In a first, scientists show dogs can smell when humans are stressed

Winnie, Soot, Fingal, and Treo — pet dogs from Belfast in Northern Ireland — made their mark on science, and they didn’t even pee on anything while doing it. This quartet trained tirelessly to help researchers answer a crucial question: Can dogs smell stress in humans?

Dogs can sniff out a suite of chemical states. They can anticipate when someone is going to have a seizure or smell changes in one’s blood sugar. Not only that, but they also act on these observations, alerting their human with a nudge or nuzzle.

Humans emit chemosignals or chemical signals that the body produces to communicate their emotional state and reproductive status. Stress has its own chemosignal that comes from various physiological changes. The hormones cortisol and epinephrine pour into the bloodstream, resulting in a spike in heart rate, blood pressure, and respiration.

These pups participated in a study that further solidifies dogs’ spots in our hearts as physiologically astounding and emotionally attuned. The Belfast team found that these dogs can, indeed, smell stress. They published their findings in the journal PLOS ONE.

What’s new — On average, these four pioneering dogs correctly identified a person’s stress sample more than 93 percent of the time.

This finding isn’t surprising to Julia Meyers-Manor, a psychology professor studying animal cognition at Ripon College, who wasn’t involved in the research. Since dogs can detect changes in blood sugar by smell, stress hormones are related. Still, to her knowledge, this is the first time researchers have looked specifically at stress hormones, as the study asserts itself to be.

Participating humans provided breath and sweat samples on gauze before and after performing one of the most stress-inducing tasks imaginable: mental math. Researchers directed these poor souls to count backward from 9000 by intervals of 17, sans phone, pen, or paper.

“It is very important that you perform the task as quickly and efficiently as possible,” the researchers warned each participant. “You must keep going until the task is completed.” Just thinking about that will make most people’s cortisol levels spike. If someone gave an incorrect answer, the researcher would interfere with a swift, sharp, “No” and tell them their most recent correct answer. The task went on like this for what were probably three long, grueling minutes.

Samples from 36 people made it into the study. More people participated, but 11 were disqualified because they actually had no stress response to this mental math exercise. In fact, their blood pressure decreased, signaling they experienced the mental math as an invigorating, positive stressor rather than a mildly terrifying negative one.

The four dogs, after dozens of positive-conditioning training rounds to teach them to identify particular samples, were presented with three samples. One was the pre-mental math sample (baseline), one was post-mental math, and one didn’t contain any sample at all.

The researchers trained these dogs with an old-school method known as operant conditioning using positive reinforcement. This type of conditioning rewards an animal for making a correct choice (as opposed to punishing it for making an incorrect choice), encouraging them to repeat that behavior.

Why it matters — For millennia, dogs have been at humankind’s side, domesticating into the cuddly friends we have today. Dogs are loyal companions, yes, but they are crucial to our survival in ways that transcend our ancestors’ need for food or protection dogs afforded them. For some, dogs convey information about surroundings or one’s bodily state that we can’t detect ourselves.

Stress-smelling dogs could be a boon to those with post-traumatic stress disorder (PTSD) like veterans. “Maybe we teach these dogs beforehand not just to comfort but to predict when that stress level’s going up,” Meyers-Manor tells Inverse. “That makes them even more beneficial to the people because now you’re not just reactive, but you’re proactive, trying to prevent that stress response from getting too high.”

Still, this demonstration of a dog’s ability doesn’t mean that your pooch smells when your anxiety spikes. Meyers-Manor stipulates that there’s a difference between ability and actual behavior. “The question here is not whether all dogs do this,” she tells Inverse. “It’s more, ‘Can dogs do this?’”

Digging into the details — While some dog breeds are suited to particular vocations, this study didn’t conclude that any one breed was best at detecting stress. The four dogs that made the cut were a cocker spaniel, a cockapoo, a mixed-breed lurcher, and a mixed-breed terrier.

But that doesn’t mean breed doesn’t matter. Smushy-nosed, or brachiocephalic, dogs, like pugs, probably wouldn’t do too well at this task. They can’t breathe too well, let alone smell. But there may be other unknown factors affecting a dog’s fit for this position.

“Something mattered, because they tested 20 dogs, and only four of them were able to,” Meyers-Manor tells Inverse. At that point, she believes a dog’s viability for the study has more to do with personality than type. It came down to whether dogs could sit still and pay attention long enough, and only a fraction of participating dogs were able to.

What’s next — Meyers-Manor hopes to see two developments from this research.

First, she wants to see this proof-of-concept applied. She wants to know that dogs’ capabilities for detecting stress hold up outside of a lab.

“Can they be used in a real-life setting where there’s a lot more confounds of other people’s stress hormones and other people’s smells?” Detecting three samples in small metal chambers is one thing, but picking up on stress levels on a city street corner is another.

Next, she’s interested in the broader concept of how dogs experience the scent of Eau du Stress.

“Are they actually experiencing the stress when they smell the stress?” she ponders. If dogs don’t merely detect the smell of stress but become stressed out when they catch a whiff, “it has [ethical] implications for using dogs as therapy dogs, and as PTSD dogs, if they’re experiencing that stress themselves.”

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Denmark’s Toned-Down World Cup Jerseys Are Designed to Protest Host Country Qatar

The FIFA World Cup, in addition to being the world’s premiere soccer tournament, is also an inherently political event: international tensions, a murky bid system, an organization mired in corruption scandals, and the simple costs and constraints of putting the whole thing on ensure that there’s always more to talk about than soccer. That’s been especially true of the 2022 edition, set to kick off in Qatar at the end of November.

For years now, Qatar’s status as host nation has been controversial: first for the manner in which it won the right to host back in 2010, and then more prominently for reported human rights violations related to the deaths of a reported 6,500 migrant workers, primarily hailing from south Asian countries including India, Pakistan, Nepal, Bangladesh, and Sri Lanka, carrying out building work for the tournament. (As of 2021, governing body FIFA had not found evidence to warrant revoking the country as host.) On Wednesday, Denmark’s national team previewed the relatively subdued jersey designs they’ll wear this year—strikingly designed in remembrance of those workers, and in their ongoing objection to Qatar’s role as host.

Danish sportswear brand Hummel, longtime supplier of their national team’s kits, revealed the three monochromatic designs, in red, white, and black, via Instagram. The typical design elements of a pro-soccer jersey—such as logos, stripes, or the Danes’ signature chevron pattern—have been sublimated to be barely visible.

“We don’t wish to be visible during a tournament that has cost thousands of people their lives,” the brand wrote on Instagram, adding that the design was also inspired by Denmark’s winning Euro 92 uniforms. “We support the Danish national team all the way, but that isn’t the same as supporting Qatar as a host nation.” The black jersey, another caption read, represents “the colour of mourning.”

Though FIFA’s World Cup rules prohibit outright political statements on team uniforms, it’s a pointed gesture—and in a jersey-release period best characterized as “blah,” these quiet shirts stand out even more. Further, the kit makes good on a pledge the Danish soccer federation made nearly a year ago, when it said players would wear “critical messages and markings” on their jerseys to underline its already-critical stance on Qatar’s hosting. In June 2021, Denmark’s culture minister Joy Mogensen called the Qatar pick “wrong,” noting that the country and its fellow Nordic nations agreed that “closeness and corruption is something we must get rid of in top sports.”


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The Best Drugstore Foundation for Mature Skin, According to Experts

Foundation isn’t just foundation. Whether you’re in the market for a luxe pick or the best drugstore foundation for mature skin, there are all different kinds of formulas to suit the various skin types out there—dry skin, oily skin, and of course, aging skin.

As you get older, your beauty routine evolves. It makes sense: Over the years, skin goes through hormonal changes and is exposed to all kinds of external irritants—think lower collagen production, UV rays from the sun, environmental pollution—that can cause wrinkles and sagging, thereby impacting the type of products and formulas you use. “Skin, particularly the thin skin on your face, also gets drier and is more prone to dark spots, too,” says celebrity makeup artist Sabrina Bedrani, who counts Michelle Yeoh and Sandra Bullock among her clients.

Once you start to experience these changes, it’s important to consider these factors when choosing your makeup, particularly your foundation. Though you may have relied on the blurring effects on matte foundation once upon a time, dermatologists and makeup artists recommend steering clear as you get older. Matte formulas are more prone to creasing (settling into fine lines and wrinkles), which can actually make those characteristics more noticeable.

“Dewy foundations are best for mature skin,” says Debra Jaliman, MD and board-certified dermatologist in New York City. “They keep the skin hydrated and help plump the skin.” In addition to texture and ingredients, you’ll want to look out for a lightweight foundation that has reflective qualities and is hydrating, adds celebrity makeup artist Autumn Moultrie

All to say: You can find a foundation that works for mature skin at any price point. Whether you’re looking for buildable coverage or want a formula with broad-spectrum SPF, we tapped experts to share their top picks for the best drugstore foundation for mature skin. Shop them below. 

All products featured on Glamour are independently selected by our editors. However, when you buy something through our retail links, we may earn an affiliate commission.


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সফল অনুসন্ধানী স্টার্টআপ প্রতিষ্ঠায় ১০ পরামর্শ




English

ছবি: স্ক্রিনশট

অনুসন্ধানী সাংবাদিকতার জন্য মেক্সিকোর অভিজ্ঞ সাংবাদিক আলেজান্দ্রা জ্যানিকের যৌথভাবে পুলিৎজার জয়ের খুব বেশি দিন হয়নি, এরইমধ্যে দেশের সাংবাদিকতার অবস্থা বিচার বিশ্লেষণে সমসাময়িক তিনজনের সঙ্গে আলোচনায় বসেছেন।

পরিস্থিতি মোটেও আশাপ্রদ নয়। তিনি বলেন, “আমাদের মনে হয়েছে, নীরবতার সংস্কৃতি ছড়িয়ে পড়ছে।” নিরাপত্তা পরিস্থিতির অবনতি হচ্ছিল, সংগঠিত অপরাধ ও দুর্নীতি বাড়ছিল এবং তামাউলিপাসের মতো সীমান্ত রাজ্যগুলোতে অনুসন্ধানী প্রতিবেদন করা আরও বিপজ্জনক হয়ে পড়ছিল।

জবাবে তাঁরা প্রতিষ্ঠা করেন অনুসন্ধান ও সৃজনশীলতার অলাভজনক পরীক্ষাগার কুইন্টো এলিমেন্টো ল্যাব (ফিফ্থ এলিমেন্ট ল্যাব) — যা রাজধানীর বাইরের রিপোর্টারদের কাজে সাহায্য করবে। প্রথম আট মাস, তাঁদের অর্থকড়ি ছিল না, কিন্তু পিচের জন্য প্রথম আহ্বানে ১২০টি স্টোরির ধারণা এসেছিল,  তাঁরা জানতেন, সেগুলো দিয়ে কিছু একটা হতে যাচ্ছে। জ্যানিকের সহ-প্রতিষ্ঠাতা মার্সেলা তুরাতি গোপন কবর ও নিখোঁজ ব্যক্তিদের নিয়ে একটি সাড়া জাগানো ধারাবাহিক অনুসন্ধানের মাধ্যমে “সেই বন্ধ দরজা খুলেছিলেন।” ধারাবাহিকভাবে চলমান স্বৈরশাসনের মুখে এমন উদ্যোগের পর, জ্যানিক নেতৃত্ব হাতে তুলে নিয়েছেন।

সময়ের সঙ্গে পাল্লা দিয়ে কুইন্টো এলিমেন্টো ল্যাব বেড়ে উঠেছে। আজ এই প্রতিষ্ঠানে আছে আটজন কর্মী, যাঁরা ফ্রিল্যান্স রিপোর্টারদের একটি জোটবদ্ধ দলের সঙ্গে কাজ করেন। ল্যাবটি এ পর্যন্ত ১১টি ভিন্ন ভিন্ন ফাউন্ডেশনের সমর্থন পেয়েছে। রিপোর্টিং থেকে সম্পাদনা – সবকিছুতেই পথ দেখিয়ে, জ্যানিক এখন ক্ষমতাসীনদের নিয়ে লেখালেখি করেন এবং ক্ষমতাকে  জবাবদিহি করতে আগ্রহী তরুণ রিপোর্টার ও সম্পাদকদের পরামর্শ ও প্রশিক্ষণ দেন।

কুইন্টো এলিমেন্টোর স্টোরিগুলো ল্যাটিন আমেরিকান কনফারেন্স অব ইনভেস্টিগেটিভ জার্নালিজম (কোলপিন) এ সেরা অনুসন্ধানী প্রতিবেদনের পুরস্কারের সংক্ষিপ্ত তালিকায় জায়গা পেয়েছে, অন্যদিকে গুপ্ত গোরস্থান নিয়ে অনুসন্ধানের জন্য তুরাতি জিতেছেন ল্যাটিন আমেরিকার অন্যতম প্রধান পুরস্কার গ্যাবো। মেক্সিকোর কোভিড-১৯ ডেটায় আদিবাসীদের কম উপস্থিতি নিয়ে অনুসন্ধানের জন্য দলটি ডেটা সাংবাদিকতায় সিগমা পুরস্কারও জিতেছে এবং ২০২১ সালে পুলিৎজার পুরস্কারের সংক্ষিপ্ত তালিকায় থাকা ফিনসেন ফাইলস অনুসন্ধানে অংশ নিয়েছে

ছবি: জ্যানিকের সৌজন্যে

জ্যানিক তাঁর নিজ দেশে প্রায় কিংবদন্তিতুল্য, তবে তিনি স্বীকার করেন যে এই যাত্রা মোটেও সহজ ছিল না। তিনি বলেন, ক্ষুদ্র ধারণা থেকে সফল গল্পের বুনন পর্যন্ত, একটি প্রতিষ্ঠান গড়ে তুলতে সময় ও সংকল্প প্রয়োজন, এবং নারী পরিচালক হওয়ার নিজস্ব কিছু চ্যালেঞ্জও আছে।

মেক্সিকান বাজারে আধিপত্য বিস্তারে ওয়াল-মার্টের ঘুষ কেলেঙ্কারি নিয়ে অনুসন্ধানের জন্য নিউ ইয়র্ক টাইমস পত্রিকার অংশ হিসেবে পুলিৎজার জয়ের পাশাপাশি জর্জ পোক অ্যাওয়ার্ডও জিতেছেন জ্যানিক। চিরবিনয়ী এই সাংবাদিক আর্ন্তজাতিক স্বীকৃতির ফলে সৃষ্ট সুযোগের জন্য বিনয়ের সঙ্গে কৃতজ্ঞতা জানালেও এখনো তিনি মনে প্রাণে একজন মাঠপর্যায়ের প্রতিবেদক। বুঝতেই পারছেন, সংবাদকক্ষ ও মাঠে কাটানো সময়গুলো তাঁর কতটা আকাঙ্খিত ছিল। 

কুইন্টো এলিমেন্টোর যাত্রাপথের পাঁচ বছর — এবং সাংবাদিক আর্মান্দো তালামান্তেসের কাছে সাইটের নেতৃত্ব হস্তান্তরের মাত্র মাসখানেক পর — জ্যানিক এ পর্যন্ত তাঁর প্রাপ্ত শিক্ষাগুলো ভাগাভাগি করেছেন, এবং ছোট অনুসন্ধানী স্টার্টআপে কর্মরত অন্যান্যদের জন্য নিম্নলিখিত পরামর্শ দিয়েছেন৷

কুইন্টো এলিমেন্টো ল্যাবের “দ্য ওয়ে টু ফাইন্ডিং দেম” মেক্সিকোর নিখোঁজ ব্যক্তিদের খোঁজার বিভিন্ন পদ্ধতি প্রচারে লিখিত প্রতিবেদন ও পডকাস্টের একটি ধারাবাহিক। ছবি: স্ক্রিনশট

১. একজন প্রশাসক নিয়োগ করুন। জ্যানিক স্বীকার করেন যে অনেক অনুসন্ধানী সংস্থা গড়ে তোলা ও কর্মী নিয়োগ – সব কিছুতেই পরিচালনা পর্ষদের বদলে থাকেন স্টোরির জন্য নিবেদিত প্রাণ একদল প্রতিবেদক। তিনি বলেন, তাই প্রথম পদক্ষেপ হওয়া উচিত একজন পেশাদার প্রশাসক নিয়োগ দেয়া। “এই একটি ভুলের কারণে কুইন্টো এলিমেন্টো ল্যাব প্রায় ডুবতে বসেছিল – এই প্রতিষ্ঠান বন্ধের উপক্রম হয়েছিল,” তিনি স্মৃতি হাঁতড়ে বলেন। “এছাড়া, নিয়োগের প্রক্রিয়ায় নজর দিন। এগুলো মানব সম্পদ বিভাগের ব্যাপার। আপনি কীভাবে লোক নিয়োগ দিবেন? কীভাবে সাক্ষাৎকার নিবেন, সূত্র যাচাই করবেন আর কীভাবেই বা ভালো গুণাবলী ঠিক করবেন? সততা ও সক্ষমতা কীভাবে যাচাই করবেন? রিপোর্টার হিসেবে, আপনার কাছে এগুলো কম গুরুত্বপূর্ণ মনে হতে পারে, তবে এটাই মৌলিক ‍বিষয়।”

২. সিস্টেম জানুন। “আইন ও বিধি-নিষেধের পরিবেশ নিয়ে উৎসুক মন নিয়ে এগিয়ে যান আর জেনে রাখুন, এটি নিয়ত পরিবর্তনশীল,” তিনি পরামর্শ দেন। “যেমন, মেক্সিকোতে, অলাভজনক সংস্থায় বিদেশি অনুদান নিষিদ্ধ এবং আটকে দেয়ার ব্যবস্থা আছে৷ মাঠ পর্যায়ে কর্মরত অন্যদের কাছে জানতে চান: এল সালভাদর, গুয়াতেমালা বা নিকারাগুয়ায় আপনি কী করছেন? আপনি কি অন্য কোথাও পুঁজি খুঁজে পেয়েছেন?”

একটি কৌশলগত পরিকল্পনা অধিবেশনে কুইন্টো এলিমেন্টো ল্যাবের দল। ছবি: জ্যানিকের সৌজন্যে

৩. ব্যবসায়িক মডেল যাচাই করুন। কুইন্টো এলিমেন্টো ল্যাবের দলটি যখন প্রথম এই প্রকল্পের পরিকল্পনা সাজিয়েছিল, মাঠ পর্যায়ে তখন এ ধরনের কাজ করার মতো কেউ ছিল না। কিন্তু পাঁচ বছর পর দৃশ্যপট বদলে গেছে। “দু বছর আগে আমরা দেখেছি, আমরা যা করি, আরও সংস্থা এমন কাজ করছে – প্রতিষ্ঠানগুলো নিজস্ব স্টোরি প্রকাশ না করে বরং কন্টেন্ট তৈরি করছে৷ আরও অনেকে মানসম্পন্ন কাজ করছে মানে এখন মাঠে আমাদের প্রতিদ্বন্দ্বিতা আছে।” জ্যানিক আরও বলেন: “আপনার অতিরিক্ত যোগ্যতার প্রতিফলন ঘটানো বেশি প্রয়োজন। আপনি কীভাবে আরও বেশি পাঠকশ্রোতার কাছে পৌঁছাতে পারেন ও প্রভাব বাড়াতে পারেন? বদলানোর মত এমন কিছু কি ইকোসিস্টেমে আছে?”

৪. অর্থায়ন কৌশল নিয়ে ভাবুন। “আমরা যে অনুসন্ধানী সাংবাদিকতা করি তা কিছু সময়ের জন্য ফাউন্ডেশন ও অনুদানের ওপর নির্ভর করবে। তবে এগুলোর মনোযোগের কেন্দ্রবিন্দু যদি সরে যায়?” তিনি সতর্ক করে বলেন। “কোভিড-১৯-পরবর্তী বৈষম্য একটি বড় সমস্যা হয়ে সামনে এসেছে, তবে আমাদের জানা নেই, গণতন্ত্র ও সংবাদমাধ্যমের স্বাধীনতায় এই ফাউন্ডেশনগুলোর সমর্থন কতকাল থাকবে।” অর্থায়নের জন্য অনুসন্ধানী সাংবাদিকতা কতটা ব্যয়বহুল হতে পারে তা বিবেচনা করে, তিনি আশঙ্কা করেন যে গ্রাহক মডেলও হয়ত ততটা কাজে আসবে না। “বর্তমানে, সাবস্ক্রিপশন মডেল দিয়ে আপনি কোনোভাবেই আমরা যেসব কাজ করি– সেগুলোর অর্থায়ন করতে পারবেন না।”

৫. কন্টেন্ট প্রচারের প্রক্রিয়া নিয়ে পরিকল্পনা সাজান। কুইন্টো এলিমেন্টো ল্যাবের শুরুতে জ্যানিক ও তাঁর সহকর্মীদের না ছিল কোনো বিপণন, না ছিল ব্র্যান্ডিং, বরং বিনামূল্যে কন্টেন্ট প্রচারের ‘প্রোপাবলিকা মডেল’ অনুসরণ করেছিল। “একেবারে শুরুতে, বিনামূল্যে মানসম্পন্ন, খুঁটিনাটি, ও নির্ভরযোগ্য কন্টেন্ট প্রচারের উদ্দেশ্য বোঝা যায়,” তিনি ব্যাখ্যা করে বলেন। “আবার স্টোরির জন্য আমাদের বিরুদ্ধেই মামলা হতে পারে। এভাবে আমাদের কাজের একটি ক্ষেত্র সামনে এলো, আর দ্বিতীয়ত, দেশজুড়ে আমরা স্টার্টআপগুলোকে তাদের সাধ্যাতীত ভালো কন্টেন্ট দিয়ে সহায়তা করছিলাম।” তিনি বলেন, দলটি এখন এই মডেলের স্থায়িত্ব নিয়ে ভাবছে। “এখন, আমাদের মনে হয়, বিনামূল্য থেকে অনুদান মডেলে যেতে হবে, ” তিনি বলেন৷ “জানি না কত টাকা আদায় করা যায়, একজন অংশীদার কত দিতে পারেন। আমাদের সম্পাদকীয় প্রক্রিয়া কি কোনোভাবে বদলাবে? গণমাধ্যম প্রতিষ্ঠানের কিছু বলার আছে কি না? আমরা এখন সেই প্রশ্নগুলো জানতে চাইছি।”

৬. সাংগঠনিক ছক আঁকুন। “আমাদের যাত্রা শুরু হয়েছিল বন্ধু হিসেবে – এখানে আপনি কোনো বাধা ধরা ছক চাইবেন না,” তিনি বলেন। “কিন্তু মানুষের জানা দরকার: ‘আমি কার কাছে রিপোর্ট করব?’ পরিচালকের জানতে হবে: ‘সবাই কোথায়? তারা কি আমাদের মৌলিক বিষয়ের সঙ্গে সঙ্গতি বজায় রেখে সব কিছু করছে?’ এই কাজটি কঠিন। স্বাধীন ও উদার থেকে আপনাকে কাঠামোবদ্ধ ও শৃ্ঙ্খলাবদ্ধ হতে হবে। আপনি শুধুই প্রতিষ্ঠাতা সদস্যের জন্য বরাদ্দ কোনো পদে থাকতে চাইবেন না; বরং এমন পদে থাকতে চাইবেন যেটি যে কেউ পূরণ করতে পারে।” তিনি বলেন, কে কি করে– সে বিষয়ে স্বচ্ছ ধারণা রাখুন। 

৭. স্বচ্ছতা বজায় রাখুন। অনুসন্ধানী সাংবাদিকতার প্রতিষ্ঠান যেহেতু নিজেরাই অন্যদের জবাবদিহি করে, তাই নিজেদের তহবিল ও সমর্থক সম্পর্কিত সব তথ্য উন্মুক্ত রাখাও আবশ্যক।  তিনি বলেন, “আমরা যে অর্থ পাই, তা দিয়ে কী হয়, আর আমরা কী করি – এসবের স্বচ্ছতা নিয়ে দাতাগোষ্ঠী ও জনসাধারণ খুব আগ্রহী।” “স্বচ্ছতা এবং ভারসাম্য বজায় রাখা দুটোই খুব জরুরী।”

৮. কর্মীদের মূল্যায়ন ও পুরস্কৃত করুন। জ্যানিক জানান, সীমিত বাজেট সত্ত্বেও, বড় হতে গেলে এবং নিজেদের সুনাম প্রতিষ্ঠা করতে গেলে শীর্ষস্থানীয় সাংবাদিকদের আকৃষ্ট করতে হবে নিউজ আউটলেটগুলোকে। “আমাদের প্রতিদ্বন্দ্বিতাপূর্ণ হতে হবে এবং প্রতিভাবানদের ধরে রাখতে হবে আর ন্যায্য বেতন নিশ্চিত করতে হবে। ছুটির মধ্যে কাজ করার জন্য আমরা ক্ষতিপূরণ দেওয়ারও চেষ্টা করি।” বাধাধরা বাজেটের মধ্যেও অলাভজনক প্রতিষ্ঠানগুলো শেষ যে সুযোগের ব্যবস্থা করতে পারে, তা হলো: “কর্মীদের নতুন দক্ষতা বের করে আনতে প্রয়োজনীয় প্রশিক্ষণ কর্মসূচির ব্যবস্থা করা।”

৯. দল হিসেবে কাজ করুন। কুইন্টো এলিমেন্টো ল্যাবের সবচেয়ে বড় অনুসন্ধানে, একটি প্রকল্পকে বেশ কয়েকটি ভাগে ভাগ করে ফেলা হয়েছিল, যেন একাধিক রিপোর্টার একইসঙ্গে স্টোরিটি নিয়ে কাজ করতে পারেন, যেখানে প্রত্যেকেই নিজেদের বিশেষ দক্ষতাগুলো নিয়ে আসেন। “কেউ কাজ করেছে ডেটা নিয়ে, কেউ তথ্য অধিকার নিয়ে।” তিনি বলেন, মেক্সিকোর জটিল নিরাপত্তা পরিস্থিতি সত্ত্বেও মাঠ পর্যায়ে রিপোর্ট করাও জরুরী। “কাউকে মাঠ পর্যায়ে রিপোর্টিংয়ে পাঠানোর সিদ্ধান্ত নেয়া বেশ কঠিন। প্রদেশগুলোতে যাওয়ার উপযুক্ত সময় নিয়ে সিদ্ধান্তে পৌঁছাতে দ্বিধাদ্বন্দ্বের কারণে কিছু স্টোরিতে লম্বা সময় লাগে। তবে স্টোরির বদলে সম্পাদক আপনার নিরাপত্তাকে অগ্রাধিকার দেন- এই বিশ্বাস রিপোর্টারদের আগ্রহ ধরে রাখে।”

ছবি: কুইন্টো এলিমেন্টো ল্যাবের সৌজন্যে

১০. টিকে থাকাকে অগ্রাধিকার দিন, কিন্তু প্রসার নিয়েও ভাবুন। তিনি বলেন, “দীর্ঘ সময় ধরে আমাদের নীতি খুব কঠোর ছিল – আমাদের অফিসটি খুব ছোট আর হয়ত তেমন সুন্দরও ছিল না!” “সবাই নিজ নিজ ব্যক্তিগত কম্পিউটার ব্যবহার করতেন।” তিনি স্বীকার করেন, প্রতিষ্ঠাতা হিসেবে, তাঁরা কঠোর পরিশ্রম করতেন – সত্যিই বেশ কঠোর পরিশ্রম করতে হত। তবে বড় হওয়ার সঠিক সময়টা চেনা জরুরী। তিনি বলেন, “এখন আমাদের বিশ্বাস, এটিকে টেকসই করে তোলার উপায় হল দলটিকে বড় করা।” “বড় করার জন্য আপনার অন্যরকম মানসিকতার প্রয়োজন। বড় করা আরেকটি ঝুঁকিপূর্ণ ধাপ: আপনি কি আরও দুজনকে নিয়োগ দিতে পারেন, নাকি সেটা আপনার ধ্বংস ডেকে আনবে? আপনার কাজে কী প্রয়োজন? বড় করার চিন্তা ভাবনার আগে কী ধরনের অনুদান প্রয়োজন? প্রশাসন ও পরিসংখ্যানে ভালো জানাশোনা আছে, এমন কাউকে আপনার দরকার। এটি বেশ ভয়াবহ একটি পর্যায়।”

নারী ও নন-বাইনারি অনুসন্ধানী সাংবাদিকদের ইস্যু নিয়ে মত বিনিময়ের জন্য গঠিত দল জিআইজেএন উইমেন-এর আলোচনা সভা থেকে এই পরামর্শগুলো নেয়া হয়েছে।

আরও পড়ুন

হাও কুইন্টো এলিমেন্টো ট্রেইনস মেক্সিকো’স নিউ জেনারেশন অব মাকরেকার্স

দ্য ফিফথ এলিমেন্ট: এ মেক্সিকান ইনভেস্টিগেটিভ রিপোর্টিং ল্যাব

জিআইজেএন রিসোর্স সেন্টার: সাসটেইনিবিলিটি


লরা ডিক্সন জিআইজেএনের সহযোগী সম্পাদক ও যুক্তরাজ্যের ফ্রিল্যান্স সাংবাদিক। জিআইজেএনে যোগ দেয়ার আগে তিনি চার বছর কলম্বিয়ায় রিপোর্টিং করেছেন এবং প্যারিস ও টেক্সাসের অস্টিনে ফ্রিল্যান্স সাংবাদিকতা করেছেন।

 

আন্দ্রেয়া আরজাবা জিআইজেএনের স্প্যানিশ সম্পাদক। সাংবাদিক ও গণমাধ্যমকর্মী হিসেবে, আন্দ্রেয়া লাতিন আমেরিকা ও যুক্তরাষ্ট্রে বসবাসরত লাতিন জনগোষ্ঠীর জীবনযাত্রা স্টোরিতে তুলে ধরেছেন ।


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Margot Robbie Just Dyed Her Hair Dark ‘Bronde’

As the old saying goes, apparently blondes have more fun – although I beg to differ. And now, it seems Margot Robbie also agrees that said fun can be had no matter what your hair colour is. The actor, who is set to star in the lead role of upcoming movie Barbie, has stepped into the autumn season with a much darker ‘bronde’ balayage, leaving her signature peroxide blonde tone nothing but a distant memory.

Although her signature blonde hair was such a ∼vibe∼, Margot’s new color is proving to be quite popular, with celebrities including Khloé Kardashian, Hailey Bieber and Camila Cabello all opting to dye their hair darker brunette shades. Spooky szn is approaching, so, I guess what better excuse than that?

Instead of the usual ‘new hair, new Instagram selfie’ debut (Kourtney Kardashian, I’m looking at you), the star showcased her hair colour refresh with a red carpet premiere. Posing alongside Rami Malek, Andrea Riseborough and Christian Bale, Margot attended the European premiere for upcoming film Amsterdam.

margot robbie dark brunette bronde hair

Jeff SpicerGetty Images

margot robbie dark brunette bronde hair

Jeff SpicerGetty Images

As we can see, it’s much darker than her once bleach blonde.

margot robbie dark brunette bronde hair

Getty Images

Now, if you’ve gotten this far and still are none the wiser to what exactly is meant by ‘bronde’, then allow me to explain.

In short, it’s a blend of both brunette and blonde tones. Simple, right? And to keep the new look as subtle as can be, Margot has had her (what we’re assuming to be) natural brunette root blended into the grown-out blonde using a natural balayage technique. Though, to frame the face, her long front layered strands have been kept pretty light, which are also usually referred to as ‘money pieces’. All in all, it’s the perfect transitional shade for the transitional period between seasons.

Well, I hope you’ve taken note, as we predict the trend to just keep on growing…

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Juxtapoz Magazine – An Interview with Antwaun Sargent on “Virgil Abloh: Figures of Speech”

Before desks and report cards, we sat in a circle and were given tambourines, crayons, opportunities for unfettered dance, and even nap time—though I doubt that Virgil Abloh took time for a snooze. I also doubt that there has been much snoozing for teacher, writer and curator Antwuan Sargent, who is opening doors of joy and inclusivity, urging us all to play, to respect, to build together. I spoke with him about working with Abloh on Figures of Speech at the Brooklyn Museum. No entrance exam, all ideas welcome.

Gwynned Vitello: It seems as if Virgil Abloh emerged from college as this incredible polymath after graduating from college with his architectural engineering degree. I always connect Chicago with architecture, so can you lend some insight as to how he grew up and chose that route?
Antwaun Sargent: Virgil grew up in Rockford, Illinois, right outside of Chicago. I’m also from Chicago, which is one of the things that made me familiar with his story and really resonated is that he was a typical first-generation immigrant kid. His parents are Ghaniain, and of course, they stressed the importance of school being really important. He gravitated towards architecture and engineering as a way to think about the world, and I think, in a particular way, to consider how the world had excluded him.

That’s what led him to architecture, as well as being in a city like Chicago, which has an extraordinarily storied relationship to the discipline. One of his great heroes is Mies van der Rohe. And so that’s how the story starts in this exhibition. You actually see his early sketchbooks where he is designing different things, reimagining the Chicago skyline, and inserting his own building! On a trip to Ghana, he saw a young child walking along the street and he thought, “Oh, this kid deserves a space of their own where they can play and they can be,” and so in his notebook, though unbeknownst, he designed a youth center for that kid. 

You get all these moments early on in the exhibition of him dreaming about what is possible if the world was designed for people like him, young Black folks. And so he set out to do that, and that’s his “origin story,” that working across architecture, fashion, music, and design, what he was trying to do was design a world that considered him and his community.

53. FOR THE LOVE OF MONEY 2018

For me, a defining quote was that his primary motivation was for the “17-year-old version of himself.” That shows so much empathy and imagination, and it seems that his utopian dreams never faltered, that he held onto them. Did his attitude change after George Floyd’s murder?
I don’t think so. I really believe that actually affirmed a lot for him. Because we worked together on this exhibition, through that tragedy, and in part because of his commitment to Black communities, I saw how it reinforced what was always front and center in his creativity.

Back to his formation as a creative, from getting a Masters’ to DJing, tell me how he caught the attention of Kanye.
I think Kanye was doing something in Chicago when they met and he quickly became part of that team in that world. He started to apply his way of thinking and his very formal engineering education around all of that stuff, including architecture, to someone who would become one of the biggest artists in the world. He became Kanye’s creative director, and that, I think, allowed him to see different possibilities in the realm of architecture and design. I believe that sparked him to continue to work that way and continue in the formal ways he had learned, applying that to the culture at large, to apply that to disciplines we maybe once would not have thought of as architecture or design. What he really did was take architecture everywhere and applied those principles to the world. In the field of architecture it’s really like, you wait, you wait and you wait. But the story of Virgil is that he felt he didn’t have time to lose, like, “I’m going to apply those principles to music, fashion, and design in all these spaces.”

I don’t know how much people consider the breadth of architecture apart from passing through or up and down a building. or the broader meaning of the word. I even think of how he had the talent to read a room as a DJ and how that was a wide form of communication.
Yeah, in some ways, that is about collaboration. He was a collaboration artist who could coalesce so many disparate voices. So there would be architects in the room, visual artists and in one case when I was in his studio, also a young kid he found on Instagram who was helping him style clothes. And the world-renowned Takashi Murakami was there—you know what I mean? The array of people he assembled to participate in his creative production to bounce ideas from, to be friends, was unbelievable. He was not, “Hey, come work on this thing so I can get all the credit.” 

AA SOCIAL SCULPTURE schematic press

I see that also coming from him as a skateboarder, a group that respects the hierarchy of talent, but is open to inclusion and teaching one another. I guess he always possessed that sensitivity. So apparently, you were able to collaborate on the show before his passing.
We worked on the show form in the end, about three years, and it did evolve. In my mind, the show is a major survey that I did with a living artist. We talked about every aspect, and so we revised various aspects. What we’re doing now is just me and his team finishing the installation, but all the big ideas are Virgil’s. He worked on the show up until he passed away. We had a checklist set and all the major questions have been addressed. 

How is this show different from the traveling show that originated in Chicago?
It’s a very different exhibition, starting with the fact that this really is a table exhibition. It all unfolds on tables that he designed. As I said, it opens chronologically, so you see the early homework from high school, college, and grad school so that you can see all his ideas like the sketches of shoes and him thinking about architecture in the world. You see him start to build those things, which all unfold across the tables, which were, for him, metaphors. The table is a drafting table, it’s a runway, it’s a place for people to convene and to break bread. It harkens back to the civil rights cry of being invited, of having a seat at the table. Virgil reminds us that we can ask for a seat or we can build our own table. So that’s a principle difference in that this show does not take place in typical fashion, which is generally on walls. The show itself is an architectural intervention. 

And within this space, his last architectural project as a living artist is realized in this exhibition. It’s called a Social Sculpture, which is a full-scale house that he designed and we built. And within the house is another meeting place and another space for the community. So in this house, you’ll have students come and you’ll have his collaborators teach classes about fashion, design, and architecture, all the things he was trying to provide access to for young creatives. In the seven months of the exhibition, the Social Sculpture is going to turn into somewhat of a schoolhouse.

Will there be opportunities beyond, say, visual arts?
He started this lab with a professor from MIT, and one of the first questions was, “How do you design your way out of today’s leading problems?” She’s going to do some workshops, so it will be this very fluid space where you have many partners coming and really communing.

FOS Header Image resize

So, it’s actually within the walls of the museum?
It’s in the Great Hall, and when I say it’s an architectural intervention what I mean is that the white pillars running through the Hall are incorporated into the house. We actually took down some walls. He really opened up the space. It defies typical museum practice. Not only does he do a table show, but he has made some of the desirable objects in the last decade with Louis Vuitton, Off-White, Evian Water, and many others. 

Speaking of desirable objects, it is exciting to imagine walking through a show and not feel like you might be ejected for getting too close to the art. I wonder how you’ll handle it! 
It really is an act of generosity in that you will be able to get really close to the objects. This was his vision, wanting people to really experience the objects and get to see the stories that they tell, not only about him as a creator, but also about the world for which he was making them.

Will there be much text accompanying the installation?
What we did was make what we like to call show notes, and that’s modeled after his show notes for Louis Vuitton. We go deeper into his practice and list every object, as well as add additional context about them. There’s going to be a takeaway booklet that I edited in partnership with the Brooklyn Museum and designed by Alaska Alaska, that encapsulates the show. Everybody can take one, and it’s a really nice keepsake.

There must be something special in the exhibition store, right?
Yeah, there’s a specially designed store that follows the logic of the exhibition, a Church and State, as he called them. It’s undersigned in wood, like everything else, like the tables and the house, and there’s new merchandise and design expressly for this iteration of Figures of Speech.

Tell me about how you’ll be using video to accompany the show.
He started architecture films, Arch Films, with Mahfuz Sultan, right before he died. Their first collaborations as filmmakers will be on display. Of course, there will be videos from fashion shows, as well as him DJing. But there’s also audio, for example, a collaboration with Braun on a speaker system that plays this mix that Virgil made—so it’s his voice that opens the show. This is new because he and Braun were collaborating at the time of his death, so the public has never seen this. There were quite a few things from his archive that folks have just never seen, so we wanted to make this an opportunity for viewing because it’s very central to the story.

Screen Shot 2022 09 26 at 9.07.28 AM

Well, he apparently knew the seriousness of his illness, but being so driven, being such an optimist, he kept working and believed so much in the power of art.
He struggled for several years, and I think, at the very least, he knew his time was limited and wanted to make the best of it. He didn’t stop working, which is really a testament to his wholehearted belief in his art. He made so many kinds of objects, and because they were often being made simultaneously, I chose a chronological display because I wanted people to see how he was thinking in one given moment. And so, you have him thinking about a dress to designing an Off-White store to thinking about making ceramics—all in one year. I love the idea that he was working on such disparate things all at once, focusing on so many ideas all at once, all while designing a fashion collection for one of the biggest fashion houses in the world. I wanted folks to really see the breadth and depth of his creativity and how expansive it was.

Did he have what most of us call a studio?
WhatsApp was his version of a studio. When I agreed to create the show, I was instantly put into, like, two or three WhatsApp groups, and the ideas would just fly. I think this was his idea of having a studio, and if I was in three, then I’m sure he had 40 or 50 of them running at once. He really had a gift for getting many types of people together. To get that many different types together, it’s unheard of. He had a real gift.

Figures of Speech will be on view at the Brooklyn Museum through January 29, 2023


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What Does Work-Life Balance Look Like In The U.S. Army?

Debunking myths and stereotypes about life in arms.

View this story on Inverse

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How we unearthed Uber’s controversial playbook from a cache of employee communications 

Every investigation offers ICIJ’s data team an opportunity to learn — and the Uber Files was no different.

It may not have been our first time working with a large, leaked dataset. But rather than mapping complex networks of offshore companies or tracing dirty money flows from country to country, the Uber Files presented a new challenge: connecting digital calendar events to real-life meetings and sketching out pictures of relationships based on message exchanges between high-profile movers and shakers in politics and the transportation industry.

The Uber Files is based on a collection of more than 124,000 records, including 83,000 emails and other files created between 2013 and 2017, a period when the U.S. ride-hailing giant was expanding across the globe. The files were leaked to The Guardian and shared with ICIJ. After publication, ex-Uber lobbyist Mark MacGann came forward as the source of the leak.

The Uber Files included communications between company executives, as well as messages with key political figures and their representatives that showed Uber’s tactics in trying to gain access to markets around the world. The records contained details about meetings Uber lobbyists held with world leaders and other public officials to try to influence legislation and revealed the company’s use of stealth technology and evasive tactics to thwart regulators and law enforcement in at least six countries.

After receiving the files from The Guardian, ICIJ uploaded them onto its bespoke research platform, Datatashare, allowing journalists from more than 40 media partners in 29 countries to search and review the leaked documents.

Here are some questions and answers about ICIJ’s methods in processing and analyzing the Uber Files data.

How did the Uber Files records differ from previous leaks to ICIJ?

The Uber Files records were mostly emails, which comprised 83,000 of the leak’s 124,000 files. Other ICIJ projects were more of a mix.

Some of the first questions ICIJ had to address were what information could be structured from the emails, text and calendar items in the leak and whether external databases could help the research and reporting.

And the subject area was new. Previous leaks ICIJ has investigated related mainly to the offshore financial system, and efforts to structure data (i.e. organize information into standardized, searchable fields) centered on highlighting information tied to people and companies using entities registered in secrecy jurisdictions. In the case of the Uber Files, the records centered on communications and lobbying efforts to try to influence key stakeholders in different countries and regulations.

How did ICIJ identify the major figures in the Uber Files?

Using computer programs and programming languages such as Apache Tika, Python and Pandas, ICIJ extracted the email addresses as well as names and domains associated with them. The information was organized on a spreadsheet to help identify names of key people, including politicians and government officials, that Uber executives had contacted.

ICIJ examined three types of group calendar files. ICIJ extracted details of scheduled meetings between Uber’s representatives and politicians and public officials, then reviewed thousands of internal emails and messages to confirm that the meetings took place. Additionally, ICIJ explored public records in countries and institutions where officials are required to declare their meetings and schedules.

ICIJ found more than 100 meetings that took place from 2014 to 2016 between Uber executives and public officials, including 12 with representatives of the European Commission, that hadn’t been publicly disclosed. Company executives held private meetings with at least six world leaders, one vice president and three deputy prime ministers, the analysis found.

ICIJ also used public databases such as the European Union’s transparency register, the disclosure logs for the U.S. Senate, and the French lobbying registry.

ICIJ and its partners were also able to examine correspondence between the company and academics who published research favorable to the company, showing that the research was coordinated. The files revealed what data Uber provided the academics, the lobbying messages the research would be supporting and in what countries, what media the academics would appear on to present the results of the research, and what messages the academics would be pushing towards the general public and politicians.  ICIJ also explored publicly available databases of academic papers to identify additional publications funded or supported by Uber – oftentimes featuring current or former Uber employees as co-researchers. The data findings on academic research appeared in stories by The Guardian and other ICIJ media partners.

ICIJ also identified several spreadsheets in the leaked records that contained information about what the company called potential “stakeholders” that could be of interest for Uber. ICIJ combined the information in one master spreadsheet and organized it by country to help partners’ reporting. The research showed Uber, with the help of an advisory firm, had compiled more than 1,850 stakeholders, including sitting and former public officials, think tanks and citizens groups, in 29 countries and in EU institutions.

How did you go about quantifying the scale of Uber’s operations over time?

ICIJ used the WaybackMachine from the Internet Archive to analyze previous versions of Uber’s website and gather historical reports about how the location of the company’s operations grew and changed over time.

ICIJ also used Uber’s financial statements filed with the U.S. Securities and Exchange Commission to track growth since 2019, when the company went public.

What were the biggest challenges in analyzing the Uber Files dataset?

Like all leaks, the documents represent only a small slice of a larger reality. Not all countries where Uber had operations were mentioned in the records. The files covered only through 2017. As always, additional research and reporting was necessary.

ICIJ also encountered a discrepancy between what the company said in its financial statements and what it told users on its website about how many markets it was in. The team had to check for  methodological differences in the two figures. Uber eventually told ICIJ that “with respect to city counts, the way we calculated that number changed in 2020.”

ICIJ had to parse countries’ varying lobbying and meeting-disclosure records, accounting for variations in the type of data available and its quality. Not all countries have lobbying regulations or public lobbying records and not all require politicians to report the meetings they hold as part of their official responsibilities.

Any advice for tackling this kind of dataset?

Remember to connect leaked data with public records. This helps with validation efforts and provides additional information that can be valuable for analysis.

Understand the limitations of each dataset, its structure and quality, and which questions can or can’t be answered through data analysis.

Review regulations across countries and how they affect data gathering and analysis. Talk to experts to get perspective of how regulations are applied in the real world.

When structuring data and performing different types of analysis, document the process and leave plenty of time for fact-checking. All data gathering and analyses performed by ICIJ for the Uber Files was fact checked.

Is ICIJ going to release the Uber Files data?

ICIJ doesn’t release personal data en masse. It will continue to explore the datasets with media partners. More than 180 journalists have spent months searching the data for stories that are in the public interest. If you have any tips or information you would like to share with the team of journalists who worked on the Uber Files, you can send an email to contact@icij.org

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Riccardo Tisci Is Out at Burberry—and Ex-Bottega Veneta Designer Daniel Lee Will Replace Him

Burberry has announced that Riccardo Tisci is departing the label after nearly five years as its chief creative officer. Tisci first joined Burberry in 2018, following his noteworthy 12-year tenure at Givenchy. His successor has already been announced: Daniel Lee, the buzzy British designer best known for transforming the fortunes of Italian label Bottega Veneta in recent years, has been announced as the newly-appointed Chief Creative Officer of the brand.

At Burberry, Tisci also brought his star power to the brand, with the likes of Naomi Campbell, Kendall Jenner, Bella Hadid and Irina Shayk becoming regulars on the catwalk. He brought a new attitude, too: Burberry’s long-standing logo was replaced with a boxy, Helvetica one designed by art director and graphic designer Peter Saville. Tisci also introduced a new monogram: a riff on Thomas Burberry’s initials implemented across bags, T-shirts, trainers and outerwear. 

While still producing the trench coats and suiting that have long shaped Burberry’s heritage, Tisci brought his gothic glamour to a brand not known for it. “The chapter I was asked to write in its long story is one that I am incredibly proud of and one I have decided would culminate with my show on Monday,” Tisci said this morning. “I thrived to continue a legacy of innovation, and consistently championed for creativity and diversity, in order to always keep Burberry moving forward. I want to thank my teams, past and present, and the army of collaborators and friends who helped me write a chapter that I hope will stay in Burberry’s future for years to come.”

Lee, who had previously worked at Maison Margiela, Balenciaga and Donna Karan, left Bottega Veneta abruptly in November of last year by mutual agreement. It’s safe to assume that he’ll be expected to deliver Burberry the same commercial heat he did Veneta, where he took the brand from a lesser-known luxury label to the backs of most celebrities on the planet, with Hailey Bieber, Rosie Huntington-Whiteley and Jacob Elordi giving the label a big “Bottega Green” light.

“I am honoured to join Burberry as Chief Creative Officer,” Lee has said in a press release. “Together with the team, we will write the exciting next chapter for this legendary British luxury brand, continuing its historic heritage and building on Riccardo’s legacy. I am very excited to be returning to London, a city that champions pioneering creativity and that continues to inspire me.”

Lee will present his first collection for the label at London Fashion Week next February. 

This story originally ran on British GQ with the title “Riccardo Tisci out, Daniel Lee in at Burberry”

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Jennifer Aniston Has Thoughts About Going Gray

Jennifer Aniston has always been a beauty icon, and there’s no denying her influence, especially when it comes to hair. The actor has embodied #HairGoals throughout her career, starting with  the Rachel, the famous layered haircut her character Rachel Greene wore on Friends. Three decades after the popular sitcom first premiered, countless iterations based off the original are still trending and inspiring TikTok teens to copy the cut.

Aniston’s envy-worthy hair prompted millions of women to want what she’s having on their own heads. Fortunately, the Morning Show star made that a possibility in 2021 when she launched her own hair care line, LolaVie. The inaugural collection included her go-to Glossing Detangler and Hair Oil, so fans could finally experience their very own versions of Aniston-approved hair.

This fall Aniston has an even more exciting surprise. As of September 2022, LolaVie has finally answered our prayers for more products, adding Restorative Shampoo and Conditioner to its assortment. Excuse me as I run out and get a Rachel-inspired butterfly cut to celebrate.

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In honor of LolaVie’s new launch, Jennifer Aniston spoke with Glamour about her own LolaVie hair care routine and how she deals with pressures around aging, as well as what advice she has for women who want to embrace gray hair.

Glamour: What’s your secret for effortless hair? 

Jennifer Aniston: The secret is using the right products that not only deliver on performance but are also formulated with the best ingredients. I try to keep it simple and limit the number of products I use, which is why I love LolaVie. Our products are designed to be multitasking and are made with the highest-quality plant-based ingredients.


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