several generations, Aurelien talks about his life as a perfumer, as a grower of rose centifolia on his organic farm in Grasse, and as the head of his own perfume company, Matiere Premiere. We discover what is next for this vibrant brand, which showcases and overdoses a single main ingredient in each of their compositions and learn about life as one of the world's hottest talents today. 

Aujourd'hui nous allons être nombreux sur parlons B. Nombreux à parler d'un parfum iconique de l'après guerre, dévoilé en 1948. Il s'agit de L'air du temps de Nina Ricci, qui existe toujours aujourd'hui. Il a connu de belles revisites comme la dernière, sublime, signée Calice Becker. Ca donne un parfum plus floral, plus lumineux, avec des notes de jasmin, de rose, de gardénia, d'oeillet épicé et un accord moderne qu'est le yuzu et la baie de poivre rose. Et parce qu'une bonne nouvelle n'arrive jamais seule, ce parfum a été magnifié par la célèbre maison Antoinette Poisson dont on peut retrouver les ébauches dans une vidéo sur le compte Instagram @parlonsBPodcast. Je n'en dis pas plus. Bonne écoute

Pour cette troisiéme rencontre qui sera diffusée en deux parties, nous partons à la rencontre de Nicolle qui a été couturière tailleur Haute Couture et syndicaliste chez Nina Ricci de 1958 à 1997 Avec Nicolle, nous allons parler de sa vie au sein de la maison Nina Ricci, de militantisme et de ses luttes, de son adhesion au parti communiste, de sa vie, des ateliers de couture, de Balmain et des conditions de travail. Si le sujet vous intéresse, voici quelques ouvrages qui m'ont permis de préparer ma rencontre: - Collectif sous la direction de BRUNO REMAURY et LYDIA KAMITSIS, Dictionnaire internationnale de la mode, Editions du Regard, 2004 - Midinette Militante Chez Nina Ricci, NICOLLE ROUX, collection Graveurs de Mémoires, édition L'Harmattan, 2006 - ANNE MONJARET, les catherinettes en fête, Archives & Culture, 2008 «Fêtes des catherinettes : Faut-il chlore le folklore ?», Libération, 24 novembre 2019 à 15h47 par JULIETTE DEBORDE https://www.liberation.fr/france/2019/11/24/fete-des-catherinettes-faut-il-clore-le-folklore_1765006/  «Jour de fête pour les midinettes, L'envers de la Saint Catherine : les normes derrière la dérision festive», Modes Pratiques, numéro 1, Novembre 2015, par ANNE MONJARET https://www.modespratiques.fr/numeacutero-1.html  - Comment un nom devient une griffe, Lucien François, aux éditions L'air Du Temps,  1961 - Nina Ricci, Editions du Regard, 1992  Extraits sonores : - Madame Carven et Gérard Pipart présentent quelques modéles, 1976 https://www.ina.fr/video/I06123543/madame-carven-et-gerard-pipart-presentent-quelques-modeles-video.html  - L'air du temps perfume https://www.youtube.com/watch?v=7lIaIt8txrk&ab_channel=allads - Couturière, 1980 https://www.ina.fr/video/CPB80050357/couturiere-video.html - Haute Couture '' Sainte Catherine de lutte 1975" https://www.cinearchives.org/Catalogue-d-exploitation-HAUTE-COUTURE-_SAINTE-CATHERINE-DE-LUTTE-1975_-494-311-0-26.html? - StripTease, "Maryflo", 1997 https://www.youtube.com/watch?v=L7ObAngwxLQ&ab_channel=Jean-DoDiantre - La Mode Nina Ricci, 1985 https://www.ina.fr/video/PAC00021183/mode-nina-ricci-video.html Alice Darrow pour l'illustration 

The Met Gala has been rescheduled, White Castle collaborated with Telfar, and Cardi B has a new collection with Reebok. Nina Ricci is closing its flagship and we have a fashion crime from the shoe industry. Come hang out! 

27 jaar geleden begon ik in de optiek-branche als vertegenwoordiger van de montuurmerken Lacoste, Nina Ricci en optische glazen. Bij bijna alle andere firma's in de optiek 

Pour cette troisiéme rencontre qui sera diffusée en deux parties, nous partons à la rencontre de Nicolle qui a été couturière tailleur Haute Couture et syndicaliste chez Nina Ricci de 1958 à 1997 Avec Nicolle, nous allons parler de sa vie au sein de la maison Nina Ricci, de militantisme et de ses luttes, de son adhesion au parti communiste, de sa vie, des ateliers de couture, de Balmain et des conditions de travail. Si le sujet vous intéresse, voici quelques ouvrages qui m'ont permis de préparer ma rencontre: - Collectif sous la direction de Bruno Remaury et Lydia Kamitsis, Dictionnaire internationnale de la mode, Editions du Regard, 2004 - Midinette Militante Chez Nina Ricci, Nicolle Roux, collection Graveurs de Mémoires, édition L'Harmattan, 2006 - ANNE MONJARET, les catherinettes en fête, Archives & Culture, 2008 «Fêtes des catherinettes : Faut-il chlore le folklore ?», Libération, 24 novembre 2019 à 15h47 par JULIETTE DEBORDE https://www.liberation.fr/france/2019/11/24/fete-des-catherinettes-faut-il-clore-le-folklore_1765006/  «Jour de fête pour les midinettes, L'envers de la Saint Catherine : les normes derrière la dérision festive», Modes Pratiques, numéro 1, Novembre 2015, par ANNE MONJARET https://www.modespratiques.fr/numeacutero-1.html  - Comment un nom devient une griffe, Lucien François, aux éditions L'air Du Temps,  1961 - Nina Ricci, Editions du Regard, 1992  Extraits sonores : - Madame Carven et Gérard Pipart présentent quelques modéles, 1976 https://www.ina.fr/video/I06123543/madame-carven-et-gerard-pipart-presentent-quelques-modeles-video.html  - L'air du temps perfume https://www.youtube.com/watch?v=7lIaIt8txrk&ab_channel=allads - Couturière, 1980 https://www.ina.fr/video/CPB80050357/couturiere-video.html - Haute Couture '' Sainte Catherine de lutte 1975" https://www.cinearchives.org/Catalogue-d-exploitation-HAUTE-COUTURE-_SAINTE-CATHERINE-DE-LUTTE-1975_-494-311-0-26.html? - StripTease, "Maryflo", 1997 https://www.youtube.com/watch?v=L7ObAngwxLQ&ab_channel=Jean-DoDiantre - La Mode Nina Ricci, 1985 https://www.ina.fr/video/PAC00021183/mode-nina-ricci-video.html Alice Darrow pour l'illustration 

Kate Young is a New York-based stylist.  She recently launched a successful YouTube channel, Hello Fashion.Her celebrity clients include Margot Robbie, Dakota Johnson, Selena Gomez, Michelle Williams, Rachel Weisz, Sienna Miller, Nina Dobrev, and Sophie Turner. On the commercial side, she has consulted for Armani Exchange, Tod’s, Halston, and Ann Taylor and styled campaigns for Dior, Joie, Guerlain, Carolina Herrera, Theory, CoverGirl, Victoria’s Secret, Pantene, and Olay. Formerly she served as the Fashion Editor at Large for Interview. She’s also styled editorials for i-D, Numéro Japan, Porter, Glamour, and InStyle. Kate frequently collaborates with photographers such as David Sims, and Annie Leibovitz. She works closely with designers on their shows and collections including Jason Wu, Nina Ricci, Derek Lam, and Rosetta Getty.Today, Kate is one of the most sought after red carpet stylists, having been named “The Most Powerful Stylist” by The Hollywood Reporter three times and “Stylist of the Year” by InStyle.

  Parce que chaque semaine qui commence est un nouveau départ, j'avais envie de vous lire une histoire. Alors je vous propose le bijou comme un bisou du dimanche soir. Il était une fois la plumasserie joaillière de Nelly Saunier Quand je pense aux parures de plumes me vient toujours 2 images. Tout d'abord l'invention du signe politique d'Henri IV qui motive ses soldats pour la bataille d'Ivry en 1590 en s'écriant : « Ralliez vous à mon panache blanc vous le trouverez au chemin de l'honneur et de la victoire ».  Et par ailleurs, me vient en tête les jambes interminables et auréolées de plumes d'autruche rose d'une Zizi Jeanmaire inoubliable chantant « mon truc en plume, plume de zoiseaux de zanimaux ». Et vous, quand on vous dit « parure de plume » quelle image traverse votre esprit ? Les majestueuses coiffes des chefs amérindiens ou les diadèmes à aigrette des années folles réalisés par la place Vendôme ? Les plumes de coq rouges et blanches des shakos des élèves de l'école militaire de Saint Cyr ou la tradition des dynasties mongoles venant d'Inde à la fin du XVIe qui piquaient une plume de héron dans les plis du turban et à l'extrémité de laquelle ils accrochaient une perle, un porté que Maharajahs ont fait perduré en les stylisant ? La plumasserie c'est vert ! Tout d'abord je voudrais rassurer les ardents défenseurs des animaux. Si l'histoire est l'histoire et que chaque époque a eu ses excès, aujourd'hui les plumes ne viennent plus d'animaux que l'on tue. La Convention pour la protection des oiseaux utiles à l'agriculture signée à Paris le 19 mars 1902 protège maintenant toutes les espèces d'oiseaux et son champ s'est étendu en devenant la Convention internationale sur la protection des oiseaux dès 1950. En France les DREAL (directions régionales de l'Environnement, de l'Aménagement et du Logement) listent les espèces protégées. Au niveau international, les oiseaux sont protégés par les lois qui gèrent la protection de la nature depuis la Conférence de Stockholm en 1972 auxquelles s'ajoutent les décisions de la Convention sur le commerce international des espèces de faune et de flore sauvages menacées d'extinction, la CITES (Convention on International Trade of Endangered Species), aussi appelé Convention de Washington, un accord intergouvernemental entre Etats signé le 3 mars 1973 à Washington qui s'assure que le commerce international des spécimens d'animaux et de plantes sauvages ne menace pas la survie des espèces. Et cette convention est souvent secouée par l'Union Internationale pour la Conservation de la Nature qui ne la trouve pas assez rapide.  En bref aujourd'hui les nandous, grèbes, albatros, pélicans, cigognes, flamants, canards et les oies, grues, perroquets, chouettes et hiboux, colibris, oiseaux de paradis sont strictement protégés.  Même le ramassage des aigrettes tombées à la fin de la saison des amours est interdit en France. Les plumes utilisées par l'artisanat plumassier sont les déchets de l'industrie agro-alimentaire c'est de l'up-cycling ! Les importations doivent être strictement déclarées avec leur traçabilité. Les commerçants eux-mêmes sont très mobilisés. Une boutique en ligne (plumes.fr) écrit sur son site : « Il est inutile de proposer de nous vendre des plumes comme les plumes d'aigle, de flamant, de chouette, de perroquet, etc. Peu importe s'il s'agisse d'un élevage particulier ou professionnel, nous ne souhaitons pas alimenter un quelconque commerce douteux. Nous avons de nombreuses demandes concernent les plumes d'aigle. Nous vous suggérons de porter votre choix sur des plumes de faisan, très proches et tout-à-fait autorisées à la vente. Concernant les plumes de perroquet, peu importe s'il s'agisse d'un Ara ou de la plus petite perruche domestique : même les plumes de la mue sont interdites à la vente. Il est inutile de les ramasser dans la cage et de nous les proposer à la vente. Nous vous remercions de votre compréhension et sommes sûrs que vous pensez comme nous : la parure d'un oiseau exotique est bien plus belle sur lui que sur un autre être vivant. Respectons la nature. » Bref la plumasserie c'est vert ! La plumasserie un métier très ancien La plumasserie un métier aussi ancien que la civilisation. L'art plumaire est même un art sacré. De l'Antiquité aux peuplades primitives, porter des plumes a une signification de pouvoir et est chargé de symbole. Elles sont arborées lors de grands événements, de pratiques rituelles et de cérémonies et sont un signe de distinction identitaire et sociale c'est-à-dire que les chefs ont plus de plumes ou des plumes plus grandes. Plus encore chaque type de plume est chargé de pouvoirs différents. Par exemple, les véritables coiffes des amérindiens sont en plumes d'aigle parce qu'elles évoquent l'honneur et le courage. D'ailleurs, c'est le porteur de plume lui-même qui doit aller les chercher directement sur l'animal qui doit rester vivant et pour cela parvenir au nid qui est souvent à la cime des montagnes.  Le porté de plume est masculin et même guerrier. Déjà dans l'Antiquité, les casques des armées romaines étaient ornés de panaches. Encore aujourd'hui la garde républicaine, cette branche de la gendarmerie nationale qui assure les missions d'honneur et de sécurité pour les plus hautes autorités de l'Etat, porte des plumets sur ses casques. Il y en a même 5 qui indiquent la fonction ou le grade. L'aigrette en plumes de héron (hauteur de 315 mm) est réservée au commandant du régiment de cavalerie. Le plumet tricolore en plumes de nandou (315 mm), est celui des officiers supérieurs (chef d'escadron et ses supérieurs) et de tous les officiers de l'état-major. Les capitaines et lieutenants portent un plumet écarlate en plume de nandou (315 mm). Le trompette-major et son adjoint sont distingués par le tricolore en plumes de coq de 270 mm. Et tous les sous-officiers des unités ont droit au plumet écarlate en plumes de coq de 270 mm. « Le dictionnaire historique des arts, métiers et professions exercés à Paris depuis le XIIIe siècle » par Alfred Franklin indique que déjà sous Charlemagne les élégants se paraient de plumes de paon et de flamands roses. Au XIIIe siècle les prélats et grands seigneurs portaient des chapeaux ornés et parfois même formés de plumes de paon, à telle enseigne qu'en 1268 se forme la corporation des chapeliers de paon. Au XIVe siècle on voit apparaitre les plumes d'autruches. Louis XII entrant à Gènes portait un casque couronné d'une forêt de plumes droites d'où émergeait un panache retombant. Et François Ier arborait une plume blanche sur son bonnet de velours noir. La profession évolue et fait réviser ses statuts en 1599 et 1659 pour devenir « plumassier- panacher -bouquetier enjoliveur ».  C'est Louis XIV qui étend le porté de plumes. Bien sûr, il porte d'immenses chapeaux abondamment garnis de plumes et donc tous ses ministres en font autant. Puis toute sa cour, ainsi que les femmes, commencent à porter des plumes. Et par les ballets de cour qu'il apprécie car il adore la danse et les spectacles, la plume entre comme accessoire de scène. Ainsi définit-il les conditions de porté de la plume qui existe encore aujourd'hui. Du côté des femmes, les coiffures évoluent au fil du temps, et les plumes s'ajoutent aux fleurs et à la gaze jusqu'à devenir de véritables échafaudages dont l'apogée est atteint avec Marie-Antoinette et les incroyables compositions de sa modiste Rose Bertin. A tel point que Madame Campan, la femme de chambre de la Reine écrit dans ses mémoires que les femmes ne trouvaient pas de voitures assez hautes et étaient obligées de sortir la tête de la portière de leur carrosse. On utilisait des plumes de coq, de vautour, de héron, de geai. Mais les plumes les plus prisées étaient celle d'autruche que l'on faisait venir d'Alger et que l'on teignait en rose, en Bleu Céleste, en boue de Paris, en vert, en jaune ou encore couleur souci. Plus rare encore et donc beaucoup plus chères les plumes de héron noir venaient d'Allemagne et de Turquie et étaient destinées à la parure masculine exclusive des récipiendaires de l'Ordre du Saint Esprit. La révolution sonne le glas du porté de plume comme de tout ce qui symbolisait l'aristocratie. C'est l'Empire qui le réintroduit avec Joséphine de Beauharnais qui les portent aussi sur les vêtements. La restauration aimera les oiseaux de Paradis et le Second Empire portera du Marabout. Mais l'explosion du porté féminin de la plume et le second Age d'or de la plumasserie est bien sûr la Belle Epoque. Il y a les débuts du music-hall avec tous ses panaches de la Goulue à Mistinguett en passant par Joséphine Baker. Il y a bien sûr les bandeaux, tiares et diadèmes diamantés et avec des aigrettes, les boas en autruche et surtout les chapeaux de jour dit « à la volière » sur lesquels on trouve même des oiseaux entiers. Comme les premiers défenseurs de la nature s'insurgent, les plumassiers vont alors développer l'art de la métamorphose. En plus de leur savoir-faire premiers, ils vont arriver à créer l'illusion des oiseaux sauvages avec des plumes d'oiseaux d'élevage ordinaire.  Entre parenthèse, je ne remets pas en cause la nécessité de la protection animale mais j'aimerai souligner que jamais le porté masculin, et militaire, n'a été stigmatisé comme les portés féminins taxés d'extravagance et largement moqués et caricaturés. Le métier de Plumassier Au XVIIIe, dans leur Encyclopédie 1751-1778, Diderot et d'Alembert décrivent ainsi ce métier « PLUMASSERIE, s. f. est l'art de teindre, de blanchir, de monter toutes sortes de plumes d'oiseaux. ... » s'y ajoute 4 planches de gravures : l'atelier et les instruments, les plumes et leur préparation, les ouvrages du plumassier-panacher, et les différents ouvrages de plumes  Ce qui est étonnant c'est que les instruments sont restés presque immuables. C'est qu'il faut faire la différence entre les traitements premiers de la plume qui sont des savoir-faire communs, puis la maitrise de la matière qui donne lieu à des secrets jalousement gardés. Tout d'abord il faut connaitre la plume. C'est le premier apprentissage. Et c'est une matière étonnante. Comme les cheveux elle est constituée de kératine, elle est donc a la fois résistante et souple. On peut bien sûr la casser si on la piétine. Mais la plume est composée de barbes maintenues autour d'un rachis central. Ces barbes sont garnies de barbules qui sont maintenues entre elles par des barbicelles. C'est pourquoi il suffit que l'oiseau lisse ses plumes pour qu'après un ébouriffage passagé tout son plumage redevienne lisse. Mais toutes les plumes ne sont pas pareilles c'est pourquoi il faut les trier. Il semble évident de les répartir par couleur mais en fait c'est complètement insuffisant. Si on réfléchit on imagine bien que sur un même oiseau les plumes du cou seront bien plus petites que celle des ailes ou de la queue par exemple. Et justement quand j'arrive chez Nelly Saunier l'artiste plumassière, elle est occupée à trier les plumes de paon. Je la vois les ranger par taille, jusque là rien ne m'étonne et puis je la vois encore répartir des plumes qui me semblaient identiques et elle m'explique, amusée, que les ailes gauches et droites ont une inclinaison différente. J'aurais du y penser ! Il lui faut donc un œil exercé et une méticulosité infinie pour ranger chaque type de plumes par couleur, dimension, orientation. D'ailleurs elle a fait fabriquer sur mesure un immense rayonnage de 5 mètres de haut pour ses trésors conservés dans un mur de boites rigoureusement étiquetées. Mais avant de les ranger, après les avoir trié, elle les lave et les rince soigneusement pour les dégraisser et enlever toutes impuretés. Elle a même pour cela une machine à laver dédiée. Puis elle les sèche consciencieusement. Après il faut encore les passer à la vapeur pour leur redonner leur volume et leur éclat. Comme un tissu, on peut teindre, blanchir ou décolorer les plumes. L'art du plumassier est alors de sélectionner une plume pour ses couleurs naturelles ou pour leur donner une autre identité comme l'imitation des espèces interdites. Nelly Saunier Plumassière d'art Nelly me raconte qu'elle a toujours été fascinée par les oiseaux, leur beauté, leur liberté et leur plumage et qu'à 14 ans elle avait déjà décidé d'être plumassière. Et ça pas été facile. On lui oppose la quasi disparition de ce métier d'art : en 1919 il y avait 425 ateliers en France et en 1980 il en restait 5. On lui rabache qu'il ne reste que 4 ateliers à Paris ! La Maison Lemarié spécialisée dans la haute couture qui a rejoint en 2002, le groupe Paraffection, la filiale de la maison Chanel dédiée à la conservation des savoir-faire artisanaux d'exception. Il y a la Maison Légeron, Février et la société Marcy plutôt orientée vers le music-hall. Les autres plumassiers et ils tout au plus une dizaine en France, sont indépendants et cherchent des débouchés qui en dehors de la haute couture et du spectacle sont très rares. On lui souligne les difficultés de l'apprentissage. Il ne reste qu'une seule école dans toute l'Europe : le lycée Octave Feuillet à Paris qui ne prend que quelques élèves et prépare au CAP plumassière fleuriste. En effet au XVIIIe les plumassiers commencent à créer des fleurs artificielles en plume et le geste est toujours identique, même pour former les camélias de Chanel. Ce geste s'appelle la « monture » et Nelly d'un mouvement précis me montre comment elle prend un fin fil métallique et « tourne » les plumes qui s'enroulent autour. Elle maitrise aussi le collage et la couture. Et bien sûr, c'est la base, elle sait parer la côte des plumes, les redresser ou les courber, les ébarber, les découper, les friser, ou les nouer. Car bien entendu, Nelly a suivi l'enseignement de cette unique école de plumasserie en 1981. Puis elle intègre l'École Nationale Supérieure des Arts Appliqués et des Métiers d'Art que l'on appelle communément l'école Olivier de Serres du nom de la rue où cette prestigieuse et sélective école se situe. Elle ronge son frein en dessinant des chaussettes pour la marque Achille et introduit obstinément la plume dans son cursus de textile. Elle a trouvé son crédo : bousculer les usages dans la tradition du geste. Mais ce qui est différent c'est sa vision : la plume peut se conjuguer à toutes les matières et la plumasserie n'a pas seulement pour objet de compléter un design, un vêtement ou même un bijou c'est un art dont elle veut faire reconnaitre l'œuvre de façon intrinsèque. Alors les objets deviennent sculptures ou tableau qui transmutent la pensée de l'artiste. Et cette pensée c'est l'amour de la nature. Aussi voit-on chez elle chez des arbres, des fleurs, des feuilles que la plume devenue trompe l'œil rend plus vrai que nature. En attendant nous sommes en 1989 et l'école Octave Feuillet la sollicite pour devenir professeur. Tou elle poursuit ses recherches elle commençe à enseigner. Mais pas question qu'elle se contente du programme classique. Elle bouscule le cursus et pousse ses élèves à se inventer. La génération montante des nouvelles mains d'or en plumasserie lui doivent cette approche nouvelle qui les amène à créer des règles et applications inédites de la plumasserie d'aujourd'hui. Maxime Leroy, le plumassier de Haute Façon, lauréat 2017 du Prix de la Jeune Création Métiers d'Art qui a créé son marque M. Marceau, l'appelle sa mère spirituelle et a même fait plaquer en or, la pince de plumassier qu'elle lui a transmise. Maitre d'art en plumasserie depuis 2008, Nelly Saunier a été lauréate du prix Liliane Bettencourt pour l'intelligence de la main de la Fondation Bettencourt Schueller en 2009, lauréate de la Villa Kujoyama la résidence d'Artistes à Kyoto en 2015. Elle est sélectionnée en 2017 avec 14 autres artisans d'art d'exception pour représenter l'art français à l'exposition Wonder Lab des Trésors Nationaux Vivants au Musée national de Tokyo.  En 2012, le ministère de la Culture la nomme Chevalier de l'ordre des Arts et des Lettres et en 2020 elle devient Officier de cet ordre prestigieux. La joaillerie plumassière de Nelly Saunier Elle travaille avec des designers, costumiers, décorateurs et bien sûr les grands couturiers : Givenchy, Nina Ricci, Isabelle Marant, Louboutin, Chanel, Jean-Paul Gauthier.  Dans le domaine des bijoux c'est Harry Winston qui la sollicite en premier. La collection Premier Feathers est dévoilée en 2012 à Baselworld. Les boitiers de montres sont en or et sertis de diamants mais ce sont les cadrans en marqueterie de plumes qui séduisent immédiatement les collectionneurs. Le faisan argenté, le faisan de Lady Amherst, le faisan commun et le paon forme de véritables tableaux, abstraits en noir et blanc, tachistes en multicolore ou encore impressionnistes en aplat de bleu et vert. En 2015, c'est Van Cleef & Arpels qui lui demande de créer ses Cadrans Extraordinaires pour le salon horloger de Hong Kong. Elle réinvente pour le joaillier une plumasserie miniature. Les trois éditions limitées de seulement 22 pièces exceptionnelles montrent des oiseaux porte-bonheur survolant des tableaux de marqueterie de pierres. Nelly Saunier crée un cardinal en relief avec un plumage carmin qui semblent tenir l'amour entre ses ailes, un oiseau augure aux couleurs de l'azur qui embrassent de ses ailes déployées un ciel de lapis lazuli et un oiseau céruléen dansant sur un fond de mauve inspiré. Dans cet exercice, elle se délecte de marier son inspiration à la rigueur d'un cahier des charges très précis, ce qui représente également un défi. La même année, c'est Piaget qui lui demande une manchette « secret de Venise ». A elle, d'imaginer un graphisme. Elle sort ses crayons, et ses échantillons de plumes et propose ses fiches de style. Auréolant l'émeraude centrale, les plumes semblent tournoyer dans une danse anagogique de bleu, de vert et de noir. Pour la collection Sunny Side of Life, présentée lors de la Paris Fashion Week elle déploie ses talents de coloriste. On lui dit « coucher de soleil » alors elle sélectionne les couleurs naturelles de l'ibis rouge, du ara, de la perruche ondulée et de flamant rose qui irradient autour du saphir jaune central. Elle crée aussi un trompe l'œil de jungle aux tonalités sauvages verte et fauve pour la manchette à l'émeraude. Le troisième bijou est serti de saphirs bleus et Nelly le transforme en océan par les reflets aquatiques des plumes travaillées en pointillisme. Elle ose expliquer aux équipes de Piaget les caractéristiques de la plume comme la nécessité d'insérer une bordure de métal pour que les bardes de la plume ne se séparent pas. Et ils écoutent et changent leur dessin pour s'adapter à cette matière vivante qui chatoie et rutile.  Pour Sunlight Escape, c'est en plumes d'oie et de pélican qu'elle crée des motifs géométriques d'un blanc immaculé et rehaussé de feuilles d'or et qui se positionnent dans une manchette et des boucles d'oreilles en or jaune entouré d'un serti de diamants.  En 2020, Piaget dans la collection « les ailes de la lumière » a imaginé un extraordinaire collier Majestic Plumage en point d'interrogation en forme d'oiseau et Nelly Saunier se charge de leur créer des ailes qui se mêlent aux saphirs et aux spinelles et encadre une tourmaline paraïba très rare de 7,49 carats. Entre temps c'est Chopard qui lui demande de créer le collier de la collection Red Carpet dévoilée au Festival de Cannes 2018. Il s'agit de retranscrire les inspirations mongoles et leur savoir faire traditionnels. La pièce centrale est flamboyante et mystique. C'est un camée en or sculpté autour duquel s'enroulent des volutes d'apatites bleues, de grenats violets et de jaspe rouge. Nelly propose des plumes de coq, de héron cendré, d'autruche et de faisan obscur. Elle crée une véritable exubérance plumassière à la fois opulente et évanescente qui nidifie les joyaux et frissonne autour du cou. Nelly Saunier m'a dit : « la plume c'est toute ma vie et je n'aurai pas assez d'une vie pour exprimer tout ce que je veux lui faire dire ». Nelly rassurez vous, d'ores et déjà, vous êtes par votre art plumassier, immortelle. Ainsi se termine cette histoire de la plumasserie joaillière de Nelly Saunier.  Je suis Anne Desmarest de Jotemps et je donne une voix aux bijoux. Chaque dimanche j'émets en alternance sur un podcast différent. Dans l'autre podcast « Il était une fois le bijou » j'explore une thématique en saison courte. Et justement la semaine prochaine la nouvelle saison appelée Diamant forever recevra Mina El Hadraoui, la directrice France du Natural Diamond Council. Et le 21 sur le podcast Brillante ce sera Stéphanie des Horts l'auteur de La Panthère qui ressuscitera pour nous Jeanne Toussaint. Pour ne manquez aucun de nos rendez-vous du dimanche autour du bijou, abonnez à chacun de ces 3 podcasts « Il était une fois le bijou », « le bijou comme un bisou » et « Brillante » sur votre plate-forme d'écoute préférée ou sur YouTube et encouragez- moi en mettant des commentaires, c'est ce qui permet de référencer les podcasts ! Si vous êtes sur Apple podcast mettez plein d'étoiles et partagez, sans modération. ! A bientôt pour un prochain bijou, un nouveau bisou du dimanche soir. Site Twitter Facebook Instagram LinkedIn Musique : Allan Deschamp, 0 le Sign

Explaining why corselettes are important and the material used to construct them. Analyzing a Nina Ricci bodice from a 1957 Vogue pattern #1388.

DAVID LURASCHI  Photographer based in Paris, with artwork exhibited across Europe and the US. He is a contributor to magazines such as: AMERICAN VOGUE and M LE MONDE. And we haven't even got started on the glamour of his clientele which extends to HERMES, DIOR, NIKE, NINA RICCI, GALERIES LAFAYETTE. Check out David's instagram to see his fantastic photos.... @davidluraschi Website: www.mirrormirror.fr/print/david-luraschi/ David Mentions: Notes on the Cinematographer, by Robert Bresson Film - Dekalog  Weekly Inspiration: Good on You - goodonyou.eco Stories Behind Things - www.storiesbehindthings.com/theseasonalshop Vestiaire Collective - www.vestiairecollective.com Thrift+ - www.thrift.plus Clean Clothes Campaign - cleanclothes.org Stacey Dooley - Fashion's Dirty Secrets - www.bbc.co.uk/programmes/b0bn6034 The Secret Lives of Colour by Kassia St Clair Partnership for this series: POT GANG - www.potgang.co.uk HUNA sleepwear - @huna_sleep Original Music by Jack Baxter - www.jackbaxter.co.uk

Hear Me, See Me. Podcast. Hairdressing Icon, Sam McKnight.This episode was an absolute joy for me as it is one of my absolute hair heroes, Sam McKnight.Celebrated session hair stylist, Sam McKnight, is the hairdresser's hairdresser. He boasts a legendary career spanning over four decades encompassing catwalk, editorial and advertising campaigns for fashion houses such as Chanel, Fendi, Balmain, Burberry and Tom Ford. A regular contributor to both British and international Vogues, W, Harper's Bazaar, Vanity Fair, i-D and Love, he has over 100 covers to his name from British Vogue alone. McKnight is also a Contributing Beauty Editor at British Vogue. McKnight has collaborated with some of the world's most prominent photographers including Patrick Demarchelier, Mario Testino and Nick Knight. A long-time stylist for the late Princess Diana, McKnight was the creative behind her iconic short, slicked back hairstyle in the now-famous 1990 Demarchelier shoot for British Vogue, a partnership that led to him becoming her personal hair stylist for seven years.One of the original session stylists, McKnight initially trained as a teacher before working as an assistant at a local hairdresser in his native Scotland. Moving to London in the early 1970's, McKnight secured a position at Molton Brown, which at the time was a leading hair salon in London's South Molton Street. He worked on projects for London-based magazines 19 and Honey before landing his first editorial shoot with British Vogue in 1977. While working in London, he was introduced to stylists Liz Tilberis (later editor of British Vogue and Harpers Bazaar US) and Lucinda Chambers (British Vogue), who were instrumental in hiring him for high-profile editorial shoots.McKnight has been bestowed the Lifetime Achievement Award at both the Scottish Fashion Awards and Creative Head Awards 2015. He is hugely respected within the hairdressing community and is often cited as a source of inspiration or named as ‘the hairstylist I would most like to work with' by his peers.On November 2nd 2016, Somerset House launched Hair by Sam McKnight, a major exhibition celebrating McKnight's impressive career. Never before has an exhibition of this kind taken place, looking at hair from a new perspective and celebrating the significant role of session hair styling in both fashion and culture throughout the decades.In tandem, McKnight also released his first book: Hair by Sam McKnight (Rizzoli), a hardback anthology of his magazine covers, editorial shoots and personal insights into working at the heart of the fashion industry.June 2017 saw McKnight launch a brand: Hair by Sam McKnight, in Liberty of London, injecting fashion, glamour and ease into haircare and styling. The collection is the culmination of McKnight's knowledge and experience in the industry, giving women the tools and confidence to style their hair themselves.PhotographersAlasdair McLellan, Andrea Spotorno, Angelo Pennetta, Arthur Elgort, Ben Hassett, Bruce Weber, Carter Smith, Charlotte Wales, Clara Giaminardi, Corinne Day, Craig McDean, David Bailey, David Sims, David Slijper, Derek Kettela, Elaine Constantine, Ellen Von Unwerth, Emma Summerton, Erik Torstensson, Glen Luchford, Hedi Slimane, Inez and Vinoodh, Irving Penn, Javier Vallhonrat, Johnny Dufort, Juergen Teller, Jem Mitchell, Josh Olins, Karl Lagerfeld, Lachlan Bailey, Liz Collins, Marcus Ohlsson, Mario Sorrenti, Mario Testino, Mert & Marcus, Mikael Jansson, Mikael Schulz, Miles Aldridge, Morelli Brothers, Jean-Baptiste Mondino, Jem Mitchell, Josh Shinner, Juergen Teller, Nadine Ijewere, Nick Knight, Paolo Roversi, Patrick Demarchelier, Paul Wetherell, Peter Lindbergh, Phil Poynter, Regan Cameron, Robin Derrick, Richard Avedon, Richard Burbridge, Sean Ellis, Sharif Hamza, Simon Emmett, Sølve Sundsbø, Terry Richardson, Tim Walker, Tom Ford, Tom Munro, Vincent Peters, Willy Vanderperre, Viviane SassenEditorialAnother, Another Man, Chaos, CR Fashion Book, Dazed, Elle, Evening Standard, Garage, Glamour (UK,US), GQ, Harper's Bazaar (UK,US), i-D, Interview, Love, Madame Figaro, Marie Claire, Numero, Ponystep, POP, Porter, Showstudio.com, The Edit, Vanity Fair, V Magazine, V Man, Visionaire, Vogue (Chinese, French, German, Italian, Japanese, Spanish, British, US), W MagazineAdvertising / PRAlberta Ferretti, Angelo Marani, Aquascutum, BaByliss, Barrie Knitwear, Blumarine, Bottega Veneta, Brioni, Burberry, Calvin Klein, Chanel, Chloé, Christian Dior, Clinique, David Morris, Dior Homme, DKNY, Dolce & Gabbana, Estée Lauder, Etro, Equipment, Fendi, Gap, GHD, Givenchy, Giorgio Armani, Gucci, Hogan, Huawei Watches, Jean Paul Gaultier, Jimmy Choo, Jo Malone, Joop, Joseph, Just Cavalli, Kurt Geiger, Lancôme, Liu-Jo, Louis Vuitton, L'Oréal, Mac Cosmetics, Mango, Marni, Massimo Dutti, Max Factor, Michael Kors, Montblanc, Mulberry, Nina Ricci, Patrick Cox, Philosophy, Pirelli, Pantene, Pollini, Ralph Lauren, Reserved, Revlon, Rimmel, Roberto Cavalli, RMK Cosmetics, Salvatore Ferragamo, Shiseido, Sportmax, Stella McCartney, Stuart Weitzman, Swarovski, Tods, Tom Ford, Tommy Hilfiger, Topshop, Ungaro, Uniqlo, Versace, Vivienne Westwood, Yves Saint Laurent, Z ZegnaCelebritiesAlexa Chung, Alicia Vikander, Amanda Seyfried, Anne Hathaway, Audrey Tautou, Bella Hadid, Cara Delevingne, Carey Mulligan, Carla Bruni-Sarkozy, Cate Blanchett, Cindy Crawford, Claire Foy, Clara Paget, Claudia Schiffer, Cora Corre, Diana Princess of Wales, Diane Kruger, Drew Barrymore, Ellie Bamber, Élodie Bouchez, Emilia Clarke, Emma Corrin, Emma Watson, Eva Green, Evan Rachel Wood, Florence Welch, Georgia May Jagger, Geraldine Chaplin, Gigi Hadid, Gisele Bündchen, Hailey Baldwin, Helena Bonham Carter, Helena Christensen, Hilary Swank, Jennifer Lawrence, Kate Bosworth, Kate Moss, Kate Winslet, Kendall Jenner, Keira Knightley, Kim Basinger, Kim Kardashian West, Kirsten Dunst, Kristen Stewart, Kristin Scott Thomas, Kaia Gerber, Kylie Minogue, Laetitia Casta, Lady Gaga, Lara Stone, Lauren Bacall, Léa Seydoux, Lennon Gallagher, Lily Cole, Lily Collins, Lily Donaldson, Lily-Rose Depp, Linda Evangelista, Liv Tyler, Lou Doillon, Madonna, Maggie Cheung, Marion Cotillard, Margot Robbie, Marine Vacth, Mary Kate & Ashley Olsen, Michelle Williams, Milla Jovovich, Monica Bellucci, Naomi Campbell, Naomi Scott, Naomi Watts, Nicole Kidman, Penelope Cruz, Pharrell Williams, Rafferty Law, Riley Keough, Rita Ora, Sarah Jessica Parker, Sharon Stone, Sienna Miller, Suki Waterhouse, Taylor Swift, Tilda Swinton, Uma Thurman, Vanessa Paradis, Winnie HarlowFashion ShowsAlberta Ferretti, Alexandre Vauthier, Anna Molinari, Antonio Berardi, Anya Hindmarch, Ashish, Asprey, Aquascutum, Bally, Balmain, Blugirl, Blumarine, Brioni, Burberry, Carolina Herrera, Chanel, Chloé, DKNY, Dolce & Gabbana, Dries Van Noten, DSquared2, Emporio Armani, Etro, Fendi, Gareth Pugh, Gianfranco Ferre, Giorgio Armani, Halpern, Iceberg, Isabel Marant, Jasper Conran, Jill Stuart, Julien Macdonald, Krizia, La Perla, Lancetti, Margaret Howell, Marios Schwab, Mary Katrantzou, Matthew Williamson, Max Mara, Micheal Halpern, Miu Miu, Monot, Moschino, Moschino Cheap & Chic, Mulberry, Nicholas Kirkwood, Nicole Farhi, Oscar de la Renta, Paul Smith, Philosophy, Ports 1961, Prada, Pringle, Ralph Lauren, Ralph & Russo, Roberto Cavalli, Roland Mouret, Ryan Lo, Salvatore Ferragamo, Sonia Rykiel, Sportmax, Thierry Mugler, Tom Ford, Topshop, Trussardi, Ungaro, Valentino, Vivienne Westwood, 16ArlingtonBio : http://www.premierhairandmakeup.com/hair/1-sam-mcknight/bio/Haircuts4Homeless : https://www.haircuts4homeless.com/Produced by : https://svnty6production.com/Artwork by : https://www.dvsyart.com/Support this show http://supporter.acast.com/hear-me-see-me. 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It's often said that how one looks contributes to how onefeels. If we look great we typically feel great. Janine Asmar brings her worldclass skills and flagship program Create Your Best Look and shows us how themagic of color can definitely create the best you so that you look great andfeel great. Here are other great topics covered on this podcast: · The necessity of being selfish · Transitioning from medicine to fashion · Taking inspired, decisive action to achieve your desires · Your speaking appearance language · Matching your color to your desires Janine Asmar is often called the “Surgeon of Haute Couture” not just because she attended medical school prior to being a world class designer but because of her surgical attention to details and finishing. Janine opened her own Maison de Couture in the 1990's and used her creativity and imagination to reflect the beauty of women in her designs. Janine's close cooperation with the world's most famous designers such as Dior, Yves Saint Laurent and Nina Ricci led to an international career and she has presented her various collections to the four corners of the world such as France, Japan, Germany, United States, and Dubai. Visit Janine's website at https://janineasmar.net/ Connect with Janine at Janine@janineasmar.net Podcast Music: Voyage by Bolide https://soundcloud.com/bolide

We're bringing you another golden episode of The Women's Series today as Tahnee chats to Nadine Artemis, founder of the divine holistic skin and oral care wellness brand, Living Libations (if you haven't checked out their products, you need to). Nadine is also the author of Renegade Beauty and Holistic Dental Care, two inspiring books that encourage people to rethink conventional notions of beauty and wellness and provide how-to knowledge for those seeking holistic alternatives to chemical-laden products. As her book title suggests, Nadine walks a path of renegade beauty. She is successfully setting a new standard regarding what we put in and on our bodies, one that puts integrity before profit. More of this, please! This conversation is a reminder to look beyond the artfully marketed beauty products full of toxic ingredients to the inherently flawless mother nature.   Tahnee and Nadine discuss:  Essential oils, the distillation process and what determines their quality. Should we be ingesting essential oils? What goes into making Living Libations range of skin, oral, body, hair care, and essential oils such high quality.  Positive change occurring in the beauty industry due to smaller companies breaking up the monopoly. Dysbiosis of the microbiome due to microscopic buildup of toxic matter. Inflammation and high blood sugar, and how they affect our skin quality. Marketing manipulation; Are we paying a lot of money for cleverly marketed toxic concoctions of nothingness? Progressive integrative dental care. Questions to ask a prospective holistic dentist. The dentinal lymph system; how this fluid transport system is at the heart of understanding our teeth. The oral microbiome. Using essential oils and their QSI (quorum sensing inhibitors) as anti-biofilm agents. Root canals and how they affect overall health. Essential vitamins and minerals for healthy teeth.   Who is Dr Nadine Artemis? Nadine Artemis is the author of the two holistic health books Renegade Beauty: Reveal and Revive Your Natural Radiance and Holistic Dental Care. She is the creator of Living Libations, a luxury line of organic wild-crafted non-GMO serums, elixirs, and essential oils for those seeking the purest of the pure botanical natural health and beauty products on the planet.  Artemis is an innovative pharmacologist, developing immune-enhancing formulas and medicinal blends for health and wellness.  Her healing creations, along with her concept of renegade beauty, encourage effortlessness, eschew regimes, and inspire people to rethink conventional notions of beauty and wellness.  Her potent dental serums are used worldwide and provide the purest oral care available. Nadine is a key speaker at health and wellness conferences and a frequent commentator on health and beauty for media outlets. She has received glowing reviews for her work in The Hollywood Reporter, GOOP, Vogue, People, Elle, Yoga Journal, Natural Health, W Magazine,  The New York Times, Los Angeles Times, and National Post. Celebrity fans include Gwyneth Paltrow, Shailene Woodley, Renee Zellweger, Julianne Moore, Carrie Anne Moss, Mandy Moore, The First Lady of Canada Sophie Trudeau, and many others.   Resources: Renegade Beauty Book Holistic Dental Care Book Living Libations Website Living Libations Youtube Living Libations Facebook Living Libations Instagram Living Libations Twitter Living Libations Pinterest What to Ask a Prospective Dentist (Living Libations Article) Self Dentistry in 8 Simple Steps (Video)       Q: How Can I Support The SuperFeast Podcast? A: Tell all your friends and family and share online! We’d also love it if you could subscribe and review this podcast on iTunes. Or  check us out on Stitcher, CastBox, iHeart RADIO:)! Plus  we're on Spotify!   Check Out The Transcript Here:   Tahnee: (00:00) Hi, everybody, and welcome to the SuperFeast Podcast. Today, I am super excited to be talking to Nadine Artemis, who is the founder of Living Libations, which is an amazing line of serums and elixirs and body care, hair care, and my personal favourite, essential oils. She also has written two excellent books Holistic Dental Care and Renegade Beauty, and that's kind of why we're here today, because I wanted to have a chat to her about all things dental and beauty. You've been doing this for a long time, Nadine. You're so well known in this industry. I've seen you in all of the big newspapers around the world, and I know people like Alanis Morissette are fans. I wanted to start, if you don't mind, just with a little bit of an overview of how you found yourself on this path, because reading your books, it sounds like you've gone from a more mainstream approach to beauty sort of discovering this track. Love to hear a little bit about that, if you don't mind.   Nadine Artemis: (00:56) Yes, well, my stint with regular commercial beauty was really just part and parcel of being a teenager, but at that time, I really dove in. Because, we were just talking beforehand, because my best friend is Australian, and I was with her-   Tahnee: (01:17) During the move [crosstalk 00:01:21]   Nadine Artemis: (01:20) Oh, my god, insane amounts. Then, of course, we weren't really allowed to wear a lot of makeup and stuff because I was at a girls' school, so then it just became, "Let's wear more." So much nail polish, I'd have to go down to the office and have it removed.   Tahnee: (01:38) Oh, my gosh. I remember that too.   Nadine Artemis: (01:40) Then, I'd put a lot of product in my hair, and then the next day, they'd have new rules that you couldn't put gel in your hair and stuff. It's just a little funny.   Tahnee: (01:49) You were changing their system.   Nadine Artemis: (01:53) Yes. Then, I was the youngest in my family, because I had an older sister, and my mother, and so I was kind of the hand-me-downs too for all their bottles. My bathroom really was quite crazy. There [inaudible 00:02:04] explanation, but in all of that, also, in my childhood, before teen, I was really steeped in nature and really aware. I just knew I loved to hang out, and in grade nine, in the midst of all the crazy bottles of petroleum. I did do a science fair project and I wanted to do perfume, because I had this book that I got from the library. It did go into the origins of perfume, and it was a bit like, "Oh," some sort of, like, "That's where it all came from," and that they were distillates from plants. That was kind of revolutionary to know that back then.   Nadine Artemis: (02:47) It talked about the history, which was really fascinating to me as well. My great grandfather, who I didn't know, but I knew of his work, and he'd gone on archaeological digs as an illustrator in the 1800s with Howard Carter and stuff. We had these paintings of the Egyptian... And it was original, from the 1800s. When he was painting, he was really there to replicate what he saw, sort of like... Because he would do very fine watercolours, so even if something was broken, he would... On the wall, he would paint that in. Then, he had these paintings of Luxor, and that was really cool, and he was also the president of the London Egyptology Society, and a lot of neat history.   Nadine Artemis: (03:37) When I was reading that book and it talked about... Because, ancient Egypt really did... That was one of the stages of where perfume got revolutionised a little bit more into distilling practises that we still use today. It has a lot of perfume history, that culture. It talked about using these things called essential oils, and that you could probably find them at a health food store and that sort of stuff. We went off to the big city. My mom took me in, and we found... I found my first essential oils. That was really thrilling. I definitely, when I was inhaling my first orange, jasmine, Ylang. It was definitely a different experience, and it really spoke to me. Now, I understand the real difference between synthetic fragrances and essential oils, which I didn't know that sort of more intellectually then, but I really felt it.   Nadine Artemis: (04:36) Then, I recreated L'air du Temps, Nina Ricci's L'air du Temps, which was a favourite perfume of mine at the time, with the essential oils, and that was super fun. That just really resonated with me, and then I definitely had a few more years of just mixing the bottles around, or crushing my white eyeshadow into my lip balm from Crabtree & Evelyn or whatever. That was all super fun. Then, you know what was really neat, because then when I was at university, and then I was really understand... Then, I had a sort of a revolution about food and understanding what was in the supermarket and how to read labels, and really understanding the vast BS of the supermarket foods, which made me... Within a few weeks, I was like, "Wait a minute." These sort of greener beauty products, because The Body Shop was quite popular then. It seemed revolutionary, and it did have a different smell palette and texture. But, really, when I started understanding those labels, I realised again, it's just petroleum promised land just dressed up differently, and that the pineapple face scrub didn't have pineapple in it. Cucumber face toner didn't have cucumber in it. Dewberry is not really a berry.   Nadine Artemis: (05:55) All that sort of stuff, it was really from that moment I really started making my own food and my own beauty care products. Then, what was super fun and a little bit relevant to us talking right now, is that first winter of university, I went to visit my best friend in Australia, so we had this great... Yeah. It was summertime, so I went in December. Then, it was neat, because I was there for about a month, and we just went to different things and farmers' markets, and there was a little bit more natural beauty there. Of course, tea tree and things like that. I definitely just feel like it was just a nice step along the way too, to just sort of see a more natural side of beauty.   Tahnee: (06:47) I guess, is that something that you've seen over the years, because I've been thinking about this a lot just in terms of my own journey, because I remember the same thing, being a teenager, or especially in my late teens, early 20s when I had a lot of time collecting the things, having a cupboard full of bottles, but also because of my childhood probably having a little bit... I used tea tree oil on pimples instead of whatever people use. Just having a little bit of consciousness around that, I guess, Australia being so beachy and kind of nature-based, there is that little bit more awareness. But, I've noticed travelling to the States that there's still a real prevalence of... It doesn't seem organic beauty is pervaded as much there. It might be a population thing, and I know you're Canadian, but I'm just wondering if that's something you've noticed over the years. Has it blown up, or is it still something that's a little bit counterculture? Do you have any thoughts on that?   Nadine Artemis: (07:44) I feel like what I've seen is, I mean, definitely, it's always increasing, so it was really... In the 90s, I opened up North America's first full concept aromatherapy store in 1992, and it was a very original concept then, but yeah, I mean, it would grow and grow. Then, different things come along, but they're still not really natural. Like Lush, or the Body... Yeah, Body Shop was already around. There's that, and then, what I've seen really grow in the last 10 years, is just independent beauty. Indy beauty as they say. It doesn't mean it's necessarily natural. I mean, sure, so much of it is, but it's just neat, because it's just great, because it means a lot of people are fulfilling their dreams of making things and bringing down the scale a lot, which is totally fine, and I think it's great, because I think it is... In a good way, it disrupts the monoliths [crosstalk 00:08:54]   Tahnee: (08:53) Yeah, union labour and those guys.   Nadine Artemis: (08:53) Yeah.   Tahnee: (08:56) Yeah.   Nadine Artemis: (08:57) I just mean the big... Just like your classic commercial things like your-   Tahnee: (09:01) Estee Lauder things?   Nadine Artemis: (09:03) Yeah. I'm not saying they're bad. I'm just saying it's a monopoly, and it kind of monopolises beauty. That's what I found sort of... You could talk about back for a few decades, maybe there's only a few sort of channels governing generally what we see. Now, with the internet, that's sort of gotten disrupted, or before, there was only these monolithic music companies and you had to get signed to them. I feel like it's a bit with the cosmetic industry, so I feel like through the 80s and 90s, they just had such a strong cultural hold on what is beauty, how we're going to accomplish beauty, and what ingredients are going to do that. What I'm loving, it doesn't really matter what the outcome is, just that you have all these small companies just contributing to their own sort of village or the people they know. I think that's really great, because I think it's also had to make those larger companies rethink beauty and maybe bring up some different standards. You'll also see a lot of... Or, they buy out the smaller businesses.   Tahnee: (10:15) Yeah.   Nadine Artemis: (10:16) Burt's Bees is owned by Clorox, that pharma company, or-   Tahnee: (10:22) Yeah, I think it's Clorox [crosstalk 00:10:25]   Nadine Artemis: (10:25) Yeah, or Estee Lauder, Origins and Aveda. You'll see a lot of smaller companies go that way, but that's fun too, because I'm sure a lot of people develop a company with wanting to sell it in mind. I think it's good, it's just a lot more diversity happening. Obviously, I want the pure and the natural, and there's been a lot of development in that area too, although I do still find it's like there still seems to be compromises. Of course, what's also huge is a lot of greenwashing where really, it would be hard pressed for me to find a beauty product even in a health food store-   Tahnee: (11:09) That's actually clean, really.   Nadine Artemis: (11:11) Yeah. I mean clean clean. Where if I, like, "Oh, my god, if I ran out of my Libations conditioner," that I would be hard pressed to find something else, but I'm hardcore.   Tahnee: (11:24) Yeah, I'm curious about that, because it's something, I guess being... Because I'm in my mid 30s, I'm 35. I obviously have a lot of female friends and just chatting to people about this kind of stuff, because we all are quite conscious of our health, and then hair care's actually one where... I was actually talking to one of the girls at work about this the other day, and she said, "I just have to do chemicals for my hair, because I can't find a natural product [inaudible 00:11:49] that work." It's funny, because I have really fine hair, and I've used your products before, and I do find the oilier kind of products really are heavy in my hair. I've done everything from washing with clay to using all sorts of random things in my hair. Clay actually worked quite well for me on the scalp, and then your conditioner on the ends. That was one of the most successful experiments I've tried.   Nadine Artemis: (12:13) Woo-hoo.   Tahnee: (12:13) Yeah. But, it's been really interesting just having these conversations, because I'm quite willing to have a bunch of weird stuff in my shower and have clays and things-   Nadine Artemis: (12:22) Yeah, I think you have to experiment, and sometimes, also the water... [crosstalk 00:12:26] that's that combo. Yeah. We always travel with a shower filter.   Tahnee: (12:32) Mm-hmm (affirmative). Yeah. Even just in LA, because their water is so salty, almost. It's really drying, so it's a completely different texture there. But, yeah, I'm curious, when you're talking about hair care products, are you... Your recipe's, again, very popular in our office as well, so the girls with beautiful thick hair just thrive on your shampoos especially, sorry, your conditioners especially. I just was curious when you're crafting those, are you... All the things people are used to, the lauryl sulphates and [inaudible 00:13:03], all that sort of stuff, they're pretty obvious things these days to omit, but what's the process? Without giving away your secret recipe, what's the process when you're crafting hair care? What are you looking for? Are you nourishing the scalp? Is it about microbiome? All of these things.   Nadine Artemis: (13:21) Well, you know what? Really, it doesn't even matter on the type of product, I always have some of the same goals, which is always working with the microbiome, always nourishing the body and the cells. Never making this something that's going to have a negative effect on the body. Always having the highest quality with every single ingredient. No ingredient is filler in what we make. Every drop has a purpose, and that's for every formula.   Nadine Artemis: (13:55) We find, with the hair care, it generally works with all kinds of hair, thin to thick to curly and everything, except there can be just the random thick haired person or the random thin haired person where something just is not lining up for their experience, but 98% of the time, the shampoos really work. Then, there can be a variety of things that you can do. A lot of people condition first, then shampoo, then condition. A lot of people, when they're transitioning, will use a bit of baking soda with the shampoo, because there can be a lot of residue from normal shampoos.   Tahnee: (14:38) Yeah.   Nadine Artemis: (14:39) Yeah, you want to lift that off the scalp. Because we're able to understand the microbiome now, and there's all kinds of amazing research going on, there was a really neat one done with a special type of photography, so they would have people do their normal ablutions, and then not shower it away, you know what I mean? They just did one day where they had their normal washing hygiene routines, and then they went and did this photograph. It was three or four days later, and it still showed all the areas in the skin and microbiome where it was still sitting there on the skin. [crosstalk 00:15:18]   Tahnee: (15:17) ... never washed his hair the whole time I've known him. [crosstalk 00:15:21] ... beautiful hair.   Nadine Artemis: (15:24) That's awesome.   Tahnee: (15:27) Long hair, very occasionally, it gets a bit greasy, but he just jumps in the ocean that sorts it out.   Nadine Artemis: (15:31) Yeah.   Tahnee: (15:32) It's the bane of my existence that he gets like that. Like, "Why?"   Nadine Artemis: (15:38) Hormones can really affect our hair as well. There's so much-   Tahnee: (15:44) [crosstalk 00:15:44] our daughter's head, who's four, and her hair's beautiful.   Nadine Artemis: (15:46) Awesome. Maybe if we just do once a year.   Tahnee: (15:50) Yeah.   Nadine Artemis: (15:51) Yeah. That's working out.   Tahnee: (15:55) I mean, I'm really observing myself in the process of changing my habits over the last probably 15 years. Just the conditioning around feeling clean and that scrubbed feeling. That's something I've learned through working with different skin specialists. I see a natural facialist lady, and she's all about barriers, and yeah, you don't wash anything off. You're not allowed to have a shower for two days after you see her and all this kind of stuff, because it's just that leaving the oils on the skin to kind of sit there. I just think it's really interesting that we are so conditioned to be stripped and scrubbed, and there's this hygiene hypothesis I think that we've all kind of bought into. Is there anything you want to say about that, or anything... Do you have any thoughts on that?   Nadine Artemis: (16:39) Yeah. There is this sort of hygiene hypothesis, which is this surfactant, squeaky clean, but really, that's really just been around since the 50s as the more chemicals came into play. The wide variety of surfactants that were invented for that squeaky clean feeling, and yeah, now, we know through the study of the microbiome that we've been over-cleaning with chemicals. Through that, we've been mutating or making extinct different species of the microbiome. One study that I found fascinating is with understanding that when we're washing with these surfactants, just washing our face, on a microscopic level, they're leaving microscopic splinters in the stratum corneum, which is the very, very top layer of the skin. Those aren't getting rinsed away. There's this daily microscopic buildup that can happen over years and months, leading to different dysbiosis of the microbiome that could lead to some kind of dry patchy thing on your skin or eczema, or melasma.   Nadine Artemis: (17:49) Really, when there is a skin imbalance, it is something with the microbiome that we want to bring in to balance. That could even be with the gut level too, because they're very interconnected. If something's not coming out of the colon, it might show up on your skin.   Tahnee: (18:05) Yeah. I mean, we work from a Taoist background and you'd never ever look at the skin and assume that this little problem... It's so often an internal issue, but then even what you're talking about there, that's almost like a leaky gut for the skin, for this constant [crosstalk 00:18:21] it's going to cause inflammation and an immune response. I mean, then, of course, you're going to get things show up, like we've been imagining a lot of these chronic inflammatory conditions that we don't know what the root cause is. I'm sure that's one of the factors. That's something we see so often is supporting the endocrine system, supporting the inner gut health and all those things. They're things you speak about in your book. I guess, you're probably ahead of the curve when you guys started, but I think now, I think a lot of these ideas are becoming more popular, like eating less of these starchy carbohydrate foods and not pushing the insulin response constantly, so the endocrine system's constantly out of whack. Focusing on fats and those kinds of things. Any other diet mainstays for you that you see as a general rule or supportive to beauty and to the microbiome?   Nadine Artemis: (19:14) Yeah, definitely, there's a lot of individuation, personalization for what food works. I do find that, as a general, the population, we're getting a little more sensitive to a lot of things. But, I definitely feel like no matter what realm you're in with your food, I feel that soy is a no go for everybody. Wheat, corn, those seem to wreak havoc on the skin a bit. Then again, you got as individuals, like raw cheesecake made out of cashews is a beautiful thing, but cashews can cause wicked acne for many.   Tahnee: (19:59) Again, from a Chinese perspective, that's causing a lot of damp in the system as well, so I can see how [crosstalk 00:20:06] an individual constitutional kind of exploration of what your body needs.   Nadine Artemis: (20:11) Mm-hmm (affirmative).   Tahnee: (20:13) Are you typically more geared toward a Western [inaudible 00:20:16] style, kind of fermented foods, animal products?   Nadine Artemis: (20:21) Mm-hmm (affirmative). I've had a long journey with food, but since that moment when I was 18, and I was exploring food and labels and all that, it was from that moment forward I... Obviously, there was a time when I wasn't, but I always eating organic as much as I'm aware and can choose, from that moment forward and not eating processed food. Those have guided me since that moment, and but then I've gone through all kinds of things. I did years of being vegan as well, and then through the birth and child and pregnancy experience, I was... And understanding about teeth, and I wrote a book on holistic dental care. I was just like, "Yeah." [crosstalk 00:21:09]   Nadine Artemis: (21:14) Any kind of protein choices are just the most pristine, and that's always... I would never. I don't compromise. I'll just not eat. If it's not good food, I'll just wait. Because, this way, my blood sugar's balanced. I can totally-   Nadine Artemis: (21:31) Yeah. For decades, I feel like my blood sugar is in balance, because I've also known that. Known that really the first step towards dysbiosis pathway is really inflammation and high blood sugar, having the blood sugar spike. No matter how you're eating, those are some things that you want to be sure. Yeah, I'll just fast, or we're just prepared. But, because I was making those food choices at 18, and I do... Again, I am hardcore. Once I've made that decision, I'm there. It's easy for me, because it's like I feel like the truth of something, you know what I mean? So I'm like, "Okay," and that gives me that motivation, because I'm not actually disciplined. I feel like people see that, or the way that I eat, and they're like, "Oh, it must take so much discipline," and it doesn't, because-   Tahnee: (22:28) You just virtually cut that out of your reality.   Nadine Artemis: (22:32) Yeah.   Tahnee: (22:33) I can really relate to that, because I mean, I've been through all of those very similar diets, the vegetarian and other things, but yeah, it's just like I just don't even accept that that's... It's not even a conscious choice, but it's like it's no longer in my reality. It's just what I do, and then at some point, my body will say, "Hey, time to question that and [crosstalk 00:22:55]"   Nadine Artemis: (22:54) I've had to pack my own food basically since 18, so every airline trip, every road trip, every moment, and it's like I'm able to map out the health food stores, or I pack food.   Tahnee: (23:08) You're a professional [crosstalk 00:23:10]   Nadine Artemis: (23:10) I'm not. Yeah, exactly. Yeah, I'm just not going to rely. Yeah. I don't eat that kind of stuff, so it doesn't exist for me. If I'm going to an airport, I assume there's no food for me. If there is, it's fun.   Tahnee: (23:25) It's a pleasant surprise, yeah.   Nadine Artemis: (23:28) Yeah, times are changing. Every time I go to the airport, I'm like, "Oh. It's getting a little easier."   Tahnee: (23:34) Yeah. Yeah. It's definitely changed in the last 10 years. It's quite amazing, but the level of consciousness shifting toward these things. I do want to get onto teeth, because I just think that's such an under-discussed realm. But, I guess, with just finishing up on... I guess beauty will continue to be discussed as we go, but one of the things I'm really interested in, and I really love and respect about your work is your reverence for essential oils, but also that you're not one of these... I'm not going to mention any company names, but people that say, "10 drops in your cup of tea every morning," and all this kind of stuff.   Tahnee: (24:16) Because, one of these things, I think, in terms of respecting the plant kingdom is these are concentrated, and they require a lot of mass of product to produce one material, and they're really potent, so we don't need a lot of them. Your products all contain these beautiful oils that you sell, and I mean, my experience in purchasing your oils, they last for such a long time. We use them mindfully, and we really enjoy having them in our apothecary. But, I mean, is there any advice you can give to people wanting to work with essential oils on things like dosage and appropriate use, and maybe two or three that you think are absolute must-haves to have in your kitchen or bathroom or wherever you store your beauty products?   Nadine Artemis: (24:59) Mm-hmm (affirmative). Yeah, when you're working with essential oils, you really always and only ever want to work with authentic distillations. When you have those beautiful distillations, it's like by the drop, each drop is just a whole world. It has over 500 different chemical components, natural chemical components, so they really are potent and beautiful. Yeah, you just want to have that purity and authenticity through the whole stage, because there's a lot of essential oils that just aren't real. It's very easy to make nature identical substances. It was easy 60 years ago to make nature identical substances, and it's only more crafty now, that's for sure.   Tahnee: (25:46) Yeah.   Nadine Artemis: (25:46) Yeah. You just for sure want to be working with good stuff. Yeah, you're just by the drop. We have articles on our website too that can help, or there's a lot of stuff in Renegade Beauty for ways to use them for culinary. They can be used internally, but you do definitely... It's very mindful. You can put them in capsules. You can use them with honey, like a drop to a little bit of honey, a drop to a little bit of olive oil. You're always going to want to mix it with a fat or honey before you put it into a food. Some essential oils can be used, like a drop of frankincense or peppermint in water is good, but then there's some essential oils, like cinnamon, oregano, clove, for sure, and there are others, but they need to be diluted before, because that would just burn on the way down your throat.   Nadine Artemis: (26:37) If you got a toothache, take that drop of... You could even do a strong dilution, like a 50/50, one drop of clove to one nice healthy drop of olive oil. That would be very concentrated, but it does need that bit of lube so it takes the edge off. Yeah, I mean, we sell close to 200 different types of essential oils.   Tahnee: (27:04) Yeah. That's exciting.   Nadine Artemis: (27:04) Yes. We love rare ones, or ones it's like we can still discover more of its benefits as a human population, but it's a neat... It's testing well. It's safe, and it's helping this little collective somewhere in the world. We also like to bring new ones into the fold so we can all enjoy these new plant allies. Yeah.   Tahnee: (27:34) I was going to say, just from the Egyptian perspective, and I don't know anyone who wasn't obsessed with ancient Egypt at some point. It's such an incredible culture, and such a legacy, I think, that we aren't maybe as aware of. Let's say you guys have a range of 200. Do you know if there's hundreds more oils in plants out there that we aren't working with, or is that an impossible question to answer? I'm just curious.   Nadine Artemis: (28:03) Well, it's a slightly impossible question to answer, because... But, it's like any plant that has an aromatic molecule has the potential. Of course, so many that are distilled have been distilled for thousands of years. Then, something like a tulip, they don't have aromatic molecules, so there'll never be an oil of that. Then, there's some things that are getting like... Lilac was so elusive to capture. It could only really be done through an enfleurage, which is, in old times, they would use animal fats and press the flowers. Now, you can do coconut oil. But, it's just so hard. Even though it's so intoxicating every spring and it seems so juicy and strong, it's just hard to get it out. There's a lot of floral wax, but they're able to do a thicker, like a supercritical extract. That came into being a few years ago. Now, we're able to get new smells from some old classics. Yeah, even since I've been working with oils, since I was 18, I'm seeing lots of new things and developments.   Tahnee: (29:19) Is that kind of like an emulsion? Is it like the oils extracting the wax molecule of the plant that contains the scent? Is that how... I'm trying to understand the chemistry of that.   Nadine Artemis: (29:30) Yeah. It's just because the fat molecule in oil is a volatile molecule, so it's able to hold on. It's able to grab it and kind of hug it so it can bring it into its... Yeah, transfer it.   Tahnee: (29:44) Mm-hmm (affirmative). Because, the distillation process, if people aren't conscious of that, is more of the... There's the steam process, the steam is captured and condensed, and then that oil separates from the water because of its density, and then you're distilling that into a separate container, basically. But, that's not suitable for quite a lot of the really rare oils, and that's why they're so expensive.   Nadine Artemis: (30:08) Yeah. Well, it depends on just really how much essential oil the plant yields in the steam distillation. Lavender has a high yield, and it's not high in waxes. That's why lavender oil's pretty reasonably priced, whereas rose or orange blossoms, really, they just don't yield a lot of oil, and so it's just... 60 rose heads makes one drop of oil. Whereas 60 lavender heads, I don't know the equivalent, but it would make... It makes a lot more.   Tahnee: (30:43) More.   Nadine Artemis: (30:45) That's how that varies, and that once it's steamed, it's cooled, and then it comes sort of back to life, because the coolness separates the two, and then that beautiful water that's left over is the water, like a rosewater. Rosewater, for example, isn't rose oil in water, it's from the distillation process. It actually contains micro-soluble components of the essential oil that were water soluble.   Tahnee: (31:14) It's still got that magic of the rose thing?   Nadine Artemis: (31:16) Mm-hmm (affirmative).   Tahnee: (31:18) Because, yeah, the difference between quality in different rosewater's insane.   Nadine Artemis: (31:24) Oh, my gosh, yes. I mean, there's just literally not real ones, mostly, everywhere.   Tahnee: (31:33) You're going to pay for it, I guess, if you're getting... If it's cheap rosewater, it's probably not real rosewater.   Nadine Artemis: (31:37) Yeah, but there's really expensive cheap rosewater too.   Tahnee: (31:41) Yeah. [crosstalk 00:31:44] green washing and the marketing, like a lot of companies have big marketing budgets and not a lot of integrity.   Nadine Artemis: (31:52) That's really what you're paying for. It's just like a regular perfume, like Chanel or whatever.   Tahnee: (32:01) Most of it's marketing.   Nadine Artemis: (32:02) No, it's just chemical. It's just pennies. There's just no life there. It just shouldn't actually cost anything, but what costs is everything, the packaging, the whole infrastructure, the marketing, the ads in Vogue, but literally, the insides, it's just... It's kind of amazing. It's kind of amazing what we do pay for really a lot of toxic nothingness.   Tahnee: (32:35) It's so interesting, because we have a herb company, and not a very large marketing budget, because we don't have the margin like those companies, not even comparable. Yes.   Nadine Artemis: (32:44) Yes.   Tahnee: (32:47) But, I was interested to read, looking... I did some research on what some of those companies are spending on their marketing budget, and it can be anywhere up to 70% of revenue or more.   Nadine Artemis: (32:57) Wow.   Tahnee: (32:59) 50's kind of the average. That's things like your models and your photography and all those things, but I'm thinking, "Wow, that's crazy that people aren't aware of how much of what they're paying is really going back into selling-"   Nadine Artemis: (33:11) Air.   Tahnee: (33:12) Yeah. Also, the cultural impact of that, because like the body image stuff around those companies led to marketing... I think that's one of the things I think you're talking about with indy beauty, and your work, it's about the function of the product, and about just the ritual of actually caring for yourself in this way with these really high quality products. It's not about looking like somebody else or fitting into some kind of predetermined mould.   Nadine Artemis: (33:41) Absolutely. Yeah.   Tahnee: (33:42) Yeah, and it's such a liberating... This is an evolutionary human process to [crosstalk 00:33:48] and go, "No, I'm not going to buy into that anymore."   Nadine Artemis: (33:51) Totally.   Tahnee: (33:52) I guess that's a good segue into teeth, because I... Well, it's funny, because my grandfather is a professor of dentistry, so hopefully he won't listen to this podcast. He'll be like, "What?" But, I've managed to really avoid the dental industry somehow, despite having him as my grandfather, but it's something a couple of, again, my friends have been through all these years of jaw issues and braces and all those kinds of things, and even just things with cavities, and there's a lot of, I think, lack of education around even how our teeth work, what they kind of do, that they actually have a microbiome, the importance of saliva. I know this is a huge topic, but could you... Just in your research, could you throw at me some of those aha moments you had with teeth and what was really just groundbreaking for you when you started getting into alternative tooth care, dental care?   Nadine Artemis: (34:50) Yeah. Just so everybody... I'm not a dentist, but I have teeth like all of us, and anything that I'm drawing research from is from dentists, you know what I mean? It's not like I'm just-   Tahnee: (35:05) Not making it up.   Nadine Artemis: (35:08) Yeah, and these dentists are mavericks in their field, and we're just so thankful for them, because they were able to get the regular education, but then question things and move things forward and really revolutionise and make things a lot safer for us, so I'm really indebted to those maverick dentists. What I found revolutionary is that our teeth are alive, and it's obvious, but connected to the rest of our body, and what is really fascinating, because... And, I think a lot of dentists don't know this, is that there's a dentinal lymph system. There's a dentinal fluid transport system that is really at the heart of understanding our teeth. When we chew, we're activating glands. We're sending messages through chewing, creates substrates and those chemical messengers go to the hypothalamus, which releases a fluid, gets this whole thing going.   Nadine Artemis: (36:15) Nutrients are delivered through the blood, and there's the whole digestive system, and then the blood flows up into the teeth, then it becomes a clear liquid. It changes into a lymphatic fluid and then gets pushed up onto the... Teeth are like trees, and they're drawing nutrients up from their root system into the pulp chamber, and in there, the odontoblast excrete the fluid out and onto the surface of the teeth.   Nadine Artemis: (36:45) There's this microscopic sweat, and then that coalesces with the saliva and the oral microbiome as doing so many things, like repairing teeth, making sure the whole ecosystem is good in there, and it's delivering nutrients out. There's this energy of up, in, and out, and when the body is stressed or crazy hormonal shifts, or chemicals, or even cell phones, all these things are contributing to the stagnancy of that lymphatic system. The stagnancy is not something you want, because you want the fluid always working for you, but if it then continues, or if there's a lot of spikes in the blood sugar, because it's not really about the sugar hitting the teeth, it's about the sugar's effect on the body. What will happen to that dentenial inflow is that it will actually not just get stagnant, but reverse, and then the tooth becomes like a straw sucking in bacteria, virus, fungi from within the oral environment into the tooth. That is the genesis of how a cavity is formed. I found that to be really revolutionary in my research.   Tahnee: (38:05) So, it's almost like that protective mechanism, because your body's resources are required elsewhere [crosstalk 00:38:13]   Nadine Artemis: (38:13) I like to think of it as the invisible toothbrush.   Tahnee: (38:15) Yeah.   Nadine Artemis: (38:16) Because, also, when we think about the body, even though we're doing all this stuff and it's 2020 and we're brushing and flossing, or we're soaping, all this kind of stuff, but you always want to just step back and know that... I think the inherent design is going to be flawless, because I feel like that's what we see anytime we look further into nature and the system, and then this pollinator goes to there, and then that seed is dropped off by the... you know what I mean? It's all interconnected. It's all working. It's like we got to just step back and just go, "Okay, what's the natural system in the body? We weren't born with a toothbrush in our hand, so what was the body's design?" I kind of back tracked from there, and then see where, "Well, if I step back, will something kind of kick in and naturally start happening? Or, do I still got to do X, Y, and Z?"   Nadine Artemis: (39:14) Even if you just ditched all your toothpaste and started brushing with baking soda and did that for the rest of your life, you'd be far better off. Then, once we know what the body's capable of, and then when we see what we're going to do with our human hands, so to speak.   Tahnee: (39:28) Here's something I've found so interesting about this self care industry in general is if you do go back before industrialization, we had a bar of soap and they were what we even used as toothpaste back then, because we didn't have toothpaste. [crosstalk 00:39:44]   Nadine Artemis: (39:43) Yeah, there were tooth powders and stuff, yeah.   Tahnee: (39:45) Yeah, it wasn't that long ago that we were really having maybe one or two or three products in our bathroom, and they were really fats, essential oils, lye. It's another complex process, really. Now, we've gone to having these whole aisles of dental care. One of the things you say in your book which I've just related to so much was the cognitive dissidence around you can't swallow these products, but you put them in your mouth. As a kid, I remember reading the Colgate label and going, "Why can't I eat this? If it's going in my mouth, why can't I swallow it?" What kind of things are we talking about in these products that are making them [crosstalk 00:40:30]   Nadine Artemis: (40:31) Oh, yeah. Oh, so many things.   Tahnee: (40:34) Everything?   Nadine Artemis: (40:36) Yeah. I mean, it's just amok.   Tahnee: (40:41) It's like your ethyl lauryl sulphates?   Nadine Artemis: (40:42) Yeah. Sodium lauryl sulphate, just the abrasivity of a lot of the stuff.   Tahnee: (40:53) Then, the chemicals, I guess, in mouthwash and all those kinds of things.   Nadine Artemis: (40:55) Yeah. A lot of that sodium lauryl sulphate on its own is going to create bleeding gums. It's just not a good situation for the gums. Even if its natural glycerin actually coats the teeth, it doesn't rinse off. Again, this is just microscopic, and then it creates a film over the teeth that doesn't allow the saliva to get through. What great about essential oils, now that we have people studying the microbiome, and now we're able to have modern science confirm why so many of the plants that we're familiar with for dental care were used for thousands of years. Oils like clove, rose, tea tree, frankincense, myrrh, mastic, cinnamon, peppermint, all of these beautiful oils, now we know that they have QSI, which is the acronym or whatever for quorum sensing inhibition, so they're quorum sensing inhibitors, and they're able to block or disrupt the communication and gene expression of pathogens.   Nadine Artemis: (42:03) They're able to bust through biofilms. Yet, they're able to work with the beneficial bacteria. They can clean up the pathogens, but not disrupt the beneficial bacteria. I think this is what we need in these times.   Tahnee: (42:19) Yeah. I mean, that's your protocol that you sort of map out in the book, Holistic Dental Care is this sort of eight steps. I mean, did you develop this out of your own experience with dental-   Nadine Artemis: (42:30) I sure did, yeah.   Tahnee: (42:31) Yeah.   Nadine Artemis: (42:32) Well, nothing major, just I gotta figure this out, because I kind of... 18, 19, and getting in the 20s, and I'm understanding as I'm creating all this stuff, and understanding food and then I'm really understanding the body in new ways and things that we could do. All those common ailments, like a cold, a headache, a stomachache, the way that we were approaching it when I was growing up, I'm like, "Oh, my god, there's a whole new world." If you have a headache, oh, maybe it's digestive, you know what I mean? I was really getting to understand the body in a whole new way. But, to me, the tooth part was a little bit evasive. I couldn't find books on the subject. Then, also, thinking you're 20, you're off your... If you were lucky enough to grow up in a family with some dental care plans or whatever, then you're off that plan. You're a long entrepreneur on your own, and you might not be that fond of the dentist, because you don't like going either when you're a kid.   Nadine Artemis: (43:32) But, then you're faced with, you gotta figure this out. I just found there was such a gap. What are we going to do every day about our teeth? What's just waiting for all this shit to hit the fan when you go to the dentist? That's how I set out that journey, and then I luckily had a good hygienist at the time. I mean, I went to the holistic dentist in my 20s, but it was a while ago, and I don't think they were that holistic with what I know now. The hygienist was super cool, and she was like, "You got the beginning of a cavity. Go home and work with that stuff you have, and then come back in six months." That was revolutionary to me. I didn't know that you could stop a cavity, let alone reverse it, depending on what condition it was in. Then, when I went back six months later, it was not there.   Nadine Artemis: (44:22) That was exciting, because I didn't grow up at all thinking at that... Just seemed like it was a dead end. [crosstalk 00:44:33]   Tahnee: (44:33) Yeah, the kind of narrative around... Especially cavities and things like... I don't have any fillings, and people are so shocked when they hear that, and I'm... It's such a cultural thing that we have, from a very young age, these things stuck in our mouths that... especially historically, with the mercury amalgam fillings and things, but at least now, we're moving away from that, I think, generally. There's very little education around the integrative aspect of dental care, I think, and how about what you were talking about before with sugar, it's like everyone thinks, "Oh, you don't eat sugar for your teeth," but it's really about what that's doing to your immune response and your endocrine response, and that's the effect it's having on your teeth. It's not, per se, the sugar...   Nadine Artemis: (45:21) Exactly.   Tahnee: (45:21) Yeah. I think that the teeth are connected, and that analogy of the tree, I think, is so beautiful, because then you're visualising this root system tapping into the ecosystem of the body, and just like a tree in the forest, it's connected through... It's mycelium network, and it's root network. So are our teeth. So whatever we're seeing manifesting is a kind of report card, I guess, on the overall health of the body. In terms of your eight steps, would you mind giving us a really quick summary of them? For detail, everyone will have to get the book, because it's not-   Nadine Artemis: (45:58) I was going to say, actually... Thanks for reminding me. It's also on our website, and [crosstalk 00:46:04] any question in the world, and we also do free consults for beauty and just mild dental care questions, but even if it's a big question you have, we will really do our best to be like, "Oh, here's this," or we even know some holistic dentists that do video consults and stuff, which is so super helpful. Because, sometimes, you can just... Yeah, I would think more dentists should do it, because it's such a great service.   Tahnee: (46:30) This area we're in is more... I think in different parts of the world, it's probably more prevalent. We've got three, I think, alternative dentists here, but I'm sure there are places in the world where that's not an option.   Nadine Artemis: (46:43) We're close to a really good major city, which definitely has some... It's changing for some progressive options, but with the amount of information I know, we actually go to a dentist in Texas.   Tahnee: (46:59) Wow. Okay.   Nadine Artemis: (47:01) Because, I know too much.   Tahnee: (47:05) You can't fuck around with that.   Nadine Artemis: (47:07) No. [crosstalk 00:47:10] He's quoted in my book and stuff. Dr. Nunnally. I'm so grateful for his research and he did write this really good research on root canals with independent labs, and really indebted to him, and he's just as great as I thought he would be, so really thankful for dentists like him.   Tahnee: (47:30) Yeah. Quickly on root canals, I mean, that's one that has come up a few times in the last couple of years, and I mean, you talk about that, again, a little bit in the book, but is there anything you'd want to share if that's something that's in their reality, apart from [crosstalk 00:47:47]   Nadine Artemis: (47:48) Often, you may not have... If you've been told you have to have a root canal, you may not need one. If it is a real "root canal candidate," that means probably the tooth is too far gone, but sometimes, there's jumping the gun a bit. Just like 67% of all wisdom teeth that are removed don't need to be removed.   Tahnee: (48:13) Mm-hmm (affirmative).   Nadine Artemis: (48:15) There's that realm, but you could be at a stage where, yeah, that tooth is no longer good. Then, you don't actually want to have a dead tooth in your mouth. The theory of a root canal is... I mean, I can see why it was invented or whatever, because you know how great, even if the tooth is gone, that you could still have the look and feel of your natural tooth, but it really shows that 100% of the time, no root canal can actually be sterilised. The idea is that the pulp chamber, the interior of the tooth is removed, and then the tubes are supposed to be sterilised. But, each tooth contains microscopic tubules that are 300 metres.   Tahnee: (49:04) Wow.   Nadine Artemis: (49:05) I know. Every time I say that, literally, in my head, I have to be like, "No, I'm sure it's three," but I know it's 300. Isn't that crazy? That's a molar, has that long. That can't be sterilised. These textbook perfect, so that's as in textbook perfect on an X-ray, as in not creating any issue for the person that they were removed and sent to a lab, and even upon examination when they were removed, they were still 100% perfect root canal, and all the teeth from different people had severe to necrotic bacteria. It just becomes this necrotic breeding ground for pathogens inside that root canal tooth. Then, that just squirts into the bloodstream.   Tahnee: (50:01) Yeah. Okay. Toxic environment that's not sounding very good.   Nadine Artemis: (50:07) Yeah. Yeah. Then, really, if that is the case, then the best option is to actually just extract the tooth, but you'll be want to be sure, again, that you're with a dentist that knows to remove the periodontal ligament, which is not standard protocol, but that's akin to leaving the placenta in after childbirth. Because, then the gum grows over top, and then what happens is you get jaw cavitation, like a jaw cavity. That could take decades to develop, and can't even show up on an X-ray until it's 80% of a cavitation.   Tahnee: (50:41) That's established, yeah. Okay.   Nadine Artemis: (50:43) Yeah.   Tahnee: (50:44) Sort of a long term issue as well if you don't get it right the first time.   Nadine Artemis: (50:48) Yeah, can be.   Tahnee: (50:48) Yeah.   Nadine Artemis: (50:50) Yeah, but luckily, those can be cleaned out and they inject oxygen or the plasma therapy. If you've ever had a root canal, I mean, sorry, a wisdom tooth or another extraction, at some point, you're going to want to have those places checked. Again, it's not a lot of... You need to find a dentist that really does do this, that they know about this, that this isn't new information for them, and then you'll be in good hands. We also have articles, an article on our site about questions to ask a prospective dentist. We got a lot of resources, because it's a big area. It's a complicated area, but we're all dealing with tooth stuff, because we didn't really get the past 50 years of... Well, no, really, the whole history of, I think, humans fixing teeth hasn't been a good story.   Nadine Artemis: (51:40) Now, there's a lot of not good modern practises, like mercury, or like all the things we just talked about, but now, luckily, we're also at a time in history where there's never been cleaner... We got clean options now. We got people that understand what's going on. I think we're also at a time where we really can solve those issues, we can prevent issues and we have good solutions now to clean up shoddy dentist work from the past, which I feel like most adults on the planet are at that stage where we have to then, for the next phase of our lives, make sure we've cleaned up the past, cleaned up those childhood dental wonky things, get the silver out. [crosstalk 00:52:25]   Nadine Artemis: (52:25) Yes. Again, we didn't know [crosstalk 00:52:30] the culture back then.   Tahnee: (52:30) Yeah.   Nadine Artemis: (52:30) Yeah.   Tahnee: (52:31) Yeah.   Nadine Artemis: (52:32) But, we're getting there. Even stem cells, literally, it's not out there in normal practise yet, or a dentist's office, but they literally can grow teeth with stem cells.   Tahnee: (52:44) That's amazing.   Nadine Artemis: (52:45) That is coming. I feel like it's been coming for a few years, but it really should be coming, because it's already been done. They kind of make a little mould, and then... a little tooth shape, and then the stem cells go in, and the tooth grows up in the little [crosstalk 00:53:02]   Tahnee: (53:02) That's amazing. They can transplant them into people?   Nadine Artemis: (53:06) No, I think that's set up in your mouth.   Tahnee: (53:08) You're kidding.   Nadine Artemis: (53:08) Yeah, and then you grow your own. [crosstalk 00:53:12] Yeah.   Tahnee: (53:14) I'm sure that'll be on the market as soon as it's ready.   Nadine Artemis: (53:19) Yeah.   Tahnee: (53:19) That's great. In terms of management, because if people do have... I mean, in my family, I have people with a history of bad dentistry, and that being sort of sorted out as they've aged, and other close friends, and so much of it then becomes around just cultivating that healthy microbiome, that healthy environment to... Because, I mean, I noticed in myself, if I'm ever really run down, I can feel my immune system kind of flaring up, I'll sometimes get a sore tooth or something, and I sort of have started to correlate that to like, "Okay, that's when I let myself get really run down," and that manifests, but when I rein it in and manage my diet and my herbs, my immune system kind of perks back up again. That goes away. That's such an interesting relationship that environment versus the traditional external idea would be like, "Oh, you've got a sore tooth. Go to the dentist and get it fixed or taken out or something."   Nadine Artemis: (54:19) Yeah, if we're listening to our bodies, we can prevent a lot early on.   Tahnee: (54:24) Yeah.   Nadine Artemis: (54:24) It's telling us.   Tahnee: (54:25) When I was a lot younger, I clicked onto that. If I start to get a toothache, I'm like, "Okay, pushing it. Rein it in." Your video, you just reminded me of that amazing video. I think you're sitting in a creek or something, and you're doing your tooth care routine. I'll put a link to that in the show notes, because I think that was the first time I actually came across your work in this area.   Nadine Artemis: (54:49) Oh, fun.   Tahnee: (54:50) Yeah, and I loved that... One of the things I love in your book is you talk about washing your hair in the lake, and how your products are so clean that there's no problem with doing that. I think it's the same to think that we could spit our tooth care back into a running stream and not feel like we're messing with the ecosystem.   Nadine Artemis: (55:07) Yeah, or just swallow it and not messing with our own ecosystem.   Tahnee: (55:10) Yeah. You're working a lot with salts, with the kind of natural abrasives. You said before some abrasives aren't so good for that kind of tooth, and that's something I've always been curious about, because I think it's a similar thing with the skin. We want to protect the barrier of the tooth, but not use anything like glycerin that's going to coat it, or anything too abrasive. In your opinion, the baking sodas and the-   Nadine Artemis: (55:32) Oh, yeah. It's so mild, and you can even use the baking soda or something that fine, you can also use on your face, like a clay or whatever, and that's a great amount of [inaudible 00:55:44], or even clay on your teeth, or clay with baking soda, a pinch of salt. I have recipes in my book. So easy, and just a million times better than a tube of whatever.   Tahnee: (55:56) Yeah. Actually, clay to me is one of those things that is just God's gift to humanity.   Nadine Artemis: (56:03) Yeah. Sure.   Tahnee: (56:05) [crosstalk 00:56:05] on your teeth and on your skin and your hair, it's such a-   Nadine Artemis: (56:07) Yeah. Everybody needs a kilo of clay in their home for all the things. A kilo of baking soda.   Tahnee: (56:14) Do you have a favourite clay?   Nadine Artemis: (56:15) Oh, my gosh, so many.   Tahnee: (56:16) It's hard, isn't it? Yeah.   Nadine Artemis: (56:18) Yeah. They have all different... There's the mantra light... There's the white clay. There's a sacred clay that we get from Oregon.   Tahnee: (56:27) [inaudible 00:56:27] one of my favourites as well.   Nadine Artemis: (56:29) Yeah. Yeah. I love them all.   Tahnee: (56:30) Okay. All clays are good. Any other things? The tongue scraping to me is something I made my partner start doing when we got together, because I was like, "You're not touching me until you've scraped your tongue." [crosstalk 00:56:42] Sorry, you go.   Nadine Artemis: (56:45) No, you go. I was just saying, when you do it, eventually, really, there's not a lot to scrape off. You do it regularly, which is good.   Tahnee: (56:54) Yeah, but I think it's become such a... I guess going to bed with dirty teeth, to me, feels really weird and I'm waking up and not scraping my tongue. It's like I haven't put on my pants or something. It's a weird feeling when I leave the house if I haven't done that. One of the things I think that you recommend that I guess is a little bit counter to a lot of the alternatives, [inaudible 00:57:17] the electric toothbrush. You talk about using an electric toothbrush well, because that was something I found really interesting in your book, how you distinguish between a soft brush for the gums, and then more of a polish with the electric toothbrush.   Nadine Artemis: (57:29) Yeah, you can use soft for both. We recommend an ionic brush, or a manual brush, but the ionic's nice, and that's doing a good gum massage, and you're going right up to the top and then down, and you're always just brushing in one direction, which is gum towards the teeth, not back and forth, because that will really... The sulca, which is where the tooth and the gum join is such a precious area that we really need to keep the gum pockets down and around the teeth, and not... Because, that's how receding gums start. Receding gums can literally be just you're applying too much pressure and brushing up and down. We need to keep our gums. It's one of the best ways to keep your teeth is to keep those gum pockets.   Tahnee: (58:14) You're talking like a quick down from the gum to the tooth, so that's how [crosstalk 00:58:19]   Nadine Artemis: (58:19) Then you lift off-   Tahnee: (58:19) And go down again?   Nadine Artemis: (58:22) Yeah. It's pretty mild and you'll get really good at it, but it takes a moment of retraining, because we've probably been doing it the other way for most of our lives. Then, the electric, you want to... Then, you're polishing the teeth, and hopefully, it'll be a different shape than the other one, and then that's really working on the teeth. I'm so thankful that we've been working on this for a few years. We finally have a new toothbrush coming out in just a few more weeks. Yeah. It's no EMS. It's electric. It's angled. It's a really good angle. It really removes plaque, because there's a lot of really innovative stuff coming out with brushing. I feel like there's so many micro-inventions right now, and as people really thought about all these different shapes. I have one toothbrush that's got four heads on it, so I mean, I try every toothbrush, but finally, I'm really feeling a difference in how this removes plaque.   Tahnee: (59:23) Mm-hmm (affirmative).   Nadine Artemis: (59:24) It even comes with a small... a few heads, one for day and night, and this one that's like a thin... that can go in between the teeth.   Tahnee: (59:36) Aha, almost like a pick or something.   Nadine Artemis: (59:37) Yeah.   Tahnee: (59:38) Yeah.   Nadine Artemis: (59:38) Yeah, yeah. With just one set of bristles.   Tahnee: (59:42) Oh, that's really cool. It gets right-   Nadine Artemis: (59:43) Yeah.   Tahnee: (59:44) Yeah. Those hard to reach corners.   Nadine Artemis: (59:46) Yes. It stays charged for a month, so you can go travelling without your charger.   Tahnee: (59:51) I love you. I'm buying this thing. Yeah, because I tried to take mine on our honeymoon a couple weeks ago, and it didn't even last the week, and I was like, "Come one."   Nadine Artemis: (01:00:03) Oh. Congratulations.   Tahnee: (01:00:04) Thank you. Yeah, we had a magical day. The other thing, I think, flossing is super important. Hopefully, everyone knows that by now, but anything you want to add on flossing? We use the drTungs brand. Do you guys do a floss?   Nadine Artemis: (01:00:20) We talk about flossing twice, because when you floss the second time, you'll really know why. It's just needed to be done.   Tahnee: (01:00:29) Yeah.   Nadine Artemis: (01:00:30) Yeah.   Tahnee: (01:00:32) Then, rinsing with salt water and essential oils. I mean, your dew drops product is... Is it dew drops? Is that the tooth one? Got the little tooth bottle that we use of your product that we use on our... to rinse and on our brushes and stuff, which I really like. Is that a mix of a couple of... I can't even think of what's in it right now.   Nadine Artemis: (01:00:56) The Swishing Serum or the Healthy Gums?   Tahnee: (01:00:58) Healthy Gums, that's what it is, the little tooth... Yeah.   Nadine Artemis: (01:01:01) Yes, well, we make these... I love giving people tips about just using the baking soda, salt, things you have handy, just to get started right away. Of course, we do make these beautiful dental serums and toothpaste, so the dental serums are super concentrated, and those can be massaged... One drop, massage along your gums or a special area that's receding, and then you can put one drop along your floss, which is really great.   Tahnee: (01:01:27) Yeah, that's what we do.   Nadine Artemis: (01:01:28) Then, we also sell these blunt tip syringes that you can also put the dental serum in, and then you can get those right along the gum line or in between the teeth. It's really good for along the floss, as it really helps to prevent bleeding gums, and it gets those botanical... those little QSI botanical essential oils right into the crevices in between each tooth, which is super good for the gums.   Tahnee: (01:01:55) Amazing. The last thing, because there's so many things in your amazing book, so just tell everyone, if you're interested, get it. Then, chat to Nadine via her site. She's got heaps of great stuff on there. I just wanted to talk a little bit about internally for teeth. Are there any... I know iodine can be really helpful. I know, even just looking after your gut health. In Chinese medicine, it's related to kidney functions. It's supporting the body with kidney herbs and reducing stress, things like [inaudible 01:02:22] Are there any other things you think that are kind of no-brainers for internal tooth care?   Nadine Artemis: (01:02:26) I think it's really important to keep up with fat soluble vitamins, so you want your D3 and K2 combo. That sends minerals into the bones, so if we're not ample in the sunshine vitamin and K2, then the minerals kind of just coast around in our blood serum. We want to drive those into the bones. That's what that does. I think that's pretty key. Just remember to get plenty of sunshine as well.   Tahnee: (01:02:54) Yes. Easy in Australia, less so in Canada.   Nadine Artemis: (01:02:58) Yeah right now. [crosstalk 01:03:02] Even though it's a foot of snow right now, three days ago, I was in a little wind protected area and lying in the sun. It was only about six degrees out, but I felt it. I felt those rays. It was really good.   Tahnee: (01:03:17) Get what you can get.   Nadine Artemis: (01:03:17) Yeah.   Tahnee: (01:03:19) All right. Amazing. Thank you so much. I just think you're such a wealth of knowledge, and your books are really valuable. I mean, we didn't get to talk about children's dental care, but that's in there, and your work on pregnancy as well, and how to use essential oils during pregnancy and Renegade Beauty is really amazing. They were really helpful for me with my daughter and my pregnancy, so I just want to make sure I run those to... Get c

Jim Kuerschner is the President of KULE, an emerging womenswear label by CFDA member Nikki Kule. Today he sits down (virtually) with fellow fashion executive, Blair Lawson of Beautycounter. Prior to KULE, Jim managed retail operations and in-store technology for Inditex, bringing RFID technology to Zara stores across the US and Canada. Kuerschner started his career with Puig, first in PR at Nina Ricci, and later in sales and merchandising at Carolina Herrera. He is a business mentor with the CFDA and a graduate of NYU and Harvard Business School. Listen as he shares his career story and what KULE has in store next.

Listen to the meeting of our Fashion Image students with David Luraschi. He holds a BA in film studies from the San Francisco State University and a masters in art direction from Lausanne in Switzerland. His artwork has been exhibited in Europe and the U.S. he is a contributor to magazines like the American Vogue or M le Monde and his commissioned work is featured in books like “Neapolis” published by ILL-STUDIO or “MARSEILLE JE T’AIME” by Jacquemus. Clients include Hermes, Dior, Jacquemus, Nike, Rimowa, Nina Ricci, Galleries Lafayette or l’Opéra de Paris for whom he directed a film titled “Giselle: The walking landscape”. Ecoutez la rencontre de nos étudiants en Image de mode avec David Luraschi. Il est titulaire d'une licence en études cinématographiques de l'Université d'État de San Francisco et d'un Master en Direction Artistique de Lausanne en Suisse. Ses œuvres ont été exposées en Europe et aux États-Unis. Il contribue à des magazines tels que Vogue américain ou M Le Monde et ses œuvres de commande figurent dans des livres comme "Neapolis" publié par Ill-Sudio ou "Marseille je t'aime" de Jacquemus.

We are excited to have Jim Kuerschner, President of KULE, on our podcast! KULE, the eponymous ready-to-wear label was founded in 2015 by designer Nikki Kule. The KULE aesthetic comes from her love of iconic quirky Americana prep & her love for all things French. Nikki's parents had a clothing brand, so Nikki grew up in the fashion industry. Her father was known as “The King of Pants” in the 1970s. She always knew she wanted to continue in their footsteps. Nikki went to Parsons in Paris & NY. KULE started out as a children's brand, and Stella McCartney, Gywneth Paltrow & Madonna quickly became fans, which led to Nikki becoming the Head of Design for Childrenswear at Brooks Brothers. She later came to the decision that she wanted to design for women, and the Kule brand that we know and love today was formed.  Jim went to NYU for undergrad & Harvard for his MBA. He interned at Nina Ricci in PR and worked at Carolina Herrera in wholesale, Bonobos as an MBA Planning Intern, with the CFDA as a Strategy Consultant & went through the Management Development Program at Inditex. I met Jim and learned about KULE while I was working on the buying team at Barneys New York! KULE has been spotted on Kelly Rutherford, Miranda Kerr, Reese Witherspoon & more!  Here is a link to a shoppable blog post: https://thestylethatbindsus.com/get-the-lowdown-on-one-of-the-coolest-brands-around-interview-with-the-ceo-of-kule/ --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/delia-folk8/support

Coming at you with some post-Summerfolk goodness and new music, here is this week's episode of Georgian Bay Roots Radio! We may not have been able to gather at Kelso all together for the festival this year, but the future looks bright with live in-person shows starting to be announced, and a new workshop series is starting up too! Tune in for all the details. This week's show features tracks by Suzie Vinnick, Matt Andersen, Tresea Levasseur, Julian Taylor, Tami Neilson, Reid Jamieson, RPR, Kate Rusby, Marshall Veroni, Sarah Harmer, Gangstagrass, De Temps Antan, Nina Ricci and Rob Elder!

Dans ce nouvel épisode, nous allons à la rencontre de Sophie Templier, elle a travaillé au sein de la maison Chloé et Nina Ricci en tant que directrice générale. Dès le début de sa carrière, elle souhaite travailler en proximité avec les créatifs tout en intégrant une dimension commerciale. Son parcours riche en expériences dans le secteur du luxe l’amène aujourd’hui à développer son activité en tant que consultante. Sa mission ? Accompagner le développement des marques émergentes et les aider à structurer leur entreprise.Avec Sophie, on a parlé de comment trouver sa voie, comment elle a développé des grands noms du luxe, et de l’importance de rester cohérent.« La cohérence au sein d’une marque, c’est un élément essentiel pour la faire grandir sereinement. »Ce que vous allez apprendre dans cet épisode: Le parcours de SophieComment elle a déterminé son orientation à la fin de ses étudesQu’est-ce qu’une licence Sa méthode pour relancer une marqueSes missions au sein de la maison ChloéComment elle est devenue directrice généraleComment trouver l’équilibre entre la création et le businessComment déterminer si un emploi vaut son investissement personnelSon départ de la maison ChloéSon expérience chez Nina Ricci Comment elle accompagne les marquesSoutenir la création en respectant le positionnement de la marqueComment structurer en interne son entrepriseLe suivi des KPI’sSe poser les bonnes questions avant de développer de nouvelles activités dans une marque« Plus tu avances en expérience, plus tu as envie aussi de découvrir d’autres choses. Quand tu te rends compte que tu explores, que tu t’impliques dans quelque chose, ça donne un résultat, t’as encore plus envie d’explorer des choses plus diversifiées. Avec l’expérience vous avez envie de découvrir d’autres dynamiques, explorer peut-être moins en profondeur un sujet mais plus en diversité. »« Je pense que pour réussir un projet de développement d’une marque, il faut que tout le monde en ait envie, que tout le monde s’aligne sur une même vision, une même motivation. Il faut qu’il y ait un accompagnement financier avec de l’innovation, avec des projets. Quand il n’y a pas cette dynamique on peut faire, mais c’est moins amusant. »« Il faut laisser une part d’intuition, il faut suivre ses envies. Parce que si tout est moulé, cadré, enfermé dans des formules, c’est oppressant et ça peut être source d’erreurs. Il faut avoir une vision mais il faut se laisser porter par ce qu’il se passe progressivement, voir comment les choses évoluent. Il y a une notion de pouvoir du temps à laquelle je crois énormément. »Vous souhaitez contacter Sophie ? Retrouvez là sur son LinkedIn: https://www.linkedin.com/in/sophie-templier-a8048b11/ Ou tout simplement par mail: templier.sophie@gmail.com Aussi, si vous souhaitez me contacter ou me suggérer de nouveaux invités, vous pouvez le faire sur Instagram sous le pseudonyme @entreprendredanslamode Enfin, le plus important : laissez-moi un avis sur Apple Podcast ou iTunes, 5 étoiles de préférence ; cela m’aide à faire connaître le podcast à plus de monde et me motive à faire de meilleures interviews ! Merci de soutenir ce podcast et à bientôt pour un nouvel épisode !

Découvrez les coulisses du métier de styliste avec Mathilde Fouquet. Après des études de styliste-modéliste, elle commence à travailler pour des bureaux de style parisiens avant de s'envoler un an à New-York. Elle se découvre alors une passion pour le métier de styliste-photo. En rentrant en France, suite à une formation en communication digitale, elle devient rédactrice mode et rédactrice-en-chef de son propre média en ligne.Après 4 années à travailler pour des publications digitales, elle renoue avec son amour pour le stylisme et devient styliste-photo. Parmi ses clients elle compte aussi bien des émissions de télé comme danse avec les stars, des marques de luxe comme Nina Ricci ou de la grande consommation comme Orange. Dans cet épisode, Mathilde nous partage son expertise, ses conseils mais surtout sa passion pour la mode.Ce que vous allez découvrir :- sa définition de la modest fashion- son métier de styliste-photo- la différence entre la réalisation d'un édito mode et d'une publicité- le déroulement d'un shooting photo (avant - pendant - après)- pourquoi elle aime tant le CR Fashion Book- ses inspirations, sa philosophie de vieEt bien plus...Pour retrouver Mathilde Fouquetsite internet - instagramPour retrouver Almazesite internet - instagram - linkedin - twitter

I have been following the career of Belgian fashion designer Olivier Theyskens pretty much from the beginning. I have seen him grow from a wunderkind, whose dark goth-like gowns were being worn by the likes of Madonna to the Oscars when he was just 21 years old, into the established and well-respected artist he is today. A designer who has come up with a signature style of dark romantic ensembles that are formed from rigorous attention to construction, precise tailoring, and meticulous fabric choices. Olivier has never been one to bend to the ebb and flow of fashion. Instead, his work stands like beautiful sartorial rocks, which the world of fashion crashes up against but never erodes away. His singular vision could be felt in each professional chapter of his career. During his years as the artistic director at Rochas, he single-handedly came up with intriguing new silhouettes for the house. Shapes that instantly put the brand back on the fashion map and garnered him the title of Best International Designer by the CFDA in 2006. Then as the artistic director of Nina Ricci, he developed even further his feminine yet sensual aesthetic creating sculptural dresses and statement suiting. Next up was a stint in America where the designer’s couture talents were put to great use in the world of contemporary fashion as Olivier teamed up with the brand Theory to become its artistic director. Elevating the label’s global profile and also injecting its offering with sartorial sophistication. But the call of his inner voice to relaunch his own label eventually became too strong for Olivier to ignore any longer, and in 2016 he returned to Paris to relaunch his fashion house. Over the past four years, Olivier has methodically and systematically grown his company. Taking his time to be strategic about his choices and focusing on once again giving voice to his unique and uncompromising vision. A vision that is so singular that he is one of the youngest designers in the industry to have already had not one- but two- retrospectives of his work put on display. With all of the groundwork laid out for his own brand’s success, this past February Olivier also took on the role of artistic director at Azzaro. A fashion house with over 50 years of archives for the designer to wade through before presenting his first collection of couture and ready-to-wear pieces during the Paris haute couture presentations in June. I spoke with Olivier via Zoom video about his impressive career, how he will balance the workload between the two brands he now oversees, and how he plans on presenting his debut work for Azzaro now that the haute couture shows had been canceled in the wake of the COVID-19 pandemic. What is clear is that this is one designer who is looking to the future with a cool head and an open heart.

Dans ce nouvel épisode, nous allons à la rencontre de Tilmann Wröbel, il est spécialiste du jeans et fondateur du bureau de style, Monsieur T. Dans cet épisode, Tilmann nous parle de son parcours dans la mode, de sa passion pour le jeans, de ces impacts, de ce qu’est un bon jeans, des changements à effectuer dans cette industrie et de beaucoup d’autres sujets. J’ai adoré interviewer Tilmann, j’espère que vous prendrez autant de plaisir à l’écouter ! « L’industrie du jeans pèse 30% de plus que toute l’industrie de la musique dans le monde entier. »Ce que vous allez apprendre dans l’épisode :Son travail avec Monsieur TSon arrivée à Paris, son parcours scolaire à l’école de la haute-couture, puis son travail chez Nina Ricci, Dior, sa passion pour le skate et le streetwearSon travail chez Chipie puis QuicksilverL’histoire du jeans, les premières traces de l’indigo 6000 ans avant J-C au PérouLes pays qui consomment le plus de jeansCe qu’est un bon jeansComment rendre l’industrie du jeans plus durable, écologique et le problème de l’eauLe rôle de l’état dans l’industrie du vêtementSes jeans préférés « Aujourd’hui, on estime la fabrication mondiale à 1 milliard et demi de jeans par an. » Références :Compte Instagram de Tilmann https://www.instagram.com/monsieur_t_official/Monsieur T http://www.monsieur-t.com

Bright young things. This episode Tiffany Godoy is joined by Rushemy Botter and Lisi Herrebrugh, the two fresh faces at the helm of Nina Ricci. Starting right at the very beginning, the couple tell a story of how they came together in both their personal and professional lives: shared roots, shared values and shared vision that have been key to establishing their own Antwerp-based brand Botter. The designer duo talk of conceptual looks, grounded in practical construction. Dutch-Caribbean laid-back precision. How do they ‘keep the joy’ whilst turning attention to more serious matters? It’s about staying grounded whilst flying high. Naïve? Perhaps, but these two seem to have found the connection between seemingly opposing ideas – and it’s working out just fine.

Dans ce nouvel épisode, nous allons à la rencontre de Guillaume Henry, il est le directeur artistique de Patou. Dans cet épisode, il nous parle de son parcours, de son premier stage chez Givenchy à son arrivée chez Patou, de l’importance d’avoir envie, de la différence entre faire de la mode et des vêtements, de Jean Patou, de l’importance d’avoir une équipe soudée et du partage des informations et de beaucoup d’autres sujets. J’ai adoré interviewer Guillaume, j’espère que vous prendrez autant de plaisir à l’écouter !SE RETROUVER DANS L’EPISODE01:00 Guillaume se présente et revient sur son parcours.33:02 La création de sa marque, son arrivée à l’IFM, le conseil de Jean-Jacques Picart, son stage chez Givenchy, son travail chez Paule K.01:04:34 Son arrivée chez Nina Ricci, la femme Carven et Nina Ricci, son expérience chez Nina Ricci.01:25:15 Son départ de chez Nina Ricci, sa rencontre avec Sidney Toledano, son arrivée chez Patou, Jean Patou, le changement de nom de la marque, la vision et les bureaux Patou.2:01:15 Comment il a choisi son équipe, sa méthode de management, son processus créatif, ce qu’il dirait à Guillaume 20 ans, qui souhaiterait-il entendre dans ce podcast.KEYLEARNINGSCe fameux conseil avisé de Jean-Jacques Picart, LE conseil : « Vous devriez rentrer dans une maison, observer, apprendre, vous frustrer et c’est de votre frustration que naîtra votre talent. Vous aurez quelque chose à dire quand vous saurez qui vous êtes et vous saurez qui vous êtes, en travaillant pour les autres ». Et il a eu tellement raison !C’est génial quand tu rencontres le succès mais c’est problématique quand tu dois le maintenir.Je n’ai jamais su associer une marque à des codes vêtements. J’ai toujours associé une marque à des femmes. Je n’ai jamais réussi à associer une marque à un produit, j’ai toujours envisagé une femme comme quelqu’un. Quand je suis arrivé chez Patou, je me suis dit : Patou, c’est qui ?Une entreprise ce n’est pas qu’un DA, une entreprise c’est une entreprise, une vision commerciale.Ce qui m’a bluffé, c’est l’intelligence d’Henri Sebaoun quand je suis arrivé chez Carven. Cela faisait trois mois que je dessinais dans mon coin la première collection et il ne me demandait rien. Un jour, je dis « Henri, tu ne veux pas voir ce que je suis en train de faire ? », il me fait « Non non ça va ». Je dis « Mais, tu es sûr ? Parce que quand même, je voudrais que ça te plaise.». Il me fait « Non, je t’ai choisis donc ça me plaira, et puis ça ne plait pas, c’est de ma faute parce que je t’ai choisis». C’est quand même formidable, cela te donne des ailes, l’envie de l’envie de l’envie. Après ça, tu as non seulement envie de travailler pour toi mais pour lui. Tu veux le rendre fier, tu veux qu’il soit fier, tu veux lui rendre ce qu’il t’a dit. T’es obligé, tu veux lui rendre ce qu’il t’a dit, tu veux le rendre fier tellement il t’a laissé cette liberté.Chez Nina Ricci, j’habillais des femmes que je ne connaissais pas, les fameuses clientes de l’avenue Montaigne mais je n’habillais plus du tout, du tout celle que je connais. Et ce trop de robes que je croisais dans le métro, je ne les voyais plus du tout. C’est comme si tu n’entendais pas du tout ta musique à la radio, c’est terrible. Ça m’a tellement manqué.La première personne que j’ai voulu toujours satisfaire, c’est moi. Ce n’est pas égoïstement, c’est que, si tu n’aimes pas ce que tu fais, comment veux-tu que les autres l’aiment ?Au quotidien, on te demande d’être définitif : c’est rouge ou blanc ? C’est long ou c’est court ? Par contre, tu passes ton temps à te contredire, c’est quand même un sacré casse-tête. C’est-à-dire que c’est jaune parce que ce n’est pas rouge, mais dans 6 mois, ce sera rouge parce que ce n’est pas jaune. On passe notre temps à dire « ça, ce n’est pas possible » et la saison d’après : « c’est génial ! ». C’est fou mais c’est ça que j’adore dans ce métier, sauf qu’il faut absolument que tu aies envie. Et si tu as envie, tu peux quand même donner un tout petit peu envie aux autres et il faut bien s’entourer, avoir une équipe de choc.Je n’aime rien de plus que d’habiller mes amies.Pour plaire, il faut d’abord aimer.Je voulais ramener Jean Patou dans la vie, mais Jean Patou c’est un homme. Et on voulait vraiment, avec Sophie, revenir à l’idée d’entreprise et de marque. Ce n’est pas péjoratif quand on dit « marque », c’est vraiment un label, c’est comme une griffe. Jean, il est avec nous tout le temps mais quand tu es née en 1997, tu veux vraiment t’habiller en Jean Patou ? Il faut être tout à fait objectif. Patou, il y a une forme d’immédiateté, ce qui compte c’est le respect des valeurs, de l’héritage. Jean Patou, il n’est plus avec nous physiquement, mais par contre, il est avec nous tout le temps dans tout ce que l’on entreprend, dans toutes nos réflexions.Parfois, quand on est en essayage, je vois un vêtement sur un cintre qui est bof comme ça, un peu triste. On me dit « il faut avoir porté », mais tu essayes quand tu n’aimes pas sur un cintre toi ? Donc donnes lui de l’amour pour que tu aies envie de l’enfiler sinon ça sert à quoi ?Je me suis mis à Instagram il y a très peu de temps, mais typiquement, Instagram, j’ai découvert que c’était une source d’inspiration extraordinaire donc j’essaye de chopper pas mal d’images. Je suis vraiment un mangeur d’images, bizarrement et cela se voit un peu sur le portant, je ne regarde pas beaucoup de choses de mode ou alors quand il y a des vêtements, ce n’est pas des vêtements griffés, j’adore la notion d’anonymat. Les inspirations peuvent venir de partout, mais j’emmagasine et à un moment, cela fait comme une espèce de scénario ou de pêle-mêle d’images et cela se clarifie : des couleurs qui sortent ou qui reviennent, des mantras…Une collection, c’est comme des ingrédients dans un plat : tu as un peu de sucré, un peu de salé, un peu de piquant, un peu de doux. Pour moi, c’est ça une recette réussie.Les équipes, je leur demande à tous de ramener des images de choses dont ils ont envie, et moi, je suis comme une photocopieuse, je les avale. Après, il y en a qui survivent et d’autres qui ne surviennent pas mais doucement la collection se met en place, des envies de longueur, de couleur, de volume, la fille : c’est qui, c’est quoi la femme cette saison, elle rit, chez Patou, elle rit de toutes façons, d’où elle vient, où elle va, est-ce qu’elle a différentes aspirations diverses, variées. Ça commence à se composer un peu comme un story-board, un portrait-robot et après je vais aller voir les équipes en leur disant « voilà, en quelques mots, cette saison c’est…. » Et ils vont aussi travailler de leurs côtés des volumes, des proportions, des maquettes. Et on commence à faire du stylisme avec une amie mannequin, et on l’habille, on lui met des trucs, et là, il y a une femme qui arrive doucement et on s’enthousiasme, et ça grandit. Après cette réunion où on joue un peu à la poupée, on réunit les équipes et on va leur dire « voilà c’est ça, alors on aimerait ce genre de choses, ce genre de main » et là, on va encore plus précisément.L’ambition c’est bien, mais le transforme pas en handicap.REFERENCESPatou https://patou.comDuperré https://duperre.org/Pierre Hardy https://www.pierrehardy.com/IFM https://www.ifmparis.fr/fr/Citizen K http://www.citizen-k.com/Maria Luisa https://fr.wikipedia.org/wiki/Maria_Luisa_PoumaillouJean-Jacques Picart https://www.instagram.com/p/B3654ydot8y/Carven https://www.carven.com/Henri Sebaoun https://www.linkedin.com/in/henri-sebaoun-a1353a72/enMarie-Louise Carven https://fr.wikipedia.org/wiki/Marie-Louise_CarvenDéfilé Nina Ricci aux Invalides https://www.marieclaire.fr/les-legionnaires-du-defile-nina-ricci-printemps-ete-2018,1237450.aspSophie Brocart https://fr.fashionnetwork.com/news/Lvmh-nomme-sophie-brocart-directrice-generale-de-jean-patou,1023478.htmlClaude Montana https://www.instagram.com/p/B6uua5ACw-U/

Our guest this week is the Belgian fashion designer, Olivier Theyskens, who has worked for major design houses like Rochas, Nina Ricci and Theory. Join along as he takes us down the path of becoming the designer he is today. Learn what it means to be an independent fashion designer in the age of social media and the power of cultural influences on fashion. Support the show (https://www.luxurynsight.com/)

Our guest this week is the Belgian fashion designer, Olivier Theyskens, who has worked for major design houses like Rochas, Nina Ricci and Theory. Join along as he takes us down the path of becoming the designer he is today. Learn what it means to be an independent fashion designer in the age of social media and the power of cultural influences on fashion.

Découvrez RÉUNI, mon nouveau projetEcoutez le podcast Building RÉUNI sur Apple Podcast I Spotify I SoundcloudSuivez les aventures de RÉUNI sur InstagramJe partage chaque vendredi dans ma newsletter des actus, des outils, des process et des stratégies pour vous aider à monter votre marque. Inscrivez-vous sur www.entreprendredanslamode.comPour soutenir le podcast:1. S'inscrire sur Entreprendre dans la mode pour ne rater aucun épisode.2. Mettre 5 étoiles sur Apple Podcast pour aider d'autres entrepreneurs et acteurs de la mode à découvrir le podcast.3. Vous pouvez aussi me soutenir en participant au financement de ce projet sur https://www.patreon.com/entreprendredanslamodeMusiques : Théo DarcelDans ce nouvel épisode, nous allons à la rencontre de René Célestin, il est le fondateur de OBO et actionnaire d'Ubi Bene. Dans cet épisode, René nous parle de son parcours, des grands milestones de sa carrière et d’OBO, son rapport aux regards des autres et on parle de beaucoup d’autres sujets. J’ai adoré interviewer René, j’espère que vous prendrez autant de plaisir à l’écouter.SE RETROUVER DANS L’EPISODE00:54 René Célestin se présente et revient sur son parcours.17:22 Les grands milestones de sa carrière.26:19 Comment il organise un show, son rapport à la mode, les milestones d’OBO, la création d’un défilé.50:02 Ce qu’il retient de ces milestones.1:01:47 Ses souvenirs marquants, comment gérer le stress, l’acquisition de l’agence Ubi Bene, la relation avec le designer.1:16:44 La façon dont les maisons communiquent sur les défilés, est-ce qu’ils travaillent sur différents supports médias, l’arrivée du sport dans la mode, le sustainability.1:32:26 Qu’est ce qu’il se dirait à lui, 20 ans, est-ce qu’il ferait des choses différemment, les gens qui l’inspirent.1:40:10 Comment il gère le regard des autres, qui souhaiterait-il entendre dans ce podcast.KEYLEARNINGSQuand tu es un ultra intuitif, tu peux pas négliger que le process ça aide les autres à venir avec toi.Je n’ai jamais vécu le challenge comme une chose désespérante, ça me fait marrer de pas savoir faire un truc.Il y a toujours un quotient de douleur dans notre apprentissage.Un des trucs que je regarde beaucoup et qui me touche presque autant voire plus, ce sont les gens que j’ai laissé dernière moi à qui j’ai eu l’opportunité soit d’amener de l’aide, soit de leur apprendre quelque chose ou de leur permettre de gagner en connaissance ou en assurance ou ce genre de choses. Le temps passant, le côté humain joue un rôle de plus en plus important pour moi.REFERENCES :OBO https://oboglobal.eu/Ubi Bene http://ubi-bene.fr/Institut Savignac https://www.ecole-de-savignac.com/Relais & château https://www.relaischateaux.com/fr/Potel & chabot https://poteletchabot.com/Victoria Secret https://ww.victoriassecret.com/fr/?cm_mmc=SEM-_-Google-FR-_-vsint_brand_FR_FR_Brand_HighVis-_-ST_Exact_victoriasecret&gclid=Cj0KCQjwl6LoBRDqARIsABllMSYjyrSGwFf6ARHG7KGcURtb0n4mJMJxzf8MlY3qee5ag6JCfYLXjI0aAqyZEALw_wcB&gclsrc=aw.dsMET Gala https://fr.wikipedia.org/wiki/Met_GalaJohn Galiano https://www.johngalliano.com/LVMH https://www.lvmh.fr/Vogue US https://www.vogue.com/magazineMusée Rodin http://www.musee-rodin.fr/Bureau Betak http://www.bureaubetak.comKCD https://www.kcdworldwide.com/Stella McCartney https://www.stellamccartney.com/frGucci https://www.gucci.com/fr/fr/Nina Ricci https://www.ninaricci.com/fr-FR/Eva Herzigova https://fr.wikipedia.org/wiki/Eva_Herzigov%C3%A1Made Fashion Week http://ma.de/Joseph Altuzarra https://www.altuzarra.com/en-fr/Alexander Wang https://www.alexanderwang.com/fr-en/Episode Alexandre Mattiussi https://soundcloud.com/entreprendre-dans-la-mode/79-alexandre-mattiussi-amiL’ANDAM https://andam.fr/Antonin Tron https://fr.wikipedia.org/wiki/Antonin_TronAtlein http://www.atlein.com/L’Oréal Paris https://www.loreal-paris.fr/Giorgio Armani https://www.armani.com/fr/armanicom/unisexe/giorgio-armani/cross_sectionBalenciaga https://www.balenciaga.com/frLouis Vuitton https://fr.louisvuitton.com/fra-fr/homepageVêtements https://fr.wikipedia.org/wiki/VetementsTom Ford https://fr.wikipedia.org/wiki/Tom_FordBernard Arnault https://fr.wikipedia.org/wiki/Bernard_Arnault

Ingen annan svensk modeskapare har nått lika stora internationella framgångar som Lars Nilsson. På hans meritlista står namn som Chanel, Dior, Christian LaCroix, Bill Blass och Nina Ricci. Att ta sig in i den franska modevärldens innersta krets och kärna genom att behärska dess hantverk eller haute couture är inte lätt och få förunnat, i synnerhet om man kommer från Sverige. Men Lars Nilsson knäckte koden. Han studerade hårt, antogs till modets elitskola École de la Chambre Syndicale de la Couture Parisienne och kom att bli högt respekterad av de största i branschen i både Paris och New York som insåg att här var en kille som verkligen kunde sina saker, och inte bara ville skapa sig ett namn. I veckans Stil reser vi till Rättvik i Dalarna för att träffa Lars Nilsson. Det är nämligen där som han tillbringar sina somrar. Det kommer bli ett samtal om hans tid på de stora franska och amerikanska modehusen och hans erfarenheter från en modevärld i förändring.

Aujourd’hui mes invitées sont Camille Antoun et Caroline Drillaud, deux sœurs à la tête du groupe hôtelier « New Hôtel ». Si Caroline travaille depuis toujours dans l’hôtellerie notamment pour le Georges V, Camille n’a rejoint le groupe qu’il y a 5 ans après avoir fait l’école Penninghen et travaillé chez Nina Ricci en tant que directrice de l’image. L’hôtellerie c’est une histoire de famille, leurs ancêtres libanais recevaient déjà en 1903 les migrants de passage à Marseille et ce sont leurs père et oncle qui se sont lancés et ont créé le groupe New Hôtel il y a 50 ans déjà. Leurs parcours, leur rapport à Marseille, leurs rôles au sein du groupe, Camille et Caroline se sont livrées en toute honnêteté dans une des chambres du New Hôtel Voltaire à Paris. Je vous laisse découvrir notre conversation. 

Les parfumeurs sont-ils des voyageurs ? Oui, sans aucun doute. Néanmoins, sont-ce des voyages hors frontières ou des voyages intérieurs ?Aujourd’hui, j’ai rencontré Sonia Constant, une voyageuse depuis de nombreuses années. En effet, elle ne se déplace qu’avec son headspace portatif. C’est un appareil qui lui permet de capter tout ce qu’elle veut, sans abimer la nature ! Ses voyages sont autant de voyages en IRL, in real life que des voyages intérieurs. Partons sur ses traces parfumées ! A vos écouteurs….Elle est le parfumeur derrière Bella de Nina Ricci, chez Narciso Rodriguez : Pure Musc, Rouge Fleur musc, Santal Musc, Rose Musc et Bleu noir,Alexander McQueen Luminous Orchid ou encore Victor &Rolf Dancing Rises Ne manquez aucun nouvel épisode de Tatousenti le podcast, abonnez-vous sur Apple Podcast, Soundcloud (si vous êtes sur Androïd) et/ou sur Deezer. N’oubliez pas de laisser un commentaire ou une note sur Apple Podcast et Soundcloud, si vous avez aimé. Vous permettrez ainsi à Tatousenti de profiter d’une audience plus large en donnant à d’autres auditeurs la chance de le découvrir. N’hésitez pas non plus à en parler beaucoup autour de vous, à partager avec votre famille, vos ami(e)s, même s’ils vivent loin de vous ;-). Tatousenti peut s’écouter partout dans le monde. Merci infiniment pour votre écoute, votre fidélité et votre soutien.Vous pouvez me suivre sur Instagram @bettinaaykroyd et Facebook @faireletourdumondeenparfums.com Voir Acast.com/privacy pour les informations sur la vie privée et l'opt-out.

Success is almost never a straight path. In fact, the things we think we want - money, fame, power - are rarely the things that actually make us happy. Today’s guest, Betsy Pearce, hailed as as one of the most powerful people in fashion, has been the legal deal-maker for top fashion icons like Carolina Herrera and Alexander McQueen, the creative directors for Bottega Veneta, Nina Ricci, and Dior Homme and more. When it comes to the types of high-stakes negotiations she deals with, she says the biggest mistake people make is thinking that it’s just about the money. It’s usually not about the money, it’s about proving someone wrong. Ego, emotion, loneliness, or rejection all play a part. As such, she wants us to get comfortable with the idea that sometimes, we don’t know what we don’t know. We learn by taking steps, and when we realize they aren’t the right ones, it’s okay to ask for help. Studies have shown that happiness often stems from a sense of community and being needed. However, there is no reason for us to wait for people to need us. It’s okay to ask for help when we need it, and to offer help to those around us. Courage is the ability to open up about what you you really need to get where you want to go. Happiness comes from realizing that the journey itself doesn’t need to be taken alone. Some Questions I Ask: Where do you think the desire to prove others wrong comes from? (04:07) Success isn’t clearly defined for creatives - how have you seen some of the more prominent creatives you’ve worked with navigate this? (11:13) Outside of money, what are other priorities that people mistake as the thing they should be focused on? (13:04) Have you ever found it hard to ask for help? (14:03) What is it like going into rooms to negotiate with larger corporates that don’t have the same mentality of collaboration? (24:31) What are the biggest mistakes you’ve seen people make in negotiations? (27:25) What do you think about the idea of finding your purpose? (39:34) In This Episode, You Will Learn: Betsy’s ties to the Midwest and how her roots shape her life today (01:55) How being bitten by a dog in her face helped Betsy realize what matters in life (6:00) How Betsy’s athletic career shaped her outlook on teamwork and women supporting women (07:45) The importance of community in creating internal happiness (13:38) Why achievement doesn’t guarantee happiness (14:39) The difficulty in admitting to needing help (16:08) The things Betsy feels would have been easier if she had a mentor (19:50) How self worth turns into a dollar amount (28:49) The passion behind empowering women in creative-driven industries (35:05) Plus much more... Links and Resources: Bowling Alone: The Collapse and Revival of American Community by Robert D. Putnam Secrets of the Flesh: A Life of Colette by JUDITH THURMAN More about Betsy Pearce in Gotham Magazine Alexander Mcqueen Bottega Vanetta Kate Spade Vera Wang Jimmy Choo Bergdorf Goodman The Carlisle Group Follow Lisa on Twitter Follow Lisa on Instagram

Nadine Artemis’s official biography begins when she first combined flasks of essential oils to recreate Nina Ricci’s L’Air du Temps for a school science fair. These early botanical-inclinations led her on petal-pathed adventures in creating organic beauty balms, reviving elixirs, healing oral care and perfumed poetry to quench the natural yearnings of many. Nadine opened North America’s first full concept Aromatherapy store, Osmosis, in 1994. Since that day she has received glowing reviews for her formulations in the Hollywood Reporter, Flare, the New York Times, Vogueand The National Post. Nadine has addressed gatherings at conferences, appeared on television and radio shows, and she is a frequent commentator on health and beauty topics for national media outlets. In addition to her innovative product work, Nadine is the author of two books: Renegade Beauty: Reveal and Revive Your Natural Radiance andHolistic Dental Care: The Complete Guide to Healthy Teeth and Gums. Her healing creations, along with her concept of “renegade beauty,”encourage effortlessness and inspire people to rethink conventional notions of beauty and wellness. Celebrity fans include Shailene Woodley, Carrie-Anne Moss and Mandy Moore. Aveda founder, Horst Rechelbacher, calls Nadine “a pure flower of creativity.” Alanis Morissette describes her as “a true sense-visionary."

In the early 90s, a young haute couture fashion designer named Aleona Isakova became a finalist in the prestigious Nina Ricci fashion competition in Moscow. She also became the public face and designer for a Russian company, and she appeared to be on top of the world. But she soon found herself thinking, “Is this all there is, simply living and designing clothes?” She would eventually have a vision of a collection of haute couture dresses that represent the story of the Bible, and a businessman she barely knew would give her a half-million dollars to bring her vision to life. Her Beauty by God collection has since been shown in London, Jerusalem, Moscow, Australia, and America. Aleona and her husband now live in the United States and she recently launched the Leonard Charitable Foundation, Inc. in honor of the gentlemen who so graciously funded her collection. Aleona joins us to talk about her experiences in Russia, her personal transformation, and a fashion design competition her foundation is sponsoring to motivate talented fashion designers to create God-inspired designs to be revealed at DC Fashion Week in Washington in September 2018. We’re also joined by Annabel Foery, the foundation’s Treasurer.

Aprenda francês com Aïda, uma jovem espanhola de 32 anos que é fascinada por moda. Aïda quer conhecer as regras para vestir roupas que valorizem as suas formas, sem sair da moda. Nós vamos à loja Galeries Lafayette, no boulevard Haussmann, com Charlotte Rosier, conselheira de moda.   Os endereços certos da moda em Paris Paris est la capitale de la mode, de la création et du luxe. Les plus grands noms de la haute couture et de la joaillerie ont leur boutique à Paris. Les Galeries Lafayette :  1er réseau de grands magasins en France 65 grands magasins : à Paris, dans les grandes villes de France, et à l’étranger (Berlin, Casablanca, Dubaï, Jakarta et Pékin) Plus de 3 500 marques vendues Le plus grand employeur du secteur avec plus de 11 100 collaborateur   Les Galeries Lafayette boulevard Haussmann à Paris : Le 1er grand magasin de l’enseigne, créé à la fin du XIXe siècle Propose 2 500 marques du monde entier Visité chaque année par plus de 37 millions de personnes L’espace « Mode, Luxe & Création », au 1er étage, propose près de 300 marques : de l’ultra-luxe aux pièces originales de créateurs à partir de 45 euros.   La rue du Faubourg Saint-Honoré : Dans le VIIIème arrondissement de Paris, à côté du palais de l'ÉlyséeOn y trouve les grands couturiers :Gucci, D&G, Paul Smith, Prada, Lanvin, Cartier, Yves Saint-Laurent, Chloé, Chanel, Hermès, Sergio Rossi… L’avenue Montaigne : Cette avenue prestigieuse monte du Pont de l’alma vers les Champs-Élysées.Christian Dior, Louis Vuitton, Prada, Dolce & Gabbana, Chanel, Gucci, Armani, Versace, Valentino, Nina Ricci, Ralph Lauren, Bvlgari, Emanuel Ungaro, Emilio Pucci…   Que roupa me cai bem? Os conselhos de uma conselheira de moda L’harmonie de silhouette Une silhouette est harmonieuse quand la largeur des épaules est égale à la largeur du bassin et que la taille est bien marquée. Si la silhouette est en A (pyramide) : on a les épaules plus étroites que les hanches.On met des épaulettes pour élargir les épaules.On attire l’attention sur le haut avec des couleurs et des imprimés.On choisit des vêtements unis et sombres pour le bas.On porte des petits talons pour élancer la silhouette ! Si la silhouette est en V : on a les épaules plus larges que les hanches.On affine le haut avec des couleurs unies et sobres.On attire l’attention sur le bas avec des imprimés et des couleurs flashy.On montre ses jambes ! Si la silhouette est en H : On a la taille peu marquée.On évite les formes amples et les jupes évasées qui élargissent la silhouette.On préfère les jupes et les pantalons droits, taille basse.On structure la silhouette avec des matières qui tiennent, des vestes cintrées. Comment élancer la silhouette ?- Porter la même couleur en haut et en bas pour éviter de couper la silhouette- Privilégier les lignes verticales- Porter une veste courte sur une robe   Le choix des couleurs Le test de colorimétrie permet de savoir quelle famille de couleurs (chaudes ou froides) va avec notre teint.Tenez-vous devant la glace :Tenez près de votre visage un tissu de « couleur chaude ». Les couleurs chaudes sont celles qui ont une pointe de jaune dedans : beige, doré, marron, orange…Tenez ensuite près de votre visage un tissu de « couleur froide ». Les couleurs froides ne contiennent pas de jaune : noir, argenté, blanc, bleu ciel, bleu marine, rose fuchsia…Laquelle de ces deux couleurs vous donne meilleure mine ? Portez toujours près du visage une couleur dans cette tonalité.   A pergunta da Aïda Aïda : Quelles sont les pièces phares qu’on doit toujours avoir dans notre garde-robe, dans notre dressing ?Charlotte Rosier : Je dirais que, une bonne veste noire, ça ira toujours.Aïda : Ok.Charlotte Rosier : Il nous faut un jean, une chemise blanche, parce que la chemise blanche, tu peux très bien te faire un look « bonne veste noire, chemise blanche, jean »…Et puis, la petite robe noire, parce que, quand on l’a trouvée, c’est pareil, tu peux la mettre dans n’importe quelle situation.   Liens Galeries LafayetteMademoiselle Charlotte, coach de mode 

The official biography of Nadine Artemis begins when she first pulls out flasks of essential oils to recreate Nina Ricci’s L’Air du Temps for a school science fair project. These botanical-inclinations led to took her on adventures creating organic healing balms, reviving elixirs and perfumed poetry for the natural yearnings of many, receiving glowing reviews in the Hollywood Reporter, New York Times and the National Post. Nadine has addressed gatherings at conferences, television and so on...  http://www.livinglibations.com/

The official biography of Nadine Artemis begins when she first pulls out flasks of essential oils to recreate Nina Ricci’s L’Air du Temps for a school science fair project. These botanical-inclinations led to took her on adventures creating organic healing balms, reviving elixirs and perfumed poetry for the natural yearnings of many, receiving glowing reviews in the Hollywood Reporter, New York Times and the National Post. Nadine has addressed gatherings at conferences, television and so on...  http://www.livinglibations.com/

21.09.1945 Erste Modenschau nach dem Krieg: Knapp fünf Monate nach Kriegsende fand die erste Modenschau statt, das "Théâtre de la mode" - natürlich in Paris. Die berühmtesten Couturiers, Christobal Balenciaga, Pierre Balmain, Nina Ricci und Marcel Rochas, zeigten ihre neuesten Creationen. Und die konnten sich sehen lassen!