Fashion still has a lot of work to do when it comes to diversifying its talent pool. In February 2015 only 2.7 percent of the designers on the New York Fashion Week calendar were black, according to The New York Times; by February 2018 that statistic was still under 10 percent, per The Cut. And there have been regular reminders why this is critical: Designer products resembling blackface or nooses have sparked calls for boycotts and increased demands that companies take steps to diversify and educate their employees and provide new opportunities for people of color. Amid the headlines and outcry, black fashion designers keep doing the work: creating and advocating for more inclusive fashion through their products and every single facet of their business.
I love this mascara. I have natural very long/full lashes and the applicator coats each and every lash. Prior to trying the cay eye version, I was using the standard volume express colossal (with the giant wand). My friends noticed the switch and that is good enough for me! No clumps, easy removal, and does not leave me with raccoon eyes after a long day. I love the waterproof one too - removal is not so easy (advise to use a good make-up remover! Regular soap doesn't cut it).
The color was fine, but it dried down so quickly once applied, the formula was sticky before it dried down, and my lashes were spidery like I'd never seen with one application! The wand is promising, curved to the lash and the bristles well distributed but something about the product was too thick. It is very effectively waterproof. If you're looking for a subtle mascara look, this isn't the one, but if you're into a dramatic mascara (i.e. a little thick and clumpy) with little room for error during application, this mascara is the one.
Water, Paraffin, Potassium Cetyl Phosphate, Beeswax, Carnauba Wax, Acacia Senegal Gum, Glycerin, Cetyl Alcohol, Hydroxyethylcellulose, Sodium Polymethacrylate, Hydrogenated Jojoba Oil, Hydrogenated Palm Oil, Phenethyl Alcohol, Phenoxyethanol, Steareth 20, PEG/PPG 17/18 Dimethicone, Polyquaternium 10, Silica, Soluble Collagen, Simethicone, Panthenol, Disodium EDTA, May Contain (+/-): Iron Oxides (CI 77491, CI 77492, CI 77499), Titanium Dioxide (CI 77891), Ultramarines (CI 77007), Chromium Oxide Greens (CI 77288), Chromium Hydroxide Green (CI 77289), Manganese Violet (CI 77742), Ferric Ferrocyanide (CI 77510), Mica
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It seems like every week a fashion brand is rallying behind a political candidate, collaborating with a nonprofit, or announcing a new sustainability initiative—in other words, companies are trying to prove they are more “conscious.” Being “conscious” has become a talking point. Credit the current political climate or the idea that customers want to shop their values, but more and more designers are being vocal about where they stand on certain issues, and companies are increasingly transparent about their business or manufacturing practices.
There are women like Lizzy Okpo, who founded the women's wear brand William Okpo with her sister, Darlene; Aurora James of the mega-popular accessories label Brother Vellies, which has been spotted on Tessa Thompson and Beyoncé; and the up-and-coming Shanel Campbell of Shanel, a recent Parsons graduate who has already dressed Tracee Ellis Ross, Ciara, and Solange. For them, being “conscious” isn’t an afterthought—it’s what drives them as artists.
Ann Lowe, the woman who made Jacqueline Kennedy’s wedding dress, carved a path for herself, becoming the first black designer to open a boutique on Madison Avenue, and paved the way for many others. (Finally, people are recognizing it.) From 1958 to 2009, the Ebony Fashion Fair, founded by businesswoman Eunice W. Johnson, created a space not just for black designers and models to show their work, but also for black shoppers to spend. By the early 2000s brands like Baby Phat were introducing products to the market that addressed the needs of this previously underserved customer, like jeans that fit curves.