This is a perfect example of how white left wing liberal culture is not actually that much more progressive than their right wing counterparts.
””“African Paradise”“”” bc Africa is one homogenous nation lmao
African Paradise is made up of ingredients found all over Africa and in using those ingredients, LUSH can support the communities that harvest them. This is a GOOD thing for communities whose only source of revenue is the ingredients they harvest and sell. Don’t bash something you don’t understand or research. LUSH buys ingredients at fair prices and is one of the few cosmetics companies to have an entire buying team dedicated to buying ingredients ETHICALLY.
So are you just going to ignore the fact that they are homogenizing Africa and that this picture is the epitome of white saviourism or….
As an artist who goes to a school recognized for their design program the way this photo was taken was no small mistake and the design of this page was thoroughly planned and it is actually really disgusting.
Let’s break it down,
there’s only one child who’s face is visible which gives just enough personality to make readers understand the children are happy this woman is here, but not enough faces to individualize each child. Coupled with the fact we only see the rest of the children’s back heads, the viewer assumes all the children are happy without giving each of them an individual identity - blatant homogenizing in an extremely literal sense
The arms of the children all point to and frame the title of the piece and direct the viewer’s eyes to the name and face of the woman, not only are the children not identifiable by face, but also by lack of name (LUSH probably wouldn’t have wanted to go through the trouble of getting their consent for their names anyway, but but also don’t want them identified as anything other than ‘those children who need help’. And that’s if they’d even actually consent, or even fully consented to being in this photograph)
Probably the most recognizable part is how she stands above the children as they raise their arms to her, palms open, like how much more blatantly “I’m a savior” could you get? - combined with the idea that the article is about a product, the open palms make it look like they’re basically begging for it (despite what they’re actually doing is wanting to play with the bubbles, see that one bubble you can barely notice to the left of the woman’s description?)
Several children are even cut out of frame and reduced to arms whose only purpose is to frame the title and lead you to the woman’s face. The children are literally being used as props and that is SO OVERWHELMINGLY INTENTIONAL FROM THE PHOTOGRAPHERS/EDITORS SIDE IT INFURIATES ME
ALSO THERE’S ONE BUBBLE TO THE TOP RIGHT I CAN BET YOU DOLLARS MANY MANY DOLLARS
That there were other bubbles throughout the photo that were photoshopped out to increase the “children happily accepting help” schtick (One kid far left looks like they just caught one or missed one there should no doubt be more bubbles throughout the photo)
AUGH LIKE this photo is SO HUGELY REFERENTIAL to SO MANY pieces I’ve learned about in Art History and guess which ones remind me of this painting include? Yeah you guessed it basically anything involving Jesus or Mary or one of the Saints or Angels. So add appropriating biblical or christian imagery as a means to uphold and justify racist white savior bullshit (HELLO 17th century european slave trade)
This is so infuriating to me as an art student because I KNOW whoever made this page stared long and fucking hard at the same flipping text books as I did and understands the implications and impact that something like this has on the mind of a consumer and instead of just using another photo they promptly USED IT TO SELL A PRODUCT
I hate advertising so much 80% of the industry is just a pool of scum a pool of sexist racist scum I tell you
“I’m sitting here thinking of all the things I wanted to apologize to you for. All the pain we caused each other. Everything I put on you. Everything I needed you to be or needed you to say. I’m sorry for that. I’ll always love you because we grew up together. You helped make me who I am. I just wanted you to know, there will be a piece of you in me always. And I’m grateful for that. Whatever someone you become and wherever you are in the world, I’m sending you love. You’re my friend to the end.”
“It hurts to let go. Sometimes it seems the harder you try to hold on to something or someone the more it wants to get away. You feel like some kind of criminal for having felt, for having wanted. For having wanted to be wanted. It confuses you, because you think that your feelings were wrong and it makes you feel so small because it’s so hard to keep it inside when you let it out and it doesn’t coma back. You’re left so alone that you can’t explain. Damn, there’s nothing like that, is there? I’ve been there and you have too. You’re nodding your head.”
During the scene when Mulan decides to go to war instead of her father, she decides to do it while sitting on the foot of the Great Stone Dragon. The image of the dragon looking over Mulan is repeatpred several times throughout the sequence, and the bolts of lightning strike at significant times whenever the dragon is in sight. When Mulan takes her father’s scroll and when she is praying to her ancestors, the Great Stone Dragon can be seen. It is also engraved on the sword Mulan uses to cut her hair and the handles of the wardrobe containing the armor are in the shape of the dragon’s head. The dragon’s eyes glowing in the temple symbolizes Mulan’s role as protector of her family awakening, instead of the actual dragon.
The reason Mushu couldn’t wake the dragon is because the dragon was no longer there. Mulan is implied to be the Great Dragon that protects her family.