Fashion is having a kumbaya moment. From shoes to cosmetics, designers are celebrating the many hues of nude. Now, Naja has introduced Nude for all, a collection of intimate apparel in seven color options–from palest beige to very dark. All designed to enhance their wearer’s shape and body positivity.
Founders Catalina Girald and actress Gina Rodriguez wanted to create fashions that went beyond a pretty face and traditional lingerie model’s body. It is a brand with a strong point of view and reason for being. “There is nothing more encouraging than seeing the outpouring of love and necessity for inclusion. Not just in the industry, not just in our schools or workplace, but in our own journey of acceptance. To be seen, to be included, to be represented, to be uplifted, that is what this line is all about. Now we all get to go nude,” Rodriguez explained.
What Naja and other enlightened companies are saying is: diversity is beautiful. Candidates, take note.
I work out a lot and I’m a big fan of health trackers. But even the most slothful won’t be able to resist this delightful spot, appropriately titled “Dualities,” for the Fitbit Blaze. (Full disclosure: I’m a loyal Fitbit wearer.) From the music (Screamin’ Jay Hawkins’s “Little Demons”) to the action (a series of compellingly seamless match dissolves), the watch demonstrates in heart-pumping living color how exercise enriches even the most basic activities of daily living. The very definition of product as hero(ine).
AND TIED…On the other hand, there’s this, the very essence of a not-good-for-you food. Calorie content aside, was it really in the brand’s best interest to stake its intro on a confrontation between police and a civilian? With all the recent stories about tragic encounters, the spot screams “too soon.” Not to mention, unfunny and tasteless.
There goes the neighborhood
Art is not for the timid. Neither is (re)branding. Both provoke intense reactions and when the brand in question is an iconic museum, everyone’s a critic.
The Metropolitan Museum has—for a variety of reasons (new leadership and an expanded footprint among them)—decided not to leave well enough alone but to reinvent its much beloved logo. Launched in 1971, it is itself a work of art, with graphic elements combined in a harmonious whole, hinting at the art and architectural treasures residing within. It was a distinctive and much-desired marque.
But time marches on and the Met’s new administration wanted something more modern, more encompassing, friendlier and accessible. And it chose Wolff Olins, the design firm behind the controversial London Olympics and Tate logos, to refresh the museum’s identity.
Like the philistine who says, “I don’t know much about art, but I know what I like,” I loathe the new logo. It looks like a car wreck and the introductory ad appearing in today’s New York Times is equally a mess. Pretentious, inelegant copy and a layout with all the visual appeal of a letterhead.
Wolff Olins surely knows better than anyone the worth of a brand like the Metropolitan Museum—the values it embodies, the stories it tells and the promise it makes to its patrons. This rebrand upends all of that. It is a sacrilege and a slap to the face of a great institution (and the people who love it).
Don’t mess with The Met.