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A makeup company gets a facelift : Code Switch

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A makeup company gets a facelift : Code Switch
Fashion Fair Cosmetics relaunched in Fall, 2021.

Immediately, in case you are a girl of shade and also you’re looking for make-up that can complement your pores and skin tone, you might have loads of choices. Step into any big-box magnificence retailer, like Sephora or Ulta, and you may see a blinding array of foundations from palest bisque to deepest, darkest brown. However it wasn’t all the time that means.

That is the story of an African American firm that was shaped to fill a distinct segment market; how that firm soared to success after which grew to become complacent about its success. The way it finally disappeared. Then, the way it reentered the market simply final fall, when what it had as soon as supplied was now not distinctive.

That firm was – and is once more – Vogue Truthful cosmetics.

Yves Saint Laurent goes to Detroit and Alabama

First, some historical past: To start with there was the Ebony Vogue Truthful, a touring style present that introduced couture collections from locations like France and New York to cities everywhere in the U.S. It was a part of the Johnson Publishing Company, a media empire began in 1948 by Eunice and John H. Johnson. JPC’s flagship publication was the well-known Ebony Journal. (At its peak, Ebony had greater than 1.2 million month-to-month subscribers and was considered as a vital a part of many Black households.)

The Ebony Vogue Truthful was a means for the Johnsons to boost funds – finally some $55 million {dollars} – for Black charities. And it was one of many first autos to deliver excessive style to the lots. The present traveled with its personal stage units and a music director. Fashions strutted onto the sage, paced by the tunes of a three-piece jazz combo and launched by the present’s announcer, a six-foot stunner named Audrey Smaltz.

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“Audrey Smaltz is my identify and style is my recreation,” Smaltz would start because the lights went down. “Welcome, women and gents!”

And for the subsequent two hours, the viewers—normally dressed to the nines, in homage to (or in competitors with) the fashions—was entranced by a parade of couture garments. A chic strolling swimsuit. A beaded robe that shimmered and floated. A wool coat lined in fur. Fur! Smaltz’s vigorous narration added spice to the expertise: “What to put on on Sunday once you will not be house ’til Monday!” she’d purr, as a mannequin in Invoice Blass forged a coy look on the delighted viewers.

However whereas the fashions had been serenely strolling the stage, backstage was chaotic. As a result of whereas lots of the fashions had been carrying customized garments, they needed to hustle to place collectively customized colours for his or her faces. That alchemy concerned some fairly intense experimentation: lots of the deeper-hued ladies added darkening brokers to foundations or powder—perhaps crushed eye shadow or pulverized forehead powder—to keep away from the ghost-faced look that was too usually the results of settling for too-light basis.

This pastiche of “slightly little bit of this and slightly little bit of that” confirmed that many Black ladies had a necessity that main cosmetics weren’t assembly. Smaltz says she instructed John and Eunice Johnson there was a particular marketplace for luxurious cosmetics that may enchantment to “our individuals.” So the Johnsons agreed to attempt to fill it.

Seeing a distinct segment and going for it

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They usually may, as a result of the Johnsons had cash. They owned a double penthouse condominium that ignored Lakeshore Drive, in considered one of Chicago’s fanciest neighborhoods. An actual Picasso held on their front room wall. Eunice Johnson was nationally identified for being effectively—and expensively—dressed. As soon as they determined they had been going into the cosmetics enterprise, Mrs. Johnson employed a chemist to create the formulation that may turn out to be Vogue Truthful cosmetics. Initially, she introduced the concept to some massive mainstream firms, like Revlon, however they handed. So Vogue Truthful cosmetics grew to become one other a part of the Johnson Publishing Company (JPC).

Eunice Johnson selected pink as the road’s signature shade, partly to distinguish it from Estée Lauder’s chosen shade, blue. They examined the make-up on ladies within the JPC workplaces. “We had all shades of colours, from the darkest women to the lightest and in every single place in between,” Smaltz remembers. “We might observe on our personal staff!”

Ultimately, Vogue Truthful was poised to exit into the world—however the place? Eunice Johnson had already determined theirs wouldn’t be a drug retailer model. She needed the glamor and cachet of a high-end division retailer. Audrey Smaltz had a private contact at Bloomingdale’s who picked up the model. Different shops adopted, together with Neiman Marcus, with its legendary magnificence division.

At its most worthwhile, in 2002, Vogue Truthful earnings had been about $56 million. It was in about 1500 shops throughout the U.S., Canada and the Caribbean. Girls flocked to the counters to strive on shades like Brown Blaze, a deep brown with reddish undertones, and Chocolate Raspberry, a wildly standard fuchsia that rapidly grew to become iconic. However after 20 years, Vogue Truthful did not have the market to itself any longer. Bigger, white-owned firms, some began by make-up artists, started providing make-up in a much wider palette.

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By the point the 2008 recession slammed into the nation, Vogue Truthful, which had constructed a lot of its advertising into the pages of Ebony, was feeling the pinch. Its devoted base was getting older. In the meantime, The web had turn out to be a factor, and on-line adverts had sucked plenty of promoting {dollars} out of all magazines. There was much less cash for the Johnsons to funnel to their product, and it confirmed. Inventory on the cabinets was getting skimpier.

Celeb make-up artist Sam Superb – who’s made up everybody from Aretha Franklin to Michelle Obama to Beyonce – labored at Vogue Truthful for a few years. He noticed the lipstick writing on the wall: “They actually began to take their client with no consideration, and there was actually no newness.”

Towards the top, the model tried to refresh itself—these trademarked pink compacts had been out and a smooth new look, bronze, was in. However, says Superb, it wasn’t sufficient. By then, he says, “it was trying to compete, not prepared the ground. … And there is all the time an issue for those who’re a model that does not embrace change.”

That not-changing factor was an issue: It meant eliminating an entire group of youthful prospects. In a 2018 tutorial on YouTube, make-up artist Leslie Farrington admitted that she loves Vogue Truthful, “however once you consider Vogue Truthful, you consider your mother’s make-up.”

After which there was Sephora. A tremendously worthwhile French firm, Sephora opened its first U.S. retailer in 1998. It inspired prospects to strive on make-up earlier than they purchased it. There was no counter between the client and no matter she needed to strive. And it was worthwhile sufficient that high-end manufacturers that when would deign to be bought solely in fancy shops determined they wanted to be on Sephora’s cabinets, too. Vogue Truthful was not a type of manufacturers.

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The top of 1 period…the start of one other?

The corporate had held on so long as it may, however in April 2019, it quietly declared Chapter 7 chapter. After the deaths of founders John H Johnson in 2005 and Eunice Johnson in 2010, their solely daughter, Linda Johnson Rice, downsized and bought a lot of JPC’s belongings. The Michigan Avenue headquarters that in its early days boasted 200,000 vacationer visits a 12 months was bought.

In October 2019, a chapter courtroom held an public sale. One of many choices on the block: Vogue Truthful. Desir̗ée Rogers is a Chicago businesswoman, former JPC CEO and former Social Secretary in the course of the early years of the Obama administration. A loyal fashionista, Rogers was betting she may make Vogue Truthful related once more. She referred to as her longtime buddy and former JPC govt Cheryl Mayberry McKissack, and instructed her they wanted to make a bid for Vogue Truthful. McKissack had spent most of her life within the tech trade, however she’d lately bought the pharmacy make-up model Black Opal with Rogers, and the possibility to amass a Black luxurious model intrigued her. So she instructed Rogers she was in.

With substantial hedge fund assist, the 2 raised cash and have become a part of the silent public sale. It wasn’t just like the auctions you see within the films, no frenzied paddle elevating; this was nameless. “It is all non-public info,” McKissack says. “They take your bid to whoever the opposite bidder is.” The blind bids and counter-bids are relayed by way of attorneys. On the finish of a really anxious afternoon, Rogers and McKissack discovered their final bid – for $1.85 million – received the Vogue Truthful identify. An intangible was the one factor left of the corporate.

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However the two ladies had been betting it may very well be sufficient. Vogue Truthful was a part of the storied historical past of the Johnson Publishing Firm. It had been a revered component in lots of Black ladies’s make-up baggage for years. Rogers and McKissack believed that even with all of the competitors that is now saturating the market (Bobbi Brown! MAC! Fenty Magnificence!) it may as soon as once more have a particular place within the hearts and on the faces of stylish ladies of shade.

Within the fall of 2021, the redesigned Vogue Truthful made its debut—not in shops, however at Sephora. It started with foundations (crème-to-powder, and stick basis), powders—pressed and free – and lipsticks, together with the always-beloved Chocolate Raspberry. There are plans to increase to eye make-up and pores and skin therapies. A number of the variations between the previous Vogue Truthful and the brand new are, effectively, beauty: The bronze compacts have been changed by smooth white ones with gold accents. Some are substantive: The whole lot is vegan and scent-free, which many shoppers—particularly youthful ones—demand. Sam Superb was lured again to turn out to be the revived firm’s International Model Ambassador.

As a result of it is privately held, there isn’t any dependable info on how the brand new Vogue Truthful line is doing. Desirée Rogers and Cheryl McKissack are hoping that Vogue Truthful’s newest iteration and its consideration to the sweetness wants of Black ladies for almost a half century may make these new white compacts as iconic as the unique pink ones as soon as had been.

“Lots of people say, ‘Nicely, there are plenty of merchandise on the market,’” McKissack instructed Magnificence Unbiased, a commerce publication, final 12 months. “However there aren’t plenty of merchandise with possession by two Black ladies within the status market which can be centered on ensuring that every part we do is basically created for darker pores and skin tones. This model is by us, for us.”

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This podcast episode was initially edited for Planet Cash by Jess Jiang and produced by Emma Peaslee and Molly Messick. The digital piece and up to date audio was produced for Code Swap by Leah Donnella and Summer time Thomad.

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Why bananas may become one of the first casualties of the dockworkers strike

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Why bananas may become one of the first casualties of the dockworkers strike

Most bananas imported to the U.S. come through ports affected by the dockworkers’ strike. And the fruit’s limited shelf life made it hard to stockpile in advance.

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If you enjoy sliced bananas with your cereal or drinking a banana smoothie, you might want to savor it while you can. Fresh bananas could be one of the first casualties of the dockworkers’ strike.

The strike, now in its third day, has halted traffic at ports along the east coast and the gulf coast which handle an estimated three-quarters of all banana imports.

That includes the port of Wilmington, Del., which is the number one gateway for bananas coming into the U.S.

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Ships from Dole and Chiquita — two of the world’s biggest banana producers — ferry more than 1.5 million tons of bananas to Wilmington every year from Central and South America.

Many of those bananas are then trucked to M. Levin & Co. in Philadelphia — which has been trading bananas in the region for four generations.

“The bananas are on the water for about seven days,” says Tracie Levin, who helps to oversee daily operations at the firm. “They come through the ports here. We pick them up. We ripen them in the ripening rooms for a few days, and then they go out to their stores and that’s how they get to consumers in the area.”

M. Levin & Co. in

M. Levin & Company typically handles about 35,000 cartons of bananas in its Philadelphia ripening rooms every week. The wholesaler supplies big box stores and corner markets as far west as Chicago.

courtesy M. Levin & Co.


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courtesy M. Levin & Co.

That normally smooth and largely invisible process is one of many that have been interrupted by the dockworkers’ strike, which has halted shipments of everything from auto parts to wine.

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Levin is hoping for a quick resolution.

“We want a fair deal for everyone, from the ports to the workers,” she says. “Our country relies very heavily on our ports so this is definitely going to have a ripple-down effect if it doesn’t come to an end soon.”

In the banana business for over a century

Of all the goods now treading water in shipping containers, few are more sensitive to the passage of time than fresh fruit. Auto parts and wine generally don’t spoil if they’re stuck in transit for a little while. But for bananas, the clock is ticking.

“These bananas do have a shelf life, even when they’re sitting in the refrigerated containers,” Levin says. “If they sit too long they will dry out. They will not ripen properly. It’s really important that they get unloaded before they end up sitting out there too long and just become trash.”

Tracie Levin's great-grandfather began ripening bananas on Dock Street in Philadelphia in 1906. One of his original wagons is still on display in the company's warehouse.

Tracie Levin’s great-grandfather began ripening bananas on Dock Street in Philadelphia in 1906. One of his original wagons is still on display in the company’s warehouse.

courtesy M. Levin & Co.

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courtesy M. Levin & Co.

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It’s something Levin knows very well, since her family has been in the banana business for over a century.

“My great-grandfather in 1906 started ripening bananas on Dock Street in Philadelphia in the cellar,” she says.

In those early days, bananas arrived by the boatload still attached to giant stalks. Today the fruit comes in cardboard boxes, stacked in refrigerated shipping containers. Levin’s company handles about 35,000 of those 40-pound cartons every week, supplying big box stores and corner retailers as far west as Chicago.

Bananas are ripening in a warehouse in Kingston-upon-Thames, England, on February 1954.

Bananas are ripening in a warehouse in Kingston-upon-Thames, England, on February 1954.

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People may soon go bananas

Levin’s company stockpiled extra truckloads of green bananas before the strike, and they do have some ability to slow the ripening process — but only for so long.

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The wholesaler has enough fruit on hand to last a week or so, but after that, look out.

“Our banana supply will be dwindling if the ships aren’t getting the fruit off,” Levin says. “The consumer may see a banana shortage at their local grocery stores very soon.”

For now, grocery shoppers might want to pick up a few extra bananas, just in case. But of course, those won’t stay fresh long either.

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Championing Retail Career Development at Aesop

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Championing Retail Career Development at Aesop
The luxury skin and body care brand is nurturing a culture of learning and development to position its retail employees for internal mobility and progression. BoF sits down with the general manager of Europe, a commercial director and a London-based store manager, to learn more.
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This horror genre is scary as folk – and perfect October viewing

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This horror genre is scary as folk – and perfect October viewing

In 1973’s The Wicker Man, British policeman (Edward Woodward) visits a remote Scottish island to find that the locals have embraced a form of paganism.

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It’s October. Some of your neighbors will spend this, the official first weekend of spooky season, going all-out with inflatable yard skeletons and ghosts. They will embark upon the annual attempt to make candy corn, aka high-fructose ear wax, a thing. They’ll adorn their front porches with those cotton spider webs that look nothing like real spider webs and instead just make it look like they went and ritually murdered a white sweater so they could hang its dismembered corpse across their doorway as a grisly warning to all other knitwear.

For me, it’s a more simple, elemental formula: Hot cider, cider donuts, folk horror.

The appeal of cider and donuts is universal, but folk horror might need some defining. Essentially, it’s horror set in remote, isolated areas where nature still holds sway. Well, nature paired with the superstitious beliefs of the locals, who tend to treat unwary outsiders with suspicion (if the outsiders are lucky) or malice (if they’re not).

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The classic example is 1973’s The Wicker Man, in which an uptight, devout, and veddy veddy British policeman (Edward Woodward) visits a remote Scottish island to investigate the disappearance of a young girl. Turns out the locals have embraced a form of Celtic paganism, which doesn’t sit right with him. He says as much to the island’s aristocratic leader, a mysterious and charismatic sort played by Christopher Lee. Things don’t end well for our poor British bobby – though presumably the island will enjoy a bountiful harvest, so, you know: Big picture, it’s still a win.

Other founding classics of the genre include 1968’s The Witchfinder General and 1971’s The Blood on Satan’s Claw, which of the three films has the least going for it, apart from its title, which is, all reasonable people can agree, metal AF.

I love me some folk horror, and am never happier than when I can while away a damp, foggy (and thus obligingly atmospheric) October afternoon mainlining new and old examples of the form like Kill List, You Won’t Be Alone, Viy, The Ritual, Häxan, The Medium, Apostle, Midsommar, The Witch, Hereditary, Night of the Demon, A Field in England, Robin Redbreast, and Men. (Looking for more examples? Check out the documentary Woodlands Dark and Days Bewitched: A History of Folk Horror.)

Florence Pugh in Midsommar.

Florence Pugh in Midsommar.

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Some folk horror involves supernatural elements, but I confess a particular fondness for those stories that don’t – stories where it’s the folk themselves (read: the locals, and their beliefs) who are the true and only source of the horror. (I won’t spoil which of the above films traffic in human vs. supernatural evil, in case you haven’t seen them.)

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Talismans and turtlenecks

The Wicker Man was the first folk horror film I saw as a kid, which is maybe why I harbor a deep love of folk horror set in ’70s Britain, a time and place when an interest in the occult became faddish, inspiring a wave of folk horror specifically inflected with Satanic panic. Many of these films were set in the past, but those like The Wicker Man were set in the then-present, a time when men wore wavy hair and tight bell bottoms. Christopher Lee’s Lord Summerisle, for example, sported a kicky tweed leisure suit topped off by a burnt-orange sweater.

It’s why I think of this very specific subgenre of ‘70s folk horror as Talismans and Turtlenecks.

I just came across a new-to-me example of T & T last Sunday afternoon, which was suitably cold and wet and misty: 1970’s The Dunwich Horror. A stiff-haired Sandra Dee, desperately attempting to shake her goody-goody image, plays a woman who falls under the sway of a young and hilariously intense, wide-eyed Dean Stockwell. (Seriously, you keep waiting for his character to blink, but instead he just keeps goggling fixedly at the world around him. At one point he makes a pot of tea, staring at it so fiercely through every stage of the process you start to wonder if he’s trying to convince it to hop into bed with him.)

Don’t get me wrong: It’s a cheesy film, filled with crummy dialogue and hammy acting and cheap sets and one fight scene so wildly inept that has to be seen to be disbelieved. I won’t reveal if the threat hanging over the film is human or supernatural (though the fact that it’s based on an H.P. Lovecraft short story should tip you off). But I will say that Stockwell sports a thick, curly hairdo, a cravat, two count-em two pinky rings, and a huge mustache that curls under itself at either end, in the process effectively turning my guy’s mouth into a parenthetical statement.

You can watch it for free, with commercials, on Pluto TV, which I swear is a real streaming service and not something I made up. The Dunwich Horror is not remotely scary, but it does have something to say, I suppose, about the madness of crowds and what, back in grad school, we used to call “othering.” (The Stockwell character is the scion of an eccentric family that the local community has shunned for generations, you see.)

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And that, of course, is the abiding appeal of folk horror: It takes those universal feelings of alienation and isolation that make us all feel like outsiders in our own communities and gives them flesh. When the supernatural is involved, sometimes that flesh pulses and oozes. Sometimes it’s furry and clawed.

But whenever the story is about our collective tendency to cling to belief in the supernatural, the flesh involved is all too human, and probably gets stabbed with a sacrificial dagger in the final reel. Happy spooky season, y’all.

This piece also appeared in NPR’s Pop Culture Happy Hour newsletter. Sign up for the newsletter so you don’t miss the next one, plus get weekly recommendations about what’s making us happy.

Listen to Pop Culture Happy Hour on Apple Podcasts and Spotify.

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