Valentino Garavani launches Vain bag campaign, Roger Vivier celebrates pre-fall collection

Two key European luxury labels have launched new campaigns with Valentino Garavani and Roger Vivier launching new creative marketing drives in the accessories and footwear sectors.
Following the recent launch of the Nellcôte bag campaign, Maison Valentino now continues its storytelling journey with the unveiling of the second chapter: the Valentino Garavani Vain bag campaign.
Conceived by creative director Alessandro Michele and shot by photographer Sharna Osborne, we're told the campaign 'is a tactile exploration of emotional intimacy and femininity. Evoking the aesthetic of analogue photography, it crafts an atmosphere where beauty is suspended in time'.
The brand added that 'the images, with their faded colour tones and grainy backdrops, are imbued with a powerful texture that recalls the dreamlike sensibility of early film and the intensity of voyeuristic cinema'.
Looking almost like video stills, the bag is the focal point of every image as the visuals portray two women 'in a series of compositions that suggest an atmosphere of private and shared allure. Whether together or apart, they appear caught in a world of whispered secrets and shadowy glamour, where the Vain bag becomes a silent witness to their intimacy'.
The campaign supports new developments for the Vain bag this season with the introduction of a new top handle style featuring an elongated handle that allows it to be worn on the shoulder. There's also a new oval-shaped vanity bag, with a top flap acting as a lid, that 'brings a modern attitude to the line while preserving the original bag's refined codes'.
The signature shoulder bags also return with updated finishes and 'rich surfaces', that is, multicolour floral embroideries rendered in beads, velvet, raffia, or leather, and a new printed animalier variation referencing the RTW collection.
Vivier's Paris life
Meanwhile, at Riger Vivier, the new campaign for the autumn 2025 pre-collection is called ' La Vie Parisienne ' and was conceived by brand creative director Gherardo Felloni 'as both homage and provocation'.
Shot inside a hôtel particulier (one of the grand townhouses found in key French cities) 'and along hushed city streets, the story unfolds like a secret — caught in a glance, stretched across a brocade sofa. It captures something rarer than beauty: character. Here, elegance isn't constructed. It's instinctual'.
So far, so very Parisian. But the company said that 'this is not the Paris of clichés. Nor is the Vivier woman one. She is elegant but unpredictable, refined yet untamed — never explaining, always becoming. Like the muses who once wore Vivier — Deneuve, Bardot, and beyond — she moves between worlds. Perhaps an art dealer. Perhaps a writer. Or neither. She doesn't follow fashion. She defines style'.
It features a variety of both formal and casual shoes, along with bags.
So who are the stars of this particular show? As far as the models are concerned, Felloni has cast three women 'who embody this spirit". There's Louise de Blegiers," with a modern intensity beneath her quiet poise; [plus] Zoé Adjani and Léa Rostain, actresses whose presence distills softness and edge. Parisian by birth or by affinity, these are not women who perform femininity — they reinvent it'.

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Japan's high-tech sunscreens tap into skincare craze

France 24

a day ago

France 24

Japan's high-tech sunscreens tap into skincare craze

The huge number of people poring over Price's video shows the growing interest in skincare products from Japan, much like the K-beauty phenomenon from South Korea. It includes sun protection, increasingly recognised as a daily essential by influencers who want to shield their skin from ageing and enthuse about the lightweight texture of Japanese brands. Companies that have perfected their secret formulas want to capitalise on booming demand, including by building factories overseas and selling to Japan's record influx of foreign tourists. Price, 32, fell into a "year-long rabbit hole" while making her video, learning about everything from SPF science to cultural attitudes to sun exposure. "I always loved Japanese sunscreen, since I first moved to Japan in 2012," she told AFP at her studio in Tokyo. "I remember trying it for the first time and thinking, 'this is so much better than anything I tried in Australia'," her home country where sun cream felt "thick, sticky, greasy". "I thought that the video would be popular... but I wasn't expecting it to reach as far" as it did, Price said. The habit of regular sunscreen use is spreading, especially among younger generations, said Takuya Wada, who works in marketing for Japanese chemical and cosmetics firm Kao. "There are no borders when it comes to obtaining information on social media, especially Instagram and TikTok," he said, adding that influencer posts have a "very large" impact on global sunscreen sales. 'Beautifully white' The global skincare market was worth more than $115 billion in 2024 and is expected to grow to $194 billion by 2032, according to Fortune Business Insights. A boom in celebrity skincare brands has contributed to the industry's growth -- with A-listers like Kylie Jenner using social media to share their beauty routines, including sun protection, with hundreds of millions of followers. When it comes to sunscreen, country-specific regulations mean no single company dominates the field, as the entry barriers to new markets are higher. Kao's main sunscreen brand Biore UV is ranked 10th worldwide for sales, and second in Asia -- competing with the likes of L'Oreal and Beiersdorf, and Japanese rivals such as Shiseido. The company wants sales from sun protection to reach 35 billion yen ($240 million) in 2027, up 1.6 times from 2023. It plans to boost overseas production by opening three new sunscreen factories, in Indonesia, Brazil and Germany. It is technically difficult to develop formulas that block the rays effectively with a smooth texture, as demanded by Japanese consumers, said Takashi Fukui, research and development director for Kao skincare products. But using scientific know-how to strike this tricky balance is what makes Kao "different from other European or American makers". In Japan, a cultural obsession with light skin dates back to the sixth century and using white powder imported from China later became a status symbol among nobility. Fair skin indicated a life away from outdoor labour and sun exposure, and an old Japanese proverb says "white skin covers the seven flaws". In the 1990s, people began using sunscreen or other cosmetics to avoid tanning -- a trend dubbed "bihaku", or beautifully white. These days, Japanese women use sunscreen as everyday protection against sunspots and ageing, caused when UV rays penetrate into the skin, said Fukui. Winter sun Tans have long been fashionable in Western countries, but awareness of skin cancer risks is rising, making sunscreen an important healthcare product there, Fukui said. One fan of Japanese brands is Thai skincare influencer Suari Tasanakulpan, who calls them "lightweight" compared to "heavy and uncomfortable" Western offerings. "There are always new technologies and innovative textures that are often ahead of other countries," the 40-year-old, who reviews sunscreens on YouTube, told AFP. At an outlet of drugstore chain MatsukiyoCocokara in Tokyo's Shibuya district, around 90 sunscreen products are lined up on the shelves. "Sales of sunscreen is improving year on year," said Takeshi Otsuki, deputy manager of the chain's cosmetic division. "More people are using sunscreen on a daily basis these days, so their needs are becoming more diverse," he said. The number of male customers is also increasing, and Japanese sunscreens are very popular with overseas tourists who buy them in multipacks, Otsuki said. While summer is high season, sunscreen is popular year-round, because Japan has a "relatively high number of sunny days in the winter, and the sunlight hours are long". YouTuber Price now uses both Japanese and Australian sunscreen, depending on the occasion. She sees the rise in education about sunscreens worldwide as a win-win situation. It "means you're going to be better protected in general, which is great for everyone", she said.

The World's 50 Best Restaurants 2025: Who takes the top spot - and how does Europe fare?

Euronews

a day ago

Euronews

The World's 50 Best Restaurants 2025: Who takes the top spot - and how does Europe fare?

Euronews

3 days ago

Euronews

The World's 50 Best Restaurants 2025: Who takes the top spot?

The World's 50 Best Restaurants has announced this year's recipients of 'The World's Best Restaurant' - one of the world's most prestigious food awards. The awards ceremony took place last night in Turin, Italy, where the crowd gathered to celebrate the top restaurants and chefs for 2025. A panel of more than 1,000 experts, split into 27 regions around the world, came together to decide on the final ranking. So, what is the World's Best Restaurant this year? The accolade went to Maido in Lima, Peru – which was placed at number 5 in the 2024 awards and now unseats last year's winner, Disfrutar in Barcelona, Spain, to the top spot. Maido's Lima-born chef Mitsuharu Tsumura cooks a fusion of Latin American and Japanese flavours, and said: 'We talk a lot about sustainability of the environment, but we rarely talk about human sustainability. I think this industry can be an example of how we can bring people together with the power of food.' Every year, the panel awards special prizes to chefs, front-of-house staff, and activists who are leading the charge in hospitality in 2025. This year's special awards went to the Best Female Chef, Pichaya 'Pam' Soontornyanakij of Potong, Bangkok and Mindy Woods in Byron Bay, winner of the Champions of Change 2025 award. The World's Best Pastry Chef award went to Parisian chef Maxime Frederic, while the Estrella Damm Chefs' Choice Award went to Alberta Adrià, head chef of Enigma in Barcelona. The highest-ranking restaurants on each continent were given a special mention. Maido, as the best restaurant in the world, takes care of South America. Incidentally, Peru was well represented in the Top 50 list, as three other Lima-based establishments joined Maido: Kjolle (9); Mérito (26); Mayta (39). Tresind Studio in Dubai (ranked number 27 in this year's awards) was named the best restaurant in the Middle East. The best restaurant in Asia is Gaggan in Bangkok, at number 6, while the best restaurant in North America is Quintonil in Mexico City (number 3). The best restaurant in Europe is Asador Etxebarri in Spain (number 2 this year and last year). Spain also has DiverXO in Madrid in the global Top 5, retaining its number 4 spot. Elsewhere in the Top 20, Denmark's Alchemist (Copenhagen) ranks number 5 and climbs three spots compared to last year; France's Paris-based Table by Bruno Verjus drops to number 8 from its number 3 ranking in 2024, and Plénitude (also in Paris) has the 14th spot this year, up four compared to last year; and the UK's Ikoyi, which was ranked 42nd in 2024, jumps up to number 15. Italy is the European country with the most restaurants in 2025's Top 20 list, with Lido 84 in Lake Garda, Reale in Castel di Sangro and Atelier Moessmer Norbert Niederkofler in Brunico all ranking 16th, 18th and 20th respectively. Here is the full Top 50 restaurant list (European entries in bold): 1. Maido, Lima, Peru 2. Asador Etxebarri, Atxondo, Spain 3. Quintonil, Mexico City, Mexico 4. DiverXO, Madrid, Spain 5. Alchemist, Copenhagen, Denmark 6. Gaggan, Bangkok, Thailand 7. Sezanne, Tokyo, Japan 8. Table by Bruno Verjus, Paris, France 9. Kjolle, Lima, Peru 10. Don Julio, Buenos Aires, Argentina 11. Wing, Hong Kong 12. Atomix, New York, USA 13. Potong, Bangkok, Thailand 14. Plénitude, Paris, France 15. Ikoyi, London, UK 16. Lido 84, Lake Garda Italy 17. Sorn, Bangkok, Thailand 18. Reale, Castel di Sangro, Italy 19. The Chairman, Hong Kong 20. Atelier Moessmer Norbert Niederkofler, Brunico, Italy 21. Narisawa, Tokyo, Japan 22. Serene, Bangkok, Thailand 23. Boragó, Santiago, Chile 24. Elkano, Getaria, Spain 25. Odette, Singapore 26. Mérito, Lima, Peru 27. Tresind Studio, Dubai, UAE 28. Lasai, Rio de Janeiro, Brazil 29. Mingles, Seoul, South Korea 30. Le Du, Bangkok, Thailand 31. Le Calandre, Rubano, Italy 32. Piazza Duomo, Alba, Italy 33. Steirereck, Vienna, Austria 34. Enigma, Barcelona, Spain 35. Nusara, Bangkok, Thailand 36. Florilège, Tokyo, Japan 37. Orfali Bros, Dubai, UAE 38. Frantzen, Stockholm, Sweden 39. Mayta, Lima, Peru 40. Septime, Paris, France 41. Kadeau, Copenhagen, Denmark 42. Belcanto, Lisbon, Portugal 43. Uliassi, Senigallia, Italy 44. La Cime, Osaka, Japan 45. Arpege, Paris, France 46. Rosetta, Mexico City, Mexico 47. Vyn, Skillinge, Sweden 48. Celele, Cartagena, Colombia 49. Kol, London, UK 50. Restaurant Jan, Munich, Germany When we left the 28 (pick your time span) Later franchise in 2007, the protocol-breaching actions of two misguided siblings led to the carpetbombing of London's no-longer-safe zone. Kids... What can you do? 28 Weeks Later, Juan Carlos Fresnadillo's surprisingly effective follow up to director Danny Boyle and screenwriter Alex Garland's 2002 zombie genre revitalizing horror experience, ended with a devilish final stinger that had audiences saying 'Et, merde' at the sight of the Rage Virus-infected emerging from a Paris Métro. 18 years later (in the real world) and 28 years later (in the Rage-infested world), Boyle and Garland are back, and they're not keen to simply rest on their laurels. We quickly learn that the terrifying pandemic has been beaten back from mainland Europe (the French presumably shrugged off the infestation and dusted off the guillotines) and that Rage is contained to Blighty. They really can't catch a break... And in many ways, that's the point. While the infected are still out and about, there exists a safe space – an island within an island. Its name is Lindisfarne, aka: Holy Island, and it's in this isolationist community, only connected to the UK mainland via a causeway crossable at low tide, where we meet 12-year-old Spike (newcomer Alfie Williams). His scavenger father Jamie (Aaron Taylor-Johnson) is keen to make a man out of him and so decides to embark on a coming-of-age ritual of sorts: take him inland for the first time in search of his first kill. As Spike's bedbound and mysteriously sick mother Isla (Jodie Comer) foretells in a fit of expletives, it's a really dumb idea... 28 Years Later doesn't look or feel like 28 Days Later. Or 28 Weeks Later, for that matter. So those wanting more of the same may end up disappointed. Ditching the lo-fi, punk rawness of the first brush with sprinting nightmare fuel and the equally lean-and-mean feel of the second, 28 Years Later is crisper and more expensive-looking. While that may frustrate some audiences, what's clear is that Boyle and Garland didn't come back to simply cash in and play it safe. It couldn't be any other way. 28 Days Later breathed new life into a horror mainstay by having the sprinting Rage-infected replacing traditional reanimated corpses. More than two decades later, zombies have invaded the screens and become ubiquitous – to the point of exhaustion. From the big screen offerings of the Rec franchise, Shaun of the Dead, Zombieland and Planet Terror (to mention only the high points) to the zeitgeist-capturing small screen hits The Walking Dead and The Last Of Us, civilisation-threatening outbreaks featuring ravenous walkers, crawlers and biters have become mainstream. The only way was forward. And a lot has happened since 2007's 28 Weeks Later – namely Brexit and a worldwide pandemic. Both of these resonate in 28 Years Later, especially the self-inflicted isolationist wound. The nationalist and seclusionist subtext becomes text: Saint George's Cross flying above the community; the banner reading 'Fail we may but go we must'; the sea patrol keeping the infection contained to the UK; the 'us' and 'them'-ness of looking backwards to a past of the England that once was... It all makes for a simple but effective Brexit analogy. It's not particularly subtle; but then again, no allegory-infused zombie movie ever was. And neither was Brexit. The obviousness of certain thematical strands is countered by some far more surprising choices, like the teasing-and-ditching of The Wicker Man motifs and the Summerisle setting in favour of exploring the evolution of the infected. Of course, the introduction of various kinds of berserkers ('slow-lows' or the terrifying 'Alphas' with Predator penchants for spine-yanking) will lead to inescapable comparisons with The Last Of Us. But the script does enough to explore the potential of its ideas without toppling into déjà vu – particularly when one initially grating yet radical element is introduced... Then there are unpredictably profound moments in the second half of the film, culminating in the Memento Mori / Memento Amori dichotomy, which is brilliantly delivered by the show's last act MVP Dr. Kelson, played to perfection by Ralph Fiennes. His scenes with Spike have an emotional resonance that elevates the material and make it hard to fathom how Alfie Williams is so accomplished for a first-time actor. We'll hopefully be seeing both Boy Meets World and the iodine-covered Colonel Kurtz again soon, as 28 Years Later was filmed back-to-back with the first sequel in a planned new trilogy, titled 28 Years Later: The Bone Temple, which is slated to hit theaters in January 2026. Let's pray Young Fathers return too, as their terrific soundtrack is not worth ignoring. From the Teletubbies opening to a heroically bizarre finale which scoffers will likely liken to The Village, via a three-act structure that makes a young hero's odyssey evolve from a father-son adventure to a mother-son rescue mission to a young father figure spreading his wings, 28 Years Later's strange verve is exhilarating. While there are some pacing issues, as well as surplus to requirement CGI moments involving swarms of birds and deer, Boyle and Garland have truly outdone themselves. Without skimping on the edge-of-your-seat tension and gruesome viscera that made the first two instalments so pant-browningly effective, their belated sequel is a radical revival that eschews the obvious at every turn. It may not satisfy everyone, but give us daring over safe any day / week / year of the Rage pandemic. 28 Years Later is out in cinemas now.