NEW YORK — With groovy, wall-sized images of Cybill Shepherd and Cheryl Tiegs beaming out over a light-filled downtown loft, Cover Girl took the beauty press for a walk down makeup memory lane this week. Not surprisingly, the history-studded...
NEW YORK — With groovy, wall-sized images of Cybill Shepherd and Cheryl Tiegs beaming out over a light-filled downtown loft, Cover Girl took the beauty press for a walk down makeup memory lane this week. Not surprisingly, the history-studded stroll just happened to wind up at a display focused on two upcoming products and an entirely new in-store look.
Partnering with the Smithsonian and trend expert Michael Kucmeroski, the Cover Girl team pulled together an impressive array of artifacts and images from the last 50 years. Amid curated vignettes of furniture, tchotchkes and ad visuals arranged by decade, the “House of Beauty” installation traced the history of the brand’s iconic “clean makeup” philosophy. (Note to beauty-trivia buffs: It started with Procter & Gamble’s incorporation of foundation pigments into its flagship Noxzema skin cream.)
Cover Girl’s near-term future, however, will include the launches of TruBlend Pressed Powder and Outlast Liquid Makeup, both of which are slated to hit the market in January. The wall unit, described as an “overhaul” by Anne Martin, vice president of global cosmetics and beauty marketing for P&G, will also be unveiled nationally at the start of the year.
The new pressed powder, which will retail for $7, borrows heavily from TruBlend Liquid Makeup’s “true to you” shade-matching technology. According to the company, just six shades of the sheer, natural-finish powder matches 97 percent of all skin tones.
Following on the heels of Outlast All-Day Lipcolor and Outlast Smoothwear Lipcolor, Outlast Liquid Makeup breaks fresh ground for the brand. Billed as the first-ever two-step foundation, it includes a “base coat” and a “color topcoat.” The base coat, which functions as a primer of sorts by evening out skin tone and texture, also shields the skin from UV ray damage through the incorporation of an SPF 14-level sunscreen. The color topcoat, which emulsifies on contact with the skin, is transfer-resistant and meant to stay color-true for hours. The product will retail for $8.99 and is available in 15 shades.
Despite the two-step process, Martin said the new product is, in fact, a time-saver. “It’s actually meant to provide an easier way to get a natural look that lasts all day,” she said. “We know women already put on different products anyway. So now she can get all-in-one moisturizer, primer and pore minimizer. And with the nozzle right next to that, she can add color.“That’s the beauty of a company like P&G,” added Martin. “We’re experts in both skin care and cosmetics, so we can really take advantage of that.”
Cover Girl will support both items with print advertising, breaking in February books, as well as television. While Molly Sims will represent the pressed powder, Elsa Benitez will be the face of the liquid makeup.
The company does not break out figures, but industry sources estimate Cover Girl is looking to do a combined first-year retail volume of $60 million for the two items.
Also on deck for the brand is a new retail merchandising unit. According to Martin, the last major in-store revamp for the brand was put in place in 2001. While that retooling involved the incorporation of cool, warm and neutral color-typing and “Tiny Tries” low-cost sampling, the new wall unit is even more shopper-friendly. Among the highlights: clearly marked, zoned areas for “face,” “color” and “eyes”; the uncarding of several key products — including liquid foundation — for easier shade selection, and the addition of miniature versions of key advertising visuals so shoppers can connect the mental dots between the products they see in print and on TV and what’s on offer right in front of them.
“The shopper is boss,” said Martin, “but she’s just bombarded with products. She says, ‘I get to the store, there are thousands of shopkeeping units, and I need help sorting my way through.’ So we heard her loud and clear.
“We’re all about ‘easy, breezy, beautiful,’” added Martin, referencing Cover Girl’s famous slogan. “So it’s important that we offer a fun shopping experience.”
“Azzedine has been one of the biggest influences in my life. He has always been such a strong, loving, fatherly figure to me. I call him Papa. His designs are indescribably unique, they are pieces of art. He knew how to make the female form look its loveliest. I have so many memories of him; my favorite might be during my first show with him in Paris. He liked me and he wanted to help me get more work. He called all his friends at Kenzo and Comme des Garcons, and asked them to book me. They said, ‘But she can’t walk!’ And he said, ‘but she has such a great ass!' His friendship and support has been the great privilege of my career. I can't imagine life without him. Repose en paix mon Papa.” - @stephanieseymour tells @wwd. #wwdfashion (📷: @steveeichner) #alaia #azzedinealaia
Azzedine Alaïa, flanked by two of his closest friends, models Stephanie Seymour and Naomi Campbell.
He designed Seymour’s dress for her 1995 wedding to Peter Brant, and treated Campbell (who famously called him Papa), like a daughter. For more on the legendary designer, tap the link in bio. #wwdfashion #alaia #azzedinealaia
Azzedine Alaïa's “I-did-it-my-way” ethos stood out starkly at a time when brands are experimenting with consumer-facing fashion shows, coed formats and trans-seasonal collections – anything to perk up lackluster sales of ready-to-wear in an age of Insta-everything. “It’s not creation anymore. This becomes a purely industrial approach,” the late designer told WWD in an interview last year. “But anyway, the rhythm of collections is so stupid. It’s unsustainable. There are too many collections.” Read more about the iconic designer’s life and work on wwd.com, link in bio. #wwdfashion #azzedinealaia (📷: @WWD Archive, 1986) #alaia
Sneaker reselling app @goat’s latest exhibit, "The Greatest: New York," tells the story of New York's sneaker culture. To celebrate the exhibit, an intimate crowd gathered on Thursday night at the pop-up gallery space, located at Platform in Culver City, to hear guest speaker and illustrator @esymai talk about her own rise in streetwear and women in the business. "For me I'm just someone who is creative. I like to create things," said Chang. #wwdfashion
Azzedine Alaïa, one of the most iconic couturiers of the modern era whose body-con designs defined Eighties fashion, has died in Paris. The diminutive Tunisian-born designer, known for his structured knitted dresses with fitted waists and impeccably cut, figure-hugging second skin silhouettes was deeply admired by his peers, and counted supermodel Naomi Campbell - his adoptive daughter - among his inner circle, one of a gang of glamazons including Farida Khelfa, Carla Bruni and Stephanie Seymour who became ambassadors of his style. (📷: Alexandre Guirkinger) #wwdblast