Moisturising masks with panda, unicorn or Barbie designs on the packaging: cosmetics brands are targeting a generation of children raised on social‑media beauty routines, exposing them to unnecessary and potentially harmful products, dermatologists warn.
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Like many celebrities, Canadian actress Shay Mitchell announced in early November that she was launching her cosmetics brand, Rini. Unusually, the range is aimed at children from the age of three.
On its website, the brand offers moisturising, after‑sun or everyday masks featuring a unicorn, a panda or a puppy, at around €5 each.
She is far from alone. Many brands are eyeing what they see as a lucrative market. Founded in 2018, Evereden, another fast‑growing U.S. brand with sales of over $100 million, sells “mists”, toners and moisturisers aimed at pre‑teens.
But “children don’t need cosmetics, apart from hygiene products, of course — toothpaste and shower gel — and sun protection products, when there’s exposure,” Laurence Coiffard, a professor of pharmacy at the Faculty of Nantes specialising in cosmetology, told AFP.
Endocrine disruptors
If social media are any guide, young people in Generation Alpha are trying out skincare and beauty routines at an increasingly early age. Dubbed the “Sephora Kids”, some imitate their favourite influencers from as young as seven, showing off their purchases on YouTube or TikTok.
The Chinese social network says it has attracted a growing number of brands since the launch of TikTok Shop. In France, the number of brands present is said to have risen from 5,000 to 16,500 in the space of six months. And beauty is the leading sector represented, according to its head for France and Southern Europe, Arnaud Cabanis.
But what may look like a game to children is not without risk, professionals insist. Scientific studies have shown that using adult cosmetics packed with chemicals exposes them to endocrine disruptors and phytoestrogens, which can interfere with hormonal development and increase the risk of skin allergies, explains Laurence Coiffard.
To study this phenomenon, Molly Hales and Sarah Rigali, American researchers at Northwestern University in Chicago, spent several months posing as 13‑year‑old girls on TikTok. They then analysed 100 beauty videos posted by 82 profiles of minors — and published their findings in June in the US journal Pediatrics.
In one of the videos, a child developed a rash and burns after applying 14 different products to her face. Another recounted waking at 4.30am to do her beauty “routine” before going to school. “I was shocked by the scale of what I was seeing in these videos, particularly the sheer number of products these girls were using,” Molly Hales told AFP.
‘Distorted self-image’
On average, the videos featured six products, often anti‑ageing creams intended for adults, at a typical cost of €145. In 25 videos analysed in detail, the products contained on average 11 — and up to 21 — substances potentially irritating to children’s skin.
Among the most popular brands are Glow, Drunk Elephant and The Ordinary, which present themselves as healthy, natural alternatives to their chemical‑laden competitors.
“Children are naturally curious,” says Rini co‑founder Shay Mitchell on Instagram, “so we might as well offer gentle, safe products that parents can trust.”
Beyond their potentially harmful effects, these products “perpetuate a certain beauty norm” by normalising the use of a “very expensive and time‑consuming” array of beauty treatments, notes Molly Hales.
On a psychological level, “the risk is to give the child a distorted, even eroticised, self‑image,” warned Pierre Vabres, a member of the French Dermatology Society, at a press conference in Paris in November. “Just as a child is not a miniature adult,” he insisted, “a cosmetic is not a toy.”
(with AFP)
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Add designer to Jaden Smith’s considerable list of professions- along with actor, singer, and rapper- after the Californian creator dreamed up an impressive Dadaist display for his debut at Christian Louboutin.
Jaden Smith’s take on the world of Christian Louboutin – FashionNetwork.com
Evoking a whole plethora of influences from Greek mythology and the Great Paris Exhibitions to Dadaism and the great movement for Civil Rights, in an elaborate set in a disused warehouse in Montparnasse. Mount Parnassus, you will recall, was the home to nine muses in arts and sciences.
Two fine works of footwear even had Greek names: The Plato Loafer, a 2017 model with Swisscheese like holes, which Smith updates with the new Neo CL signature on a steel silver coin. And the Asclepius Sling- named after the ancient god of medicine- with the same emblematic coin detail and metallic hardware on the backstrap.
“I brought my personal interest on Greek mythology in as I thought it would resonate with people, as humans at the end of the day are all very similar. I’m combining my perspective of being an African American designer, linked to my more Dadaist thinking into the heritage of a French maison,” explained courteous 27-year-old.
Mythology meets luxury – FashionNetwork.com
Close by stood a Nam June Paik worthy mound of TVs, with video showing images of Martin Luther King’s 1963 March on Washington, The Sphinx, and clips from Dadaist filmmaker Hans Richter.
“That art piece is about the overdose of information we experience. This revolution that we are in the midst of right now. And the fact that information is being thrown at us all the time. And the psychological effects of looking at 10 screens at the one time. While also drawing correlations between my ancestry and Christian’s ancestry, and the history of art,” said Smith, attired in a giant gangster jeans, an oversized parka and pearl encrusted beanie.
Another installation was a broken temple with fluted columns on which were perched Jaden’s new bags. Notably a series of humungous backpacks and biker satchels, some with a dozen exterior zippered pockets with gold lettering reading- coins, pills, keys, tools, phone, documents, phones, and chargers. Alongside a surrealist tote finished like a bucket of overflowing paint and a Dadaist style back made in a black and white photo of an urban madding crowd.
Creator Jaden Smith – FashionNetwork.com
The whole space was dubbed Christian Louboutin Men’s Exhibition, as a small group of models bathed, inevitably, in red light, circulated wearing the new footwear and bags. Large red fabric rolls made into benches allowed one to enjoy a large video montage, including Jaden as a Wagnerian hero posed in front of gothic castles. Which is where we spotted founder Christian Louboutin, in a video stirring a large vat of red paint, before symbolically handing over a paintbrush to Jaden.
“It’s about craftmanship, extreme luxury, and highest level of design. That’s what Christian Louboutin is all about,” said Smith, describing the brand’s DNA.
Eyebrows were raised when Christian appointed Jaden to the position of creative director, as Parisian designers with two decades long CVs gritted their teeth that an untrained talent got such a coveted position. However, judging by this display, Jaden Smith has the chops, talent, and grace to be very effective in this role.
One suspects the gods of style and time are probably rather pleased.
To coincide with Milan Fashion Week, the S|STYLE 2025- Denim Lab is setting up at Fondazione Sozzani for an edition devoted to the future of sustainable denim and water management in the textile industry. Led by the S|STYLE Sustainable Style platform, founded in 2020 by independent journalist and curator Giorgia Cantarini, this initiative forms part of an ongoing programme of research and experimentation into responsible innovations applied to contemporary fashion.
Designers brought together for the S|STYLE 2025 – Denim Lab project – Denim Lab
The exhibition, open to the public on September 27 and 28, features a site-specific art installation by Mariano Franzetti, crafted from recycled and regenerative denim. Conceived as an immersive experience, it brings fashion design, technological innovation and artistic expression into dialogue.
Water: a central issue in fashion sustainability
Developed in collaboration with Kering‘s Material Innovation Lab (MIL), the Denim Lab brings together a selection of young international designers invited to create a denim look using low-impact materials and processes. They benefit from technical support and access to textiles developed with innovative technologies aimed at significantly reducing water consumption, chemical use, and the carbon footprint of denim production.
This edition places water at its core, an essential issue for a fabric whose production has traditionally demanded substantial volumes of water, from cotton cultivation through to dyeing and finishing. Denim therefore serves as an emblematic testing ground, both familiar and closely associated with the environmental challenges facing the fashion industry.
Outfit created for the Denim Lab by designer Gisèle Ntsama, one of the participants – Maison Gisèle
The fabrics were developed by PureDenim Srl, a specialist in low-impact dyeing techniques, while treatments and finishes were applied by Tonello Srl, a recognised leader in sustainable washing and finishing technologies. The selected designers, from Europe, Asia, and Africa, each offer a distinctive interpretation of denim, blending formal exploration, textile innovation and reflection on the contemporary uses of clothing.
Next has won the bidding race to take over the Russell & Bromley premium footwear business, ending almost a century-and-a-half of family ownership.
Russell & Bromley
Working with bidding partner and stock clearance specialist Retail Realisation, it’s set to takeover the 147-year-old retailer under a pre-pack administration deal.
Crucially, it means 33 of the company’s standalone stores/outlets and nine concessions (many of them in Fenwicks branches) are likely to eventually close.
The extent of the challenges Russell & Bromley faced can be seen from the fact that this is only a £2.5 million cash deal. Next is also paying £1.3 million for some of the retailer’s current stock with Retail Realisation handling the clearance of the rest.
Assuming the deal gets court approval on Wednesday afternoon, Next will own the intellectual property and just three of the stores.
Those stores are in London’s Chelsea and Mayfair, as well as the Bluewater shopping centre in Kent. Interestingly, that Bluewater store is just a stone’s throw away from the former House of Fraser branch that this year will reopen as a Next megastore.
The remaining stores and concessions will continue to trade for “as long as [they] can” as Interpath’s Will Wright and Chris Pole “assess options for them”. Russell & Bromley currently has around 440 employees.
A source close to another bidder, Auralis, told The Times it was disappointing that its offer, which aimed to safeguard jobs and stores, wasn’t given greater priority by those running the sale.
Russell & Bromley CEO Andrew Bromley called the sale decision a “difficult” one but insisted it’s “the best route to secure the future for the brand… we would like to thank our staff, suppliers, partners and customers for their support throughout our history”.
So what are Next’s plans now. That’s not clear. There had been a lot of attention focused on its likelihood of closing the store chain in the run-up to the sale but on Wednesday, Next said that it will “build on the legacy” of the business and “provide the operational stability and expertise to support Russell & Bromley’s next chapter”.
Next had also been reported to be eyeing a similar deal for LK Bennett, but Sky News reported that it has stepped away from this.
It remains one of the most acquisitive retailers on the UK high street, however, and in recent years has bought brands such as Cath Kidston, Joules, FatFace, Made and Seraphine. It also has deals to handle other key brands in the UK market such as Gap, Victoria’s Secret and Laura Ashley.