global colours

theguardian.com
The west was built on racism. It's time we faced that – video
Kehinde Andrews says global inequality is not an accident – it is designed to keep the hierarchy of race intact
By Bruno Rinvolucri

Dead white men are revered by many as responsible for the advancement of civilisation, says sociology professor Kehinde Andrews. But, he argues, this so-called progress came at the expense of millions of people of colour. Global inequality is not an accident, he argues – it is designed to keep the hierarchy of race intact

Our #colouroftheweek is Midnight Blue. We’re still feeling a trend for deep, endless blues and love this magical shade by Lalique, made possible by their technical research into pigments for crystal.

WGSN guides global and cultural colour direction. Our team of experts identify, analyse and predict key colours that will drive and influence the commercially successful products and services of the future.

Erin Ashley- "is an internationally renowned artist who has lived in NY, Los Angeles and Florida for most of her life. Self trained painter, Erin has applied her diverse background and experiences to the contemporary arts. Erin Ashley gets her inspiration from things most often over looked. She loves the beauty of how mother nature ages things in a beautiful way, like chipped paint on an old weathered building, rusted metals, train cars etc.  Bringing out the old with the new in her work, enduring a fusion of both has become the hallmark of this rising artist.“

Title: District 8

GLOBALIZATION 

Silence of an empty street. 
Down the street, ironically. 
Manufactures closed. 
Abandoned workers. 
Today other hands producing. 
In other places. 
Tomorrow they will be replaced also. 
For someone cheaper. 
Change leaves a trail of poverty. 
An oppressive and frustrating empty. 
Melancholy dusk. 
Product continues to live. 
Consumer does not care about its origin. 
Cost less. 
Single goal to achieve. 
Who manufactures it? 
It does not matter. 
Under what conditions? 
It does not matter. 
Product life cycle continues. 
And so … it continues.

~zd

THE TIP-OFF: DAMIAN GAROZZO ON CLINIQUE PINK HONEY

Mp>The Clinique Global Colour Artist recommends how to wear Black Honey’s sweet new sister shade—available in an exclusive All About Shadow 8-Pan Palette and Almost Lipstick.

“For a universally flattering shade that will make any eye color pop, use an eyeliner brush to smudge the deep mahogany shadow along the lashline. Then pat the lightest pink shadow on the inner corners of the eyes to brighten the look. Finish with black mascara, and then dab Almost Lipstick in Pink Honey on the center of your lips using your finger to create the perfect just-bitten stain.” —Damian Garozzo, Clinique Global Colour Artist

SHOP CLINIQUE >

Photographer Christopher Payne’s specialism is capturing America’s historic architecture and industrial heritage. In his latest project, Textiles, Payne documents the colourful behind-the-scenes world that is America’s niche textile industry. Celebrating the “craftsmanship and the small-scale manufacturing that is still persevering in the face of changes to the industrial process and global competitions.”

shefillyfooler  asked:

Gradient Lair, I was wondering. How much do you believe the experiences of Black women in more european countries, such as England or France, differ from those experienced by Black women in America especially in reference to Misogynoir?

Black women outside of the U.S. and outside of Jamaica—what my personal, familial and cultural experiences are within—should speak for themselves. Certainly because of the way anti-Blackness operates, globally (though context matters; a “post”-slavery U.S. context is different, for example), and sexism, globally, and misogyny, globally, means they’ll face misogynoir. (It’s not a coincidence that globally colourism places poor Black/dark women at the bottom of the social hierarchy, for example.) How it impacts their lives specifically is predicated upon their countries’ politics, laws, cultures, subcultures and histories. There’s no reason for me to speak over them when these Black women have voices (albeit I have women of African descent as readers from other places).

Only thing I would speak on would be when very apparent connections between these histories via enslavement, colonialism and imperialism and their impact today are connections that are apparent in both/more of our locations or if how U.S. media (since I critique media) shapes the stories of their foreign experiences is based on the misogynoir that Black women in the U.S. experience.

That’s the thing about voices. We all have to use our own while recognizing sameness and as Audre Lorde wrote about, differences.

Main thing though? Fucking IGNORE Whites from these countries who want to convince you that these Black women do not experience any oppression. They contact me WEEKLY to suggest this bullshit. Meanwhile I am engaged online with Black women (and sometimes they may not identify as “Black” when not in the U.S.; I do for very specific reasons) from so many countries (and I have Black female family members in other countries) who know the reality of their own lives and don’t need White spokespersons whose perspectives are obscured by privilege trying to convince us that anti-Blackness, racism, sexism, and misogynoir are only in America, when that is simply not true.

Conversely, there will be Black women from other countries who suggest that they don’t experience oppression while other Black women from those very same countries have a different story to tell and one of oppression, just like in the U.S. 

Main thing? Seek people whose experiences are acutely tied into a place and they live that experience first hand. Always the source. Always.

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Our #colouroftheweek is Silver Pink. We start 2014 with a beautiful, transient molten tint. Iridescent glass is delicately coloured, creating an almost indefinable metallic shade.

Credit: Jeff Zimmerman, via o-c-u-l-t-o.com

WGSN guides global and cultural colour direction. Our team of experts identify, analyse and predict key colours that will drive and influence the commercially successful products and services of the future.