She Left a Silicon Valley VC to Solve a Problem Left Untouched for 88 years

As Women’s History Month comes to a close, here’s a little bit of trivia for you: One of the premier patents in bras hadn’t been touched or improved upon in 88 years. That was until Bree McKeen went after it. 

[ed. I'd say this problem has been touched quite a bit in 88 years. But, anyway...]

In 1931, inventor Helene Pons was granted a U.S. patent for a brassiere featuring an open-ended wire loop that encircled the bottom and sides of each breast. That uncomfortable, unyielding design had largely been left unchanged for nearly a century—and remains the dominant style in the global bra market, which is expected to reach nearly $60 billion by 2032.

Nobody had filed a patent for an underwire replacement until McKeen, founder of Evelyn & Bobbie, left her Silicon Valley job to try to fix a personal problem. At the end of long work days working at a boutique venture capital firm doing due diligence on consumer health care companies, she would come home with divots on her shoulders and chronic tension headaches after being hunched over her desk for hours on end.

 

While the world was demanding, the culprit wasn’t her workload. It was her bra.

But McKeen had zero experience in fashion. She studied medical anthropology and earned her MBA from Stanford. The turning point for her, though, came in a physiologist’s office, where McKeen had been working on her posture, along with regular barre training.

“He’s like, your posture looks great,’” McKeen recalled to Fortune. “And I kind of blurt it out: When I stand like this, I get pain from my bra.”

The physiologist explained it was a neuromuscular feedback loop, or the body’s automatic response to pain, like a pebble in a shoe.

“Here I am doing all this work to carry myself with authority and poise, and my bra, I find out, is totally doing the opposite,” McKeen said. “You don’t have to tell your body to curl around the pain. It just does.”

She had zero fashion experience. She filed a patent anyway

That realization kickstarted McKeen on a major career switch, costing her a career in VC—but earning her one of the most quietly disruptive brands in women’s fashion (Evelyn & Bobbie is now the fastest-growing brand at Nordstrom). She moved to Portland, home to Nike, Adidas, and Columbia for inspiration from major brands and proximity to new connections.

She started tinkering with prototypes in her garage and immediately filed for intellectual property rights. That was based on her VC knowledge that a woman’s company would need that to get funded.

McKeen got her first works utility patent (the harder, more defensible kind that covers how something works, not just how it looks) within a year. The brand declined to disclose how much funding it has raised, but now holds 16 international patents protecting its proprietary EB Core technology, which mimics the support and structure of a wire without causing discomfort.

To put into perspective how critical it was to protect her intellectual property, only 12% of patents in the U.S. were awarded to women, according to the U.S. Patent and Trademark Office as of 2019. McKeen has six of them, protecting the unique 3D-sling technology in her bras.

The brand McKeen built, Evelyn & Bobbie, was named for her maternal grandmother and her aunt, and operates on a simple premise: a bra that fits well and feels good all day.

“I wanted a bra that made me look better in my clothes,” McKeen said—an inspiration reminiscent of how Spanx founder Sara Blakely started her now-$1.2 billion shapewear empire. “Wire-free bras give you that mono boob—not a nice silhouette. They make your clothes look frumpy. I wanted nice lift, separation, a beautiful silhouette. I could not find that bra. How outrageous, really.”

The average U.S. bra size is 34F. Most brands design for something much smaller

With major brands like Victoria’s Secret, Aerie, Third Love, Savage X Fenty, and countless others on the market, Evelyn & Bobbie is undoubtedly in a crowded, competitive space. But as all women know, not all bras are comfortable to wear, especially for extended periods.

What sets Evelyn & Bobbie apart is their approach to sizing. McKeen designs with 270 fit models across seven easy sizes, grading each style individually rather than scaling up from a single sample.

“Most bra companies have like one or two fit models,” she said. “They’ll make a 34B and just scale it up, which is why it doesn’t fit well in larger sizes.

The average bra size in the U.S., McKeen pointed out, is a 34F, a stat that’s surprising to most people—including initial investors she once had to convince that comfort was even a relevant selling point.

“I had many investor meetings where they were 60-minute meetings, and 50 minutes of it was me trying to convince them that comfort was relevant,” she said. “I mean, Victoria’s Secret kind of figured it out, right? Like it’s just sexy, isn’t that what women want?” [...]

With a luxury product comes a luxury price point: Evelyn & Bobbie bras retail for $98 each. But that price tag could be worth avoiding chronic pain for some women.

by Sydney Lake, Fortune |  Read more:

Image: Evelyn & Bobbie

[ed. An entire article about bras but mostly about protecting intellectual property rights (16 international patents!), never fully explaining what the new technology actually is, other than it uses more fit models to ensure proper sizing. FYI: according to E&B's website EB Core uses "bonded internal structures and a soft, adaptive material, that stretches, molds, and supports—delivering wire-free lift.". Well, guess that explains it.] 

Correct Gray

There may be 50 shades, but there’s only one Correct Grey.

Sometimes a colour name is a whole mood. Rouge Noir: the stamp of cult 1990s glamour. Millennial pink: the colour of overthinking and oversharing. Elephant’s Breath by Farrow & Ball: the imperial age of the gastro pub.

I have a new favourite. Pairs is a lovely little Scottish brand which makes great quality socks at good prices. There are many cute names – Frosting Pink, Milky Tea Beige – but the one I just had to click on was Correct Grey, “a warm grey with nods to a classic British school sock”, according to the website.

Correct Grey nails it, because grey is absolutely correct for right now. Not just for socks, but for style top to toe, it is the coolest shade at this moment. No need to panic. Black is always fine, navy is perennially elegant. Brights are going to make a comeback this year, too. You have options. But grey is the colour that says: when it comes to fashion in 2026, I have understood the assignment.

Those Correct Grey socks are, well, the correct grey. This is a different colour to what I think of as tracksuit-bottom grey. (Was the grey tracksuit bottom the defining object of the first half of this decade? But that’s a question for another day.) Tracksuit-bottom-grey is wan and pale, with all the energy of an old photocopy. If tracksuit-bottom grey were a person, it would be scrolling its phone and not looking up when spoken to. Correct Grey is richer and more intense, with a nod to box-fresh school uniform and a new-term attitude.

But, wait. Didn’t grey used to be boring? How did it become fashion’s coolest colour? Sportswear, for a start. I was slightly rude about grey tracksuit bottoms because I’m a bit over them, but the ubiquity of grey marl flannel has done a lot to reframe grey as a fashion colour. Quiet luxury, with its emphasis on fabric and feel, has helped too, because soft neutral shades – grey, camel, navy – show off a quality fabric at its best. And psychologically, there is something about the liminal nature of grey, standing as it does in direct opposition to the notion that life is either black or white. This speaks to the blur of modern life with its lack of boundaries, of working from home in pyjamas but dealing with office emails on your phone while out at dinner.

by Jess Cartner-Morley, The Guardian | Read more:
Image: Pairs

[ed. Works for me.]

The Plastic Surgeon Summit

We’re in a plastic surgery “renaissance period.”

Dr. Yannis Alexandrides: It is busier than ever. There’s a remarkable year-on-year demand increase that we see in surgical procedures, especially for the face, but also for the body. This is a trend that we have seen through the pandemic, but it has accelerated the last year.

Dr. Akshay Sanan: I think plastic surgery is in a renaissance period right now because of people publicly talking about it. Plastic surgery is now part of your wellness armamentarium. People used to flex what gym they went to, that they had a trainer, and now plastic surgery is part of that flex. People love to rock that they had their eyes done or their face and neck done or their body done. It’s just part of the cultural shift that we’re seeing.

Dr. Jason Champagne: This is where social media comes into play, camera phones and Zoom meetings. You see yourself from all these different angles nowadays that maybe you didn’t notice in the past.

Dr. Emily Hu: I find it very generational: Those who grew up in the social media era with a lot of sharing and openness are also very open about telling their friends [about the work they’ve had done].

Sanan: There’s a shift in consumer or patient habits. More people in their late 30s, early 40s, they’re choosing surgery earlier to age gracefully instead of waiting until things are advanced. They’re like, “I’m not going to wait until it drops down further. I just want to be hot in my 40s.”

Dr. John Diaz: It used to be that not everyone had access to a plastic surgeon. That was reserved within the realm of the elite. Well, not anymore. I have celebrities, executives, and business owners come in — but also teachers and waiters. There’s this democratization of attractiveness.

Dr. Paul Afrooz: Patients are very educated these days. They know what they’re looking for, they know what realistic results are, and they have the ability to do a lot of background research and understand who does things at an elite level. [...]

Let’s get into it: Why are we talking so much about facelifts this year?

Diaz: Facelifts have absolutely exploded for a few reasons. A lot of women see celebrities and influencers suddenly looking incredible, and they want to know how. Think about Kris Jenner — she had a huge impact when her pictures came out. And now it’s brought awareness to the fact that we have the technology to be able to take a young-looking woman and make her look better with surgery, without making her look fake. That was a real challenge 20 years ago.

Alexandrides: Kris Jenner was a very hot topic the last few months. Definitely a lot of the patients I see here take her as, let’s say, a model on how they want to look, because she looks fresh, but she doesn’t look pulled. She looks younger, and she looks happy, and you cannot see the scars, at least not in these pictures that we see.

Hu: I can’t tell you how many of my patients are like, “Yeah, my mom had a facelift. She was so scary. I’m never doing a facelift.” I mean, that was their response because they see their mom all bruised and scary looking.

Dr. Mark Murphy: Facelifts historically had a stereotypical “plastic surgery” look. Now people have realized, “I can look like myself 15 years ago and not have to look like a circus freak for it.” It’s become very digestible for patients. Social media is a huge driver behind it. Well, that, and the techniques are better.

So what’s actually new or changing about facelifts?

Dr. Mark Mani: We call it the golden age of facelift surgery. It’s primarily because of the success of the deep plane facelift.

Dr. David Shafer: There’s nothing new about [the deep plane facelift] as a procedure. It’s just very sophisticated marketing that’s being done now, and there are refinements to the procedures. But it’s not some plastic surgeon who’s marketing it now as some magic procedure that he came up with that nobody else does.

Mani: [A version of] the first deep plane lifts was performed in the late 1960s by a surgeon named Tord Skoog in Sweden [though the name came later]. I have his textbook and can show you results that would stand up to the best deep plane surgeons today. It’s not the procedure, it’s the surgeon, and facelift surgery, among all surgeries in plastic surgery, is an art form.

Afrooz: A surgeon named Sam Hamra — he just passed, but a wonderful human being, an extraordinary thinker, an extraordinary surgeon — first coined the phrase “deep plane facelift” in a 1990 paper and laid out some building blocks of the procedure. Just like everything else in plastic surgery, we stand on the giants before us.

Dr. Michael Stein: There are two main facelift techniques: deep plane and SMAS plication. The deep plane facelift is where you cut the layer under the skin called the SMAS, dissect underneath it, and tighten it in addition to the skin. In the SMAS facelift, instead of cutting and elevating the SMAS, you suture it to itself to tighten it from over top.

Dr. Amir Karam: The majority of surgeons, up until recently, have been doing the traditional SMAS technique, which is more or less horizontally pulling the face sideways, and that was leading to a very unnatural look.

Mani: I was the surgeon who wrote the most-read facelift academic article that convinced other surgeons to do deep plane facelifts. It was an article in Aesthetic Surgery Journal in 2016, where I detailed the specific anatomic reasons that deep plane is better.

Stein: The people who only do deep plane facelifts say they have a more longitudinal result, and vice versa. But the truth is, a good result is a good result. It depends more on the surgeon versus technique. A good facelift is a good facelift.

Facelifts aren’t done evolving.

Karam: The consumer is driving surgeons to create better and better results. So there’s been a massive increase in interest for surgeons to level up their strategies surgically and learn new techniques that are not new but new to them.

Afrooz: Even my facelift today is better than my facelift was one year ago. When you hone in on one thing as your career, you’re just constantly looking for ways to improve. It’s the cumulative effect of small subtleties over time and practice that you notice nuanced improvements to your results. One might assume that a deep plane facelift in one surgeon’s hands is the same as it is in another’s, but I’m here to tell you that it’s very much not the same.

Dr. Daniel Gould: There are new layers that we’re adding into the surgery. We’re recognizing the importance of the mid-face and volume position there. I’m recognizing adding fat to the mouth and the areas around the mouth, the chin, because all these areas have been neglected. We are now nailing all the low-hanging fruit: We’re nailing the neck, we’re nailing the face, we’re nailing the temple and the brows. Now it’s time to move forward and continue to innovate and push the limits of what we can really do in facial rejuvenation.

Mani: What I’ve developed is called the scarless lift, and it’s basically a deep plane facelift without a scar in front of the ear, with an endoscope. The endoscopic procedure involves a hidden incision within the hair, a short one behind the ear, and sometimes one under the chin. I still do about 60% open [non-endoscopic], but a good percentage of my facelifts are scarless endoscopic. The results are more beautiful because you don’t have to worry about the scar, and the vectors of lifting are better.

Alexandrides: I don’t think this will be now, “OK, let’s forget about facelifts, let’s move to something else.” What will probably happen is that people will discover intricate little different techniques and say, “You have the facelift that is done like that.” I have patients who ask me very technical questions: How do you design your scar around your ear?

Stein: Facelift surgery has survived the test of time. Every year there are new machines designed to tighten skin, and for some patients with mild laxity, they may see nice results. The truth is though, if you have jowls or droopy skin of the face and neck, the only thing that’s really going to give you the best bang for your buck and directly address your laxity is a facelift.

by Bustle Editors, Bustle |  Read more:

Image: uncredited

via:

The Century of the Maxxer

Most people, being average, do not understand what maxxing really means. Look at me! they squeal. I’m sleepmaxxing! They mean that they’re trying to get eight hours a night. Or they’re proteinmaxxing, which means they’ve bought a big tub of whey powder. I’m such a houseplantmaxxer, they tell the fiddle-leaf fig they ordered online. It’s fun to play around with a new word. But sleepmaxxing does not mean getting a red light and taping your mouth shut; it means putting yourself in a medically induced coma. There is only one way of proteinmaxxing, which is to get one hundred percent of your daily calories from lean protein. Anything else would, by definition, be less than fully maxxed. Doctors will tell you that eating only protein causes something called ‘rabbit starvation,’ and if you keep at it you’ll experience vomiting, seizures, and death in fairly short order. They’re right, but the proteinmaxxer accepts his fate. Meanwhile the houseplantmaxxer has thick mats of algae sliming over every surface, the walls, the ceilings, swallowing the sofa, digesting the bookshelf and all its contents, blobbing and dribbling, wet in the middle of the bed, green on the windowpanes, covering everything except the UV lights and the massive pans of water left on a constant boil in every room, so the air stays oppressively, Cretaceously thick.

This is what it means to be a maxxer. We are a long way away from the optimisation of the self; to maxx is an intense form of asceticism. The maxxer is the person who willingly sacrifices every aspect of their lives except one, the maxximand, which is extended to infinity until it begins to develop the distance and vastness of a god.

Probably the world’s most prominent maxxer is a man called Braden Peters, who calls himself Clavicular. Clavicular is a looksmaxxer; his austerity is to make himself as beautiful as possible. If you’re good looking enough, you can ascend, break out of your genetic destiny and into a new order of being, where the subhumans will crawl after you with lolling tongues. Clavicular started looksmaxxing at the age of fourteen, injecting himself with testosterone. He also shoots anabolic steroids, human growth hormone, peptides, botox, and crystal meth. He’s had multiple plastic surgeries. His other secret is bonesmashing, which is exactly what it sounds like: he smashes his own cheekbones with a hammer so they grow back bigger. It’s impossible to know what he would have looked like if he hadn’t done all this, since his ‘before’ pictures all show a prepubescent child, but it’s hard not to conclude that he’s utterly ruined his body. He didn’t go through a normal puberty; his glands are completely incapable of producing testosterone by themselves, and if he ever stops taking the hormones he’ll rapidly decompose into a genderless lump. The various injections have also left him totally sterile; his balls are almost certainly fucked up in ways we can barely imagine. He is a meth addict. And while he really does have legions of lesser beings crawling after him with lolling tongues, they do all seem to be men.

Clavicular lives in a sort of nightmare clown world, where he is constantly being approached in ordinary shopping centres by small, strange, awkward men who say things like ‘I’m known in Orlando as the Asian Mogger. I would have the honour if you could verify me as the Orlando Asian Mogger.’ There are various misshapen freaks of nature, men with shoulders wider than they’re tall, sinister stalking giants on artificially lengthened legs, who travel across the country to stand next to him and compare physiques. Like a mythical gunslinger, the great mogger needs to constantly watch the horizon for whoever’s coming to mog him. Other men adore him in more nakedly eroticised ways. In one video, he’s live-streaming a fun casual hangout with Andrew Tate, Tristan Tate, Nick Fuentes, a bunch of other people sitting in silence looking at their phones, and menial staff vacuuming in the background. One of the men is berating a woman sat in Clavicular’s lap. ‘You are not an 8. You’re not an 8. You’re a thirsty 7, you’re asking for validation, and you’re sitting in a 10’s lap.’ ‘That’s kinda rude,’ she says. ‘That’s kinda rude,’ agrees Tristan Tate. ‘Clavicular’s at least an 11.’ Clavicular doesn’t say anything. What gives the scene its particularly haunting resonance is that throughout this exchange, he seems to be eating soup.

In all his interactions with women that aren’t directly supervised by a Tate brother, Clavicular is painfully passive and awkward. The women who like him are all of a type: hot but autistic beyond belief, brainrotted, barfing up a constant stream of overenthusiastic tryhard 4chan nazi jargon that he seems to find deeply embarrassing. Normal women treat him with undisguised contempt. He is constantly having his cortisol spiked by foids. It turns out that being maximally beautiful is not actually the same as maximising your chances of getting laid. Clavicular will never be a female sex symbol; that role goes to men like Slavoj Žižek and Danny DeVito. But maxxing is not optimisation. The maxxer is not trying to have an enjoyable life. He’s trying to reduce himself to a single principle.

Things get confused when the maxximand is also a generally upheld value like beauty. But every maxxer has his shadow, the person maxxing the opposite principle. Clavicular’s shadow is someone who calls himself The Crooked Man. The Crooked Man is a looksminimiser, which is another way of saying he’s an uglymaxxer. His strategy has been to spend a year working out only one side of his body, which has left him with an enormous bulging trap on one shoulder and nothing at all on the other. He looks like a cartoon monster. He stands around shirtless in his empty millennial-grey house, adrift in some suburb somewhere, grey walls, grey carpet, no decorations except cables snaking around on the floor, making video content. He is a kind of Platonic ideal of the maxxer, far more than Clavicular. The Crooked Man’s house appears to get zero natural light. All his gym equipment is at home; you can see him benching 225 on one side only in one of its many large and empty rooms. Plastic Venetian blinds. It’s night outside. It’s always night outside. The sun never shines on The Crooked Man. Incredible things are happening in America.

There’s a reason Clavicular has become the media’s go-to symbol for maxxing, even though The Crooked Man is a much better exemplar. He keeps things on a very comfortable terrain. Maxxing, the line goes, is an outgrowth of incel culture. It’s about men, the problem with men, the crisis of masculinity; it’s about how men are now facing the kind of toxic body politics that women have had to deal with forever, and how they’re developing their own hysterias in response; it’s about online extremism, it’s about the harmful narratives that seduce young men into various forms of misogyny; before long it’s about how we all need to put the kettle on and have a proper talk about our men’s mental health. They’re not entirely wrong; there really is a crisis of masculinity, it really is expressing itself through the mainstreaming of misogyny and the proliferation of a diseased relation to the self. It’s just that maxxing comes from something else entirely.

Despite what you might have heard, the word maxxing is not originally incel slang. Incels might have appropriated it, but it began with another kind of loser altogether, the tabletop role-playing gamer.

by Sam Kriss, Numb at the Lodge |  Read more:

Image: Cassidy Araiza for The New York Times
[ed. See also: Handsome at Any Cost (NYT); and, From “Mar-a-Lago face” to uncanny AI art: MAGA loves ugly in submission to Trump (Salon).]

The Willard Suitcases
via:

Sebastien Genez, SH100 Easy Snowshoe
via: Experimenta

[ed. Cool idea (and design).]

We’re All Unique. Or Are We?

Have you ever found yourself in a new place and realized you don’t quite fit in? Your shoes, which made sense at the office, are not quite the right ones for the date after work in a different part of the city. Your hairstyle, which felt normal when you left your hometown, suddenly labels you uncool in a new city.

Or perhaps you’ve had the opposite experience? You feel out of place in your day-to-day circle and dress in hopes that someone with taste as refined as yours will see your attempts to distinguish yourself in your natty suits.

Most of us have at least a passing acquaintance with the push and pull between the desire to fit in and the urge to stand out depending on the setting. Everyone, as some point, discovers the subtle sartorial codes governing their communities and must decide how much to adopt or reject them.

The two have made those sub-classifications the basis of their three-decade-long art project, which now exceeds 200 groups arranged by visual likeness. Each category features 12 individual portraits organized in a grid, named and arranged with the precision of butterflies in a entomologist’s case.

To flip at random through “Exactitudes” (a portmanteau of exact and attitudes) is to be struck by the cleverness and care the artists have taken in selecting their subjects. Looking through each grid is like playing a game. Your eyes dart from frame to frame, in search of the subtle deviances in hairstyles and the way body language speaks volumes.

Now, on the occasion of publishing the seventh and final edition of “Exactitudes,” the duo is putting the project to bed. After three decades of collaboration, they look back in fondness at the time capsules they’ve created. (...)

When they don’t have a firm handle on a subculture they’re photographing, they listen. “Some of the groups, you start and you have a vague idea about them,” Mr. Versluis said. By listening, he said, “you get educated, especially when it’s a super-niche culture or something new.”

Sometimes they wait many days on location before finding enough willing participants. Sometimes the people in the grid know each other, but not always. For the most part, they say, participants are flattered to be included in the project.

‘The diverse human experience of getting dressed.’

Both artists have always worked independently and will continue to do so, though they did not rule out the possibility of a returning if a tantalizing commission comes along. Since they began shooting “Exactitudes,” the world has transformed from an one dominated by analog technologies to one ruled by digital algorithms. Where they were once perceptive humans finding patterns among the other humans, social media now serves up endless micro-trends to viewers the world over. In some way the magic of their project has been consumed by TikTok and Instagram.

by Stella Bugbee, NY Times | Read more:

Image:Ari Versluis and Ellie Uyttenbroek/Exactitudes

[ed. See also: Behind Exactitudes, the photo series that inspired Vetements (Dazed).]

via:

Stop, Shop, and Scroll

Commerce has long been central to social media; as long as ads keep the lights on at Meta, TikTok, and YouTube, we will all be pressured to buy, buy, buy. Instagram was a mall even before #TikTokMadeMeBuyIt and Pinterest became an “AI-enabled shopping assistant.” The influencer industry — which Goldman Sachs has predicted will grow to nearly half a trillion dollars by 2027 — has snowballed into a possible side hustle for anyone with access to a phone. There’s a handful of MrBeasts and Alix Earles at the top and an untold number of micro-influencers hawking goods and services at the bottom. For audiences, it means we have spent the better part of a decade living within a 24/7 digital infomercial, with social media — sponsored content and organic posts alike — resembling not much more than a buying guide, a catalog of unabashed and conspicuous consumption. Some audience members find themselves in deep debt or describe their behavior as a full-blown shopping addiction; others have developed careful strategies in an effort to limit their consumption. We have never been so aware of all the things there are to purchase, and the frictionlessness of shopping apps disguised as social media has created an army of voracious buyers. What has this abundance done to us? (...)

The impulse to shop is not exactly a secret — there’s often a resigned self-awareness to it. In a video viewed 1.5 million times, a woman stitches together clips of herself from random moments in her daily life. With a deadpan voice, and Radiohead’s “No Surprises” twinkling in the background, she recites highly specific products like she’s filling out a Mad Libs page: Chan Luu crystal toe ring. Arc’teryx hiking shoes. Vintage hoodie. “This is just the last 48 hours, mind you,” the caption reads.

This kind of video has become a mini-trend, with the idea being that the mere utterance of a temptation might soothe the part of your brain that wants to buy the item. (...)

We see so much marketing material that in certain subcultures online it is not just common but the expectation. In traditional marketing, it was understood that brands had to expose consumers to their message three times before they actually engaged with it, like going physically to a store to buy a product. In the age of social media and algorithmic overload, that number is now seven, says Mara Einstein, a marketing-professional-turned-critic and author of the book Hoodwinked: How Marketers Use the Same Tactics as Cults. For one, the vastness of the internet has allowed for the number of available products to bloat beyond imagination — there are simply too many things. But how we learn about products has changed drastically as well; as media has fragmented to a million sites, feeds, screens, and algorithms, so too has the advertising we see. There is no one TV commercial a quarter of households are seeing, then telling their friends about. Instead we see a digital display ad here, an influencer’s video there.

“You may be finding out information from people and so on, but you’re increasingly spending time in a space where you’re constantly being bombarded by sales messages,” Einstein says. Influencers know how to stay on message, constantly priming viewers to give in and buy something.

Being influenced is nothing new, of course. But the short- and mid-form video format creates a new type of intimacy and allure, especially if you are already looking for something to buy. It’s hard to argue with a sales pitch when you are watching someone in their home actually using the product they are trying to sell you.

The content doesn’t even have to be explicitly promotional: I recall a video I made last year about my reporting being used without credit by content creators. My frustration had hit a breaking point, so I recorded a selfie-style TikTok complaining about the contemporary media ecosystem. Only my head and a portion of my shoulders were in the video, but someone wanted to know where my blouse was from.

TikTok itself has only bolstered the idea that every piece of content is an opportunity to consume. Through TikTok Shop, anyone can become a digital salesperson. In much crueler, more tasteless examples, TikTok has added shopping prompts to videos coming out of Gaza: A woman in a head covering becomes a promotion for similar-looking garments with headscarves. A bespectacled Israeli activist protesting their government’s besiegement is a billboard for a pair of glasses. (...)

It’s easy to blame the influencers for all of this — and many do, regularly, like clockwork. The most recent discourse cycle, in late September, was kicked off by a TikTok video with 390,000 views and arguments that stretched on for weeks.

“These influencers make way too much fucking money,” the video begins. “You’re just getting paid to sell people shit they don’t fucking need. It’s literally just overconsumption … You’re perpetuating this cycle that’s really keeping us trapped.”

Content creators are admittedly a perfect target for the general rage many of us carry around. Many of them seem unencumbered by the endless horrors of the world, with daily routines that include blocks of time for “warm water” and to-do lists with “plan out mocktails for the new year.” Their digital presence exists suspended in time, where there is always something new to recommend, packages of shiny new things waiting for them, and a willing audience that completes the positive feedback loop. Wouldn’t it be nice — as people are in line at food banks, fighting for a precious few job listings, and snatched off streets by masked agents — to sit in your home and talk to yourself for a living?

But the draw of the influencer is powerful; even if you cannot become her, you can own the same things she does. For Antoinette Hocbo, who picked up hobbies via TikTok, the characters she encounters on her For You page seem effortlessly cool. They have an eye for design, they’re interested in the arts, they drink wine. You buy into the person first, and eventually — hopefully — you buy the stuff, too.

“[There’s] the whole idea of parasocial relationships,” Einstein, the marketing expert, says. “If somebody has gotten to the point where they’re spending that much time online with someone, they’re vested in what that person has to say.” The feeling of intimacy is physical: When followers watch their favorite TikToker, they are literally holding them in the palm of their hand. (...)

TikTok made going viral a possibility for a whole new slate of people. Now the hard part is how to keep things rolling when it happens to you. Most of the platforms themselves do not pay much for views, but brands eager to partner with buzzy people do. Creators often talk about their work in terms of self-discovery or self-actualization: This is who I want to be online, and these are the products and tips I truly, honestly want to share.

The tension comes then with the “very real commercial realities of playing to an audience, bowing to commercial sponsorships if you were lucky enough to have them,” Duffy says. “And then the new dimension, which doesn’t have the same precursors in legacy media, which is playing to the algorithm.” A 2024 Pew Research Center survey found that 62 percent of adults on TikTok are there to find product reviews and recommendations — especially young women. (...)

Project Pan, as a concept, is both clever and strange. For years, a community of people organized largely on the internet have committed themselves to finishing their beauty and personal care products — the name coming from your promise to hit the bottom of the pan that holds your blush, for example. It’s smart for the way it gamifies something people struggle with. (Who among us doesn’t have half-used bottles of soap or barely touched tubes of lipstick?) It’s also deeply revealing: These products are meant to be used, and we collectively are so bad at finishing them off that we need a little game to make it happen. Off the top of my head I can confidently say that I’ve never once “panned” a compact of blush; I have expensive tubes of red lipstick that didn’t end up being my color, but that I can’t bear to throw out; and I have four bottles of sunscreen that crowd my cabinet, waiting for the summer they’re finally used up. There are many more products that I could — should — Project Pan that I’ve forgotten I even own.

Cassandra Silva, on the other hand, knows exactly what she has. She knows, for example, that she spent $2,857.98 AUD on makeup in 2024 and panned products totaling $1,654.13. She owns eight eyeliners, but her ideal number would be four. In 2023 she panned seven mascaras, 11 colored lip products, and one blush, among many others, all lined up in a photo of the totally empty containers that show her progress. She keeps all this data in a giant spreadsheet that she shares with me after we talk, and as I scroll through it, I realize I have never seen an eyeshadow palette where every color is completely empty.

“Compared to beauty YouTube, it’s not insane insane, but it’s still more than any one human could ever reasonably use,” Silva says of her inventory.

She watches beauty YouTube channels, but needs to be careful about what she consumes: She tries to stay away from content showing off hauls, new releases, or the ever-tempting limited-edition holiday releases.

“I am as conscious as I can be for a makeup addict,” Silva says. “I try, and I am freaking susceptible. It’s so bad.” Recently, a palette of neutral eyeshadows hounded her Instagram feed — she caved and bought it, only to be thoroughly disappointed when it arrived. As a panner, Silva will be stuck with it for years until it’s finished.

Chessie Domrongchai used to make the kind of content that Silva perhaps would steer clear of — she was the one tempting makeup lovers with all of these products. As a beauty YouTuber, Domrongchai shared in-depth product review videos for brands like the once-buzzy direct-to-consumer brand Glossier and tested fistfuls of lip glosses in subtly different shades for her 40,000 subscribers. She shared new releases, compared similar products from different brands, and recommended items for upcoming sales. In a 2019 video, she walks viewers through her pinky-brown nude lipstick collection — 15 shades, not including lip glosses and liquid lipsticks. She followed makeup brands and watched other YouTubers, accumulating more and more products to explore ($10,000, she says, feels like a conservative estimate of the value of her collection at its peak). In makeup, Domrongchai found self-expression, creativity, and community.

Until one day in 2022, when a switch went off in her head.

“I started to view a lot of the overconsumption that I was seeing online as kind of disgusting and wrong, and I recognized a lot of the way that I showed up on the internet was to overconsume,” Domrongchai says. Not only that, but she felt her online presence also influenced viewers to keep buying more and more.

“These are just regular people that are just now stuck with the burden of their overconsumption,” she says. But as a content creator, it was hard to be part of the beauty space without having a constant parade of new products.

In recent months, Domrongchai has developed a new routine for the many products littering her home. One by one, she meticulously peels off stickers and labels: from shampoo and olive oil bottles, from dish soap dispensers and face wash. Using a mix of baking soda, mineral oil, and rubbing alcohol, she goes to town on brand names printed on the packaging of eyeshadow palettes and lipsticks, scrubbing away their origins and the millions of dollars of marketing that went into them — arguably why they are in Domrongchai’s house to begin with. The result is shelves and countertops full of bare bottles and tubes and pumps filled with product but stripped of just about everything else. Watching her videos, I’m slightly horrified at my own ability to recognize the specific products even without all the labeling, the colors and shapes of bottles acting like an afterimage of a CeraVe cleanser.

“Of course I’m going to buy the face cleanser that keeps my skin clear, but I don’t need it to continue to market to me in my own home,” Domrongchai says. “In the past I had three different [lotions] and all of their labels and their marketing on these products … They’re all kind of yelling at you trying to convince you to use it. They’re kind of [in] competition with each other.” In other words, it felt like a social media feed.

For some panners, finishing a product can elicit the same rush that buying something new does — that same dopamine rush of hitting “place order” creeps in when you hit that pan. Then you post it online for other panners to see, adding to the thrill. Finishing products becomes a task to complete, just like shopping is.

“What it can do — which I don’t love to admit to — is you’ll put more blush on than you would,” Silva says. “You just slather it on.” Silva shows me her spreadsheet page from 2024 showing colored lip products she used up: 23. Silva estimates that the average person finishes maybe one lipstick a year. In order to pan that many products, she was reapplying them 15 to 20 times a day, she says. Sometimes Silva wonders if she should ditch panning, too, like she did consumption-focused beauty spaces.

“When you first get into it, it’s so helpful, and you really get that community and you can turn some products over. Then the longer that you’re in the panning community, it’s like, all right, now panning is a problem,” she laughs. “Now I’ve taken all the problems I had with makeup consumption and translated them into late-stage panning. It’s like late-stage capitalism.”

by Mia Sato, The Verge |  Read more:

Image: Cath Virginia

Pretty Girl

Jane Birkin
via:

[ed. How did she get mixed up with that wierd Frenchy guy, anyway?]

via:

The Utah Look

There’s a Reason You Can’t Tell the ‘Secret Lives of Mormon Wives’ Cast Apart

Does Hulu’s Secret Lives on Mormon Wives season 3 have you squinting at the TV, struggling to tell Jessi Ngatikaura and Demi Engemann apart with their identical, long, sleek waves and indistinguishable wide, thick lashes? Even diehard fans of the show admit to frequently mixing up the cast. And viewers regularly post about getting castmates confused. “Anyone else watch ‘The Secret Lives of Mormon Wives’ but can’t keep up bc they all look exactly alike??” wrote one fan on Facebook.

It’s been a hot topic since season 1 and, according to some, this isn’t a simple case of women on reality TV wanting to be conventionally attractive. It’s the dogged pursuit of what many call the “Utah look.”

“Utah has insanely high standards for girls,” says fitness TikToker eharmany95. “Everybody is competing with the girl next to them to be just as perfect, just as tan, just as fit.” Or take it from Vanna Einerson, a 21-year-old Salt Lake City native on the most recent season of Love Island, whose filler and breast implants were a source of judgment and fascination online. “There’s a Utah girl stereotype,” she told castmate Ace Greene. “All the girls are, like, tan, blonde.”

“I have never felt uglier than I did living in Utah,” says TikToker @avemarin in a video explaining Vanna's look. “It’s not just being white and thin that is desired here, but what has been praised the most is extremely tiny bodies, blonde hair, blue eyes, big lips, immediate boob job—like right out of high school—and a very symmetrical face. Hence the filler and lip injections.”

Utah—and Salt Lake City, its capital—is a mecca for cosmetic procedures that help women conform to these standards. Salt Lake City has more surgeons per capita than Los Angeles (and almost as many as Miami). Residents google “breast augmentation” and other cosmetic surgeries in higher numbers than pretty much any other city. One particularly popular surgery is the “mommy makeover,” a combination of multiple procedures, including but not limited to a breast lift, tummy tuck, liposuction and labiaplasty. 

Although Utah is hardly the only place where women feel pressure to be thin and have long hair, by many accounts the expectation here is more intense. At least some of this has to do with the Mormon Church, also known as the Church of Jesus Christ of Latter-day Saints. A cultural behemoth across the state, LDS members are 90 percent white and, according to some experts, this sameness—in religion, race, and region—leads to an extreme pressure to conform to a very conventional standard of beauty...

Aubree Bunderson, a 26-year-old stay-at-home mom and lifelong member of the LDS church, says she can always tell a fellow Deseret native down to the “Utah curls” (think beachy waves with straight ends achieved with a clamped curling iron) and her very blonde dye job.

“You see a different kind of blonde in different states. It’s not as rich, and it’s not as soft,” she says. “Anytime I’m traveling anywhere, you can almost tell who’s from Utah and who’s not. She’s that bleach-blonde girl with Utah curls. You know she has a woman that specializes in platinum blondes do her hair. There’s not very many blondes out there. And then, here in Utah, we’re full of blondes. We’re full of athletic wear. We love the idea of the gym and being healthy and having the perfect body and beauty standards when it comes to skincare and makeup. We want to look our best and feel our best.”

For Bunderson, the widespread conformity to these ideas of beauty is inspiring. “I’m encouraged by other women that I find attractive. I’m like, I want that body. I want her hair. I want her eyelashes. I want her skin. So many influencers are from Utah. They’re in my face, looking beautiful. They look fake, but they just look amazing in my eyes.”...

Is this religion or just Utah? Can we even separate the two? Bunderson and several other women who spoke with Cosmopolitan mentioned physical “perfection” as the goal of the blonde curls and mommy makeovers. Perfection is a core value in the LDS Church, the Book of Mormon commands followers to “be perfect, therefore, as your heavenly Father is perfect.”...

While reality TV stars are anecdotal evidence of this tendency for sameness in the quest for “perfection,” data also bears this out. A recent survey on body image in the LDS church found that 14 percent of church members had a cosmetic procedure compared to 4 percent nationally. The report also concluded that although the LDS church promotes a positive body image, many religious Mormons (particularly wealthy ones) “may erroneously believe that religion is tied to perfection in a variety of ways, including physical appearance or finances, and they may attempt to conform to what is referred to as the ‘thin ideal’ in U.S. culture. Perhaps appearing to be a perfect, worthy, righteous member of the church means ‘looking the part’ as well.”

by Hannah Malach, Cosmopolitan |  Read more:
Image: Mary Fama/Disney/Pamela Littky/Getty Images
[ed. The Stepford look, updated. There's even something called Christian Girl Autumn Look. Maybe we'll see Recovering Tradwife in Therapy look or Housewives of Bulimia look.]

via:

Understanding Ametora – Japan’s Americana Obsession

This article and its contents have been directly influenced by the fantastic book ‘Ametora: How Japan Saved American Style’ by W. David Marx – the book charts the full history on Japan’s relationship with Americana and is available to be purchased here. [ed. And here.]

Japan is a nation of reinterpretation. It’s a country with a long-standing fascination for taking traditional items, objects, and concepts and reimagining them in a distinctly Japanese manner – one that places function at the forefront and meticulous attention to detail close behind. There’s a national knack for spotting something made overseas and finding ways to improve it, often through minimalist refinement. Everything touched by Japanese hands somehow ends up looking, tasting, and feeling better.

Nowhere is this more prominent than in the realm of fashion, specifically, the enduring Japanese obsession with classic Americana style. Or, to give it its proper name, Ametora – a portmanteau of “American traditional” – which has not only reshaped Japanese fashion but also influenced global perceptions of Americana.

When you first think of Japanese Americana, your mind will instantly jump to exciting brands, retailers and publications, but the country’s initial foray with American clothing came long before anyone was reading Popeye or wearing Kapital…

1920s – MOBOs & MOGAs

Japan’s initial encounter with Western fabric came in the 1920s – a time when traditional art and aesthetics were beginning to merge with European life and culture. The result was a bubbling era of Japanese modernism and the creation of Asian Art Deco architecture, paintings, prints, design and fashion. Spearheading this cultural shift were two groups, the MOBOs & MOGAs, or simply Modern Boys and Modern Girls.

These groups symbolised a seismic shift in youth culture, rejecting rigid traditions and embracing style as rebellion. They filled cafés and dance halls in Tokyo, Osaka, and Kobe, dressed in garments inspired by Western trends. MOGAs adopted dropped waists, shorter hemlines, and bobbed hair – all scandalous by Japanese standards. MOBOs ditched kimonos for suits, fedoras, and wide-legged trousers. It was unadulterated counterculture, something Japan had never been confronted with before.

But this wave of modernism was short-lived. WWII brought a return to conservative politics and traditional values. Japan, once again, reverted to its most serious self.

1940s – Post-war influence

Japan’s surrender to the Allied forces in 1945 would leave America right on their doorstep, but not in the way the MOBOs & MOGAs could have ever envisaged. U.S. troops occupied the streets of all of Japan’s major cities, maintaining a somewhat amicable relationship with the locals, with reports of soldiers helping and playing with children in the street.

The positive relationship led the soldiers to introduce locals to Western imports – khaki trousers, linen shirts, baseball caps and, importantly, American culture and fashion magazines. It was an exciting new world of function, fabric and colour, and a small subset of Japanese aficionados started to develop around the fascination with the new U.S. commodities.

A scramble amongst this niche ensued, and right at the front of it was a man called Kensuke Ishizu, a soldier who had served in WWII, and was now working as a menswear designer for his own retail company, Ishizu Shōten (Ishizu Store)

Deeply inspired by the glimpses of Americana he’d witnessed through befriended U.S. soldiers, Ishizu was determined to make his store the focal point for the wave, and chose to focus on classic Americana garments such as cotton flannel work shirts and indigo work pants, all produced under a faux American brand called Kentucky.

Ishizu Shōten became popular with a tiny niche of discerning Japanese citizens, but the market was too small. Ishizu was far too early of an adopter and noticed the majority of his income derived from the sale of high-end sports jackets for wealthy suburban families. He subsequently rebranded the company to VAN Jacket, to focus on the garments.

1950s – The birth of Ivy

There was an issue, though. It was taboo for Japanese men to be at all interested in fashion. Before Ishizu could sell any of his products, he had to educate his neighbours. To do so, he became the face of a new menswear magazine titled Otoko no Fukushoku. The magazine debuted in 1954 and was designed to function as a textbook for semi-formal and business wear, but Ishizu had other ideas. He used it as a vehicle to inform young Japanese men about VAN products and his intrigue with Western collegiate style he had seen from U.S. fashion magazines, which was now coined ‘Ivy.’

Still, despite his best efforts, Ishizu was struggling to shift product. VAN was not designed for, or affordable enough for, the niche student crowd who read Otoko no Fukushoku. So, in search of true Ivy enlightenment, in 1959, Ishizu headed for the West.

Immediately upon arriving in the U.S.A., he headed on a tour of all the country’s prestigious universities, and it was Princeton where he found the fabled version of Ivy style he had been dreaming of. Students effortlessly wearing neckties, chino pants, wool sweaters and flannel blazers. It was everything Ishizu had wanted the Japanese youth to imitate, and when he arrived home, he set to work designing an ‘Ivy model’ suit, modelled on the Brooks Brother’s famed Number One Sack Suit.

After slowly developing VAN & Ivy awareness through Otoko no Fukushoku (now named ‘Men’s Club‘) Ishizu unveiled the brand’s first complete Ivy line in 1962. But once again, the colourful blend of blazers and chinos was not well received, particularly by retailers who refused to stock it for fear it was too niche.

1960s – Take Ivy

In Spring 1963, Ishizu would connect with another Ivy fanatic and Men’s Club writer – Toshiyuki Kurosu. The two would both spend hours writing & speaking of Ivy style, and Kurosu would go on to create a column titled ‘Ivy Leaguers on the Street‘, which was supplemented with images he had taken on the streets of Ginza of those that were adopting the new look.

These editorial efforts, alongside a hugely influential photobook detailing American students wearing Ivy League style titled ‘Take Ivy‘ by photographer Teruyoshi Hayashida, resulted in the popularisation of the style in Japan.

Soon, the streets of Ginza were flooded with individuals wearing a Japanese interpretation of American prep, and one brand everyone wanted, was VAN.

Throughout the 1960s and 70s, the groundwork that Ishizu, VAN and Kurusou laid was starting to snowball.

American Ivy Leaguers had switched from sweater vests and chinos to torn denim & T-shirts. Civil rights movements, the Vietnam War and the Cuban Missile Crisis had conjured up an air of counterculture in the U.S., and it was directly assimilated on the streets of Japan. Young men were beginning to reject the work-first lifestyle and began adopting a more casual one, and it manifested through a certain fabric…

Denim.

Denim represented everything about America that Japan loved – it was the symbol for freedom, for rebels, for those who did as they pleased, and went about it in a way that didn’t please others. Wearing a pair of jeans was a statement of counter-culture, and it quickly became translated into Japanese. The blue legwear flooded the streets of Japan, covering the country’s youth like a great denim wave off Kanagawa.

1970s – The birth of POPEYE

Japan in the ’70s was moving faster than it ever had. Stylistically, more had been said in the last ten years than it had the previous fifty. It was a melting pot of music, fashion and print, and one of the most important publications of all would spread its wings in 1976 – POPEYE Magazine.

POPEYE, now a cult magazine even among those who can’t read it, was originally founded when two editors, Yoshihisa Kinameri & Jirō Ishikawa, were working on two American-inspired publications titled ‘Ski Life‘ & ‘Made in U.S.A.’ The two publications were so well received by the new Americana-obsessed population that their publisher, Heibon, made them an offer to produce their own magazine…

The pair leapt at the chance and were convinced that the next big thing in Japan was to be West Coast culture. So, they grabbed the first flight to L.A. to study first-hand the Californian surf & skate culture.

Ishikawa wanted to name the new magazine ‘City Boys‘, a popular term associated with Japan’s new urban youth, but Kinimeri wanted ‘POPEYE’, inspired by the American cartoon character, but also because it meant having an ‘eye’ on ‘pop.’ So, it was settled, the magazine would be called ‘POPEYE – Magazine for City Boys’

The magazine functioned differently from those at the time, opting to show hundreds of products across its pages with corresponding prices and retailers. Opening an issue of POPEYE was a portal to a world of the latest Japanese-American style; it was a manual for getting whatever City Boy look you wanted, and it spread like wildfire on the streets of Tokyo.

1980s – Japanese streetwear

By the late ’80s, Japan had transitioned from one of the most stylistically uniform countries to one of the most stylistically diverse. Each day, people were trying new things and reinterpreting Western trends as their own, but it was POPEYE’s fascination with West Coast Culture combined with a certain individual, Hiroshi Fujiwara, that held the key to Japan’s next style evolution.

Fujiwara was one of the main heads in Tokyo’s music & design scene at the time and by all accounts, potentially one of Japan’s first influencers. People looked to him for anything fashion and music-related, a status that would earn him the title of ‘best dressed‘ at an underground party called ‘London Nite‘ and as a token of recognition, he received a free trip to London to meet Vivienne Westwood & her partner Malcolm McLaren.

Fujiwara’s time in London was hugely influential, largely thanks to his introduction to New York hip-hop by McLaren. He returned to Tokyo with a crate of records and a mission to spread the addictive sound among the city’s youth.

For the same reasons they had fallen in love with Ivy League & denim, Japan fell in love with hip-hop. It was against the grain and unapologetically American. Japanese rap groups began to surface, and one of them was Fujiwara’s seminal group, ‘Tinnie Pax’.

The new hip-hop scene would bring together creatives in a new way, with names such as Jun “Jonio” Takahashi and Nigo attending Fujiwara’s famed hip-hop nights at Tokyo’s nightclubs. Turned on by the loose-fitting, relaxed garb donned by Wu-Tang Clan, Run DMC & De La Soul, Fujiwara & co. found themselves competing against one another to acquire the latest American streetwear labels, predominantly Stussy.

This new infatuation would segue to the first Japanese streetwear brands, with Nigo creating A Bathing Ape, Takahashi and Undercover & Fujiwara’s Good Enough. The designs were bold – you’ve only got to look towards A Bathing Ape’s catalogue of loud camouflage jackets and neon Bapestas to understand that Japanese streetwear was here to be heard.

1990s – Americana reproduction

By the 1990s, the foundations laid by VAN, Men’s Club, and POPEYE had evolved into something far bolder. Good Enough, Undercover, and A Bathing Ape were not just brands; they were cultural catalysts. Each represented a new era of Japanese streetwear that would define global fashion for decades to come. Fujiwara’s Good Enough introduced the notion of limited drops. Nigo’s A Bathing Ape commercialised streetwear with spectacle camo patterns and cartoon graphics. Takahashi’s Undercover blurred the lines between punk, fashion, and conceptual art, bridging Harajuku and Paris.

The brands became blueprints – not only for how to build streetwear labels but how to root them in subculture and elevate them into cultural institutions. Their success opened doors for countless others: WTAPS, Neighborhood, Visvim, White Mountaineering, and more. They proved that Japan wasn’t just part of the global fashion conversation – it was leading it.

And while one thread of Ametora led toward futuristic silhouettes and streetwise rebellion, another doubled down on reverence for the past. Brands like The Real McCoy’s, Buzz Rickson’s, and Freewheelers operate with near-obsessive historical accuracy, reproducing military garments, denim, and workwear with a level of craftsmanship that often surpasses the originals. At the other end of the spectrum sits Kapital – a brand that manages to honour tradition while blending it into something artful, unexpected, and unmistakably Japanese.

Together, these opposing but interconnected forces form the full picture of Ametora. On one side – reproduction & preservation; on the other, innovation and disruption. Both are rooted in an enduring admiration for Americana.

In the world of Ametora, America may have provided the raw material, but Japan reshaped it, refined it, and ultimately redefined it. From Ivy to indigo, prep to punk, camo to cut-and-sew – the story of Ametora is proof that style, when filtered through a lens of precision, passion, and cultural sensitivity, can transcend its origins. In doing so, it becomes something greater: a language not of imitation, but of transformation.

by Henry Robinson, Proper |  Read more:

Images: uncredited and via

[ed. Learned something new today: Ametora. Fascinating history (with trend-setting styles still evolving and being produced). Additional pictures at the link. See also: 'Ametora': How American style changed Japanese fashion forever (ST).]

K-Beauty Boom Explodes

On a recent Saturday at an Ulta Beauty store in midtown Manhattan, Denise McCarthy, a mother in her 40s, stood in front of a wall of tiny pastel bottles, tubes and compacts. Her phone buzzed — another TikTok from her 15-year-old daughter.

“My kids text me the TikToks,” she told CNBC, scooping Korean lip tints and sunscreens into her basket, destined for Christmas stockings. “I don’t even know what half of this does. I just buy the ones they send me.”

Two aisles over, a group of college students compared swatches of Korean cushion foundations. A dad asked a store associate whether a viral Korean sunscreen was the one “from the girl who does the ‘get ready with me’ videos.” Near the checkout, a display of Korean sheet mask mini-packs was nearly empty.

Scenes like this are playing out across the country.

Once a niche reserved for beauty obsessives, Korean cosmetics — known as K-beauty — are breaking fully into the American mainstream, fueled by TikTok virality, younger and more diverse shoppers, and aggressive expansion from retailers such as Ulta, Sephora, Walmart and Costco.

K-beauty sales in the United States are expected to top $2 billion in 2025, up more than 37% from last year, according to market research firm NielsenIQ, far outpacing the broader beauty market’s single-digit growth.

And even as trade tensions complicate supply chains, brands and retailers told CNBC the momentum is strong.

“We have no plans of slowing down and see more opportunities to penetrate the market,” said Janet Kim, vice president at K-beauty brand Neogen.

In the first half of 2025, South Korea shipped a record $5.5 billion worth of cosmetics, up nearly 15% year over year, and has become the leading exporter of cosmetics to the U.S., surpassing France, according to data from the South Korean government.

“The growth has been remarkable,” said Therese-Ann D’Ambrosia, vice president of beauty and personal care at NielsenIQ. “When you compare that to the broader beauty market, which is growing at single digits, K-beauty is clearly operating in a different gear right now.” (...)

The ‘second wave’

Over the past decade, there’s also been a rise in Korean entertainment in the U.S. — from pop groups such as BTS and Blackpink to this year’s Netflix hit “KPop Demon Hunters” —which has helped push South Korea’s cultural exports to unprecedented popularity.

“Korean culture has exploded on every front, and that has really shown up when it comes to K-beauty,” Dang said.

K-beauty’s “first wave,” which hit the U.S. in the mid-2010s, was defined by “glass skin,” 10-step routines, snail mucin, cushion compacts and beauty blemish creams. Most products catered to lighter skin tones, and distribution was limited to small boutiques, Amazon sellers and early test placements at Ulta and Sephora, beauty experts said.

“The first wave had some penetration, but nothing like today,” Horvath said. “It was mostly people in the know.”

The second wave has been bigger, faster and far more inclusive. It has spanned color cosmetics, hair and scalp care, body care, fragrances and high-tech devices.

TikTok is the central engine of discovery, especially for Gen Z and millennial shoppers, who account for roughly three-fourths of K-beauty consumers, according to a Personal Care Insights market analyst report. Posts tagged “K-beauty” or “Korean skin care” draw 250 million views per week, according to consumer data firm Spate. And viral products with sleek packaging often vanish from shelves faster than retailers can restock — particularly those that combine gentle formulas and low prices, Dang said.

“TikTok has changed the game,” Horvath said. “It’s easier to educate consumers on innovation and get the word out. Brands are deeply invested in paying influencers, and TikTokers talk about textures, formulas and efficacy.” (...)

The trend is visible across the Americas: 61% of consumers in Mexico and nearly half in Brazil say K-beauty is popular in their country, compared with about 45% in the U.S., according to Statista.

“Traditional retail and e-commerce remain important, but TikTok Shop is the standout disruptor,” said Nielsen’s D’Ambrosia. “It’s not just about the direct sales on that one platform; it’s about how it’s changing the entire discovery and purchase journey.”

But the second wave brings its own risks. A heavy dependence on virality could expose brands to sudden algorithm changes or regulatory scrutiny, D’Ambrosia said.

“When you have so much growth concentrated on one platform [such as TikTok], algorithm changes could significantly impact discoverability overnight,” D’Ambrosia said. “We’ve seen what happens when platforms tweak their recommendation engines. ... There are definitely some caution flags we’re watching.”

Rapid innovation

K-beauty’s staying power, Dang said, is rooted in an intensely competitive domestic Korean market. Trends move at breakneck speed and consumers spend more per capita on beauty than in any other country, according to South Korean research firm KOISRA.

South Korea had more than 28,000 licensed cosmetics sellers in 2024 — nearly double that of five years ago — creating a pressure-cooker environment that forces constant experimentation, said Neogen’s Kim.

“We develop about hundreds of formulas each day,” Kim told CNBC. “We build the library and we test results with clinical individual tests. ... Everything that’s very unique and works really well for skin care, we develop.”

Korean consumers churn through trends quickly, fueling a pipeline of upstart brands that can go viral and, in some cases, get acquired. For example, when gooey snail mucin, a gel used to protect and repair people’s skin, took off globally, skin care brand Amorepacific acquired COSRX, the small Korean brand that helped popularize the ingredient, for roughly $700 million.

The next wave of products, analysts predict, are likely to be even more experimental.

Brands are betting on buzzy ingredients such as DNA extracted from salmon or trout sperm that early research suggests may help calm or repair skin. They are also expanding into biotechnology.

“K-beauty is very data-driven. [Artificial intelligence] helps us get fast results for content, formula development, and advertising,” Kim said. “In Korea, they started talking about delivery systems. They’re very good with biotechnology.”

by Luke Fountain, CNBC |  Read more:

Image: Avila Gonzalez | San Francisco Chronicle | Hearst Newspapers | Getty Images

The Decline of Deviance

Where has all the weirdness gone?

People are less weird than they used to be. That might sound odd, but data from every sector of society is pointing strongly in the same direction: we’re in a recession of mischief, a crisis of conventionality, and an epidemic of the mundane. Deviance is on the decline.

I’m not the first to notice something strange going on—or, really, the lack of something strange going on. But so far, I think, each person has only pointed to a piece of the phenomenon. As a result, most of them have concluded that these trends are:

a) very recent, and therefore likely caused by the internet, when in fact most of them began long before

b) restricted to one segment of society (art, science, business), when in fact this is a culture-wide phenomenon, and

c) purely bad, when in fact they’re a mix of positive and negative.

When you put all the data together, you see a stark shift in society that is on the one hand miraculous, fantastic, worthy of a ticker-tape parade. And a shift that is, on the other hand, dismal, depressing, and in need of immediate intervention. Looking at these epoch-making events also suggests, I think, that they may all share a single cause.

by Adam Mastroianni, Experimental History |  Read more:

Images: Author and Alex Murrell

[ed. Interesting thesis. For example, architecture:]

***

The physical world, too, looks increasingly same-y. As Alex Murrell has documented, every cafe in the world now has the same bourgeois boho style:

Every new apartment building looks like this: