Tag Archive for: beauty

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Vacheron Constantin, the luxury Swiss watchmaking ‘Into The Light’ A tribute to the beauty of hidden details

Vacheron Constantin, the luxury Swiss watchmaking ‘Into The Light’ A tribute to the beauty of hidden details

March 22nd, 2023 – Vacheron Constantin, the luxury Swiss watchmaking Maison with nearly 270 years of expertise and continuous history, is delighted to announce its Ramadan 2023 tale, ‘Into The Light’. An illuminated journey bringing together Middle East culture and the Maison’s commitment to watchmaking excellence and finest craftsmanship. 

Light is an ancient timekeeper with its dawns and dusks that marks the passage of each day. It is of particular importance during the Holy Month of Ramadan. Vacheron Constantin recognizes the tradition of timekeeping, honoring it with ‘Into The Light’. 

The Tale 

Celebrating timeless traditions in honor of the Holy Month of Ramadan, ‘Into The Light’ is both modern and inspired from the past. The tale transports viewers on a unique and beautiful journey into a traditional lantern, the ‘fanoos’. The lantern opens its door to reveal a hidden Arabian city located in the desert lit by the glimmering moonlight. Its buildings are inspired by iconic Islamic architecture found in different parts of UAE, Saudi Arabia, Qatar, Kuwait and Bahrain. Navigating through the city, viewers arrive in front of a door designed to resemble a watch caliber showcasing the incredible craftmanship and finishing of the timepiece. The caliber is seen shinning and the beautiful light that comes out of it starts to illuminate the entire city and bringing life under the night sky. Viewers are then transported back outside the city, all the way through the ‘fanoos’ door showing the lit lantern that projects a beautiful mashrabiya pattern on the walls, inspired from Islamic art, a beautiful symbol that reflects the spirituality and radiance of Ramadan. 
As the light is being unlocked at the completion of the pattern, the viewer understands the strong correlation between Islamic architecture, artfulness of mashrabiya patterns, and elements of a Vacheron Constantin caliber. These three elements share a commonality that is their perfect geometry. Serving both functional and aesthetical purposes in a very harmonious way, the perfect geometrical patterns appear to be at the foundation of the heritage of the region and the Maison.

The Ultimate Ramadan Elegance with Vacheron Constantin’s timepieces 

Égérie Creative Edition 

The Égérie Creative Edition timepiece draws on the decorative craftsmanship that has been an integral part of the Manufacture since the early 19th century. It echoes the silhouettes of the 21st century. Its asymmetrical features including the off-centre moon-phase display and the case’s integrated crown set with a rose-cut diamond between 1 and 2 o’clock accentuate the delicacy of the “embroidered” dial swept over by three graceful hands specially designed for the watch.

Égérie moon phase 

Haute Horlogerie instils the technical sophistication so dear to Vacheron Constantin and the legacy of the asymmetrical displays that have marked its history, while Haute Couture endows Égérie with style, magnificently refined shapes, attention to detail and delicate textures. Égérie moon phase jewellery is first and foremost an exceptional aesthetic appeal, a refined silhouette with an impeccable fit on the wrist. Available in three versions, A full diamond-set version: Égérie moon phase jewellery, A diamond-set dial and case version: Égérie moon phase diamond-paved and a new model with a flowing pink gold bracelet: Egérie moon phase.

Patrimony perpetual calendar ultra-thin 

The Patrimony perpetual calendar ultra-thin watch beats to the rhythm of the legendary 1120 QP calibre, an ultra-thin selfwinding movement. With its sleek lines embodying quintessential elegance, this version treats connoisseurs to unrivalled contemporary refinement. The perpetual calendar complication requires miniaturisation prowess in that the movement must be mechanically adjusted to deal with calendar irregularities. This miniaturisation has been pushed to the limit in order to create an ultra-thin perpetual calendar, with Vacheron Constantin’s Calibre 1120 QP measuring a mere 4.05 mm thick.

Traditionnelle complete calendar 

The classically inspired Traditionnelle complete calendar – with its stepped round case and lugs, fluted caseback and railway minute-track swept over by Dauphine-style hours and minutes hands – retains Vacheron Constantin’s signature touch of originality in the display of the calendar indications. The day and month windows are positioned around the rim of the dial, while the date is shown by a dedicated pointer. This layout particularly highlights a precision moon phase located at 6 o’clock. Powered by Calibre 2460 QCL/1, the Traditionnelle complete calendar watch features a 22K gold openworked oscillating weight with a design inspired by the Maison’s Maltese cross emblem, the movement visible from the back bears all the finishing touches one would expect from an Haute Horlogerie calibre.

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The beauty of imperfection: Daniel Arsham’s 356 Bonsai
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The beauty of imperfection: Daniel Arsham’s 356 Bonsai

The beauty of imperfection: Daniel Arsham’s 356 Bonsai

In his latest project, Daniel Arsham bows down before Japanese craftsmanship: it is based on his 1955 Porsche 356 Speedster, the American artist has reconceived the nearly 70-year-old sports car – laying bare the raw materials that make up the car and embracing the rich history of the vehicle through the Japanese aesthetic concept, Wabi Sabi.

Over the span of two years, Arsham took steps to reveal the vehicle’s age and wear, leaning into the car’s production history, inspired by Arsham’s reverence towards Japanese culture and its many specialized craftspeople. The acceptance of ‘imperfection’ and finding peace in the natural processes of time come through in both the stripped-down raw metal exterior and the indigo-dyed interior of the 356 Bonsai.

For the exterior of the 356, Arsham has stripped all of the paint from the car, removing the original finish and years of restorations, revealing all of the welds, pit marks, and natural wear over the course of time. Now, only a layer of linseed oil protects the raw metal from the elements, in accordance with original Japanese manufacturing processes. On the rear engine grille of the vehicle, Arsham has added a patinated bronze relief in the shape of a Bonsai tree. However, the patinated exterior does not stop at the body, as the artist also found all-original well-worn components for the rest of the exterior – from the headlight covers to the vintage license plate.

Though the exterior of the car may appear worn, the 356 Bonsai is fully drivable, with all components related to function, including the original numbered engine, having been restored to off-the-factory-floor level. For the technical works, Arsham collaborated with Willhoit Auto Restoration and the Bridgehampton Motoring Club.

“The 356 sits in such an interesting position within the Porsche catalog as the starting point for the heritage brand,” says Arsham. “The nearly 70-year-old vehicle contains the roots of the modern Porsche brand that we know and love in the purest form.”

The beauty of imperfection: Daniel Arsham’s 356 Bonsai
The beauty of imperfection: Daniel Arsham’s 356 Bonsai

Textiles rich in tradition and old processing techniques

Arsham ruminates, “Throughout my career, I have looked to Japan as a source of inspiration for their love and dedication to craft. These sensibilities were the base for the Bonsai 356. We produced all textiles in Japan using traditional craftsmen.”

For the interior of the vehicle, the artist worked alongside Japanese fashion designers Motofumi ‘Poggy’ Kogi and Yutaka Fujihara to outfit the complete interior with traditional Japanese fabrics from boro patchwork to Japanese selvedge denim. For the driver and passenger seat, along with the boot cover, these are made of indigo-dyed boro patchwork textiles. Originally, this Japanese mending technique was used to extend the quality and durability of garments, embracing the natural wear and tear of local workwear. Alongside the boro, Arsham added more indigo-dyed cotton fabric punctuated with sashiko-stitched lines on the door trim and edge of the seats. As the final fabric, Arsham and team produced a Japanese denim to upholster the roof, covering the car’s interior. These three fabrics come together to enhance the Wabi Sabi influence on the car as a whole – selectively choosing materials that are intended to progress with use and age.

In the trunk, a Japanese tatami mat sits under the spare wheel in the luggage compartment. Made of rice straw, these mats are a classic element of Japanese architecture, and are usually fitted as a floor covering in living areas. The connection between the car interior and home architecture is a detail that nods to the artist’s admiration of omotenashi, like wabi-sabi, better experienced than explained: warmth and the welcoming of guests into a household.

About Daniel Arsham

Daniel Arsham was born on 8 September 1980, in Cleveland, Ohio and raised in Miami, Florida. As an iconic artist of our time, Arsham breathes new life into the everyday, experimenting structurally to connect past, present and future in unexpected forms. His work is distinguished by subtle changes, in particular when he amalgamates objects in order to transform familiar structures. The 356 Bonsai is Arsham’s third project involving a car from the Zuffenhausen-based sports car manufacturer. Porsche Japan plans to exhibit the 356 Bonsai in Tokyo at the end of the year.

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The beauty of imperfection: Daniel Arsham’s 356 Bonsai
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The beauty of imperfection: Daniel Arsham’s 356 Bonsai

The beauty of imperfection: Daniel Arsham’s 356 Bonsai

In his latest project, Daniel Arsham bows down before Japanese craftsmanship: it is based on his 1955 Porsche 356 Speedster, the American artist has reconceived the nearly 70-year-old sports car – laying bare the raw materials that make up the car and embracing the rich history of the vehicle through the Japanese aesthetic concept, Wabi Sabi.

Over the span of two years, Arsham took steps to reveal the vehicle’s age and wear, leaning into the car’s production history, inspired by Arsham’s reverence towards Japanese culture and its many specialized craftspeople. The acceptance of ‘imperfection’ and finding peace in the natural processes of time come through in both the stripped-down raw metal exterior and the indigo-dyed interior of the 356 Bonsai.

For the exterior of the 356, Arsham has stripped all of the paint from the car, removing the original finish and years of restorations, revealing all of the welds, pit marks, and natural wear over the course of time. Now, only a layer of linseed oil protects the raw metal from the elements, in accordance with original Japanese manufacturing processes. On the rear engine grille of the vehicle, Arsham has added a patinated bronze relief in the shape of a Bonsai tree. However, the patinated exterior does not stop at the body, as the artist also found all-original well-worn components for the rest of the exterior – from the headlight covers to the vintage license plate.

Though the exterior of the car may appear worn, the 356 Bonsai is fully drivable, with all components related to function, including the original numbered engine, having been restored to off-the-factory-floor level. For the technical works, Arsham collaborated with Willhoit Auto Restoration and the Bridgehampton Motoring Club.

“The 356 sits in such an interesting position within the Porsche catalog as the starting point for the heritage brand,” says Arsham. “The nearly 70-year-old vehicle contains the roots of the modern Porsche brand that we know and love in the purest form.”

The beauty of imperfection: Daniel Arsham’s 356 Bonsai
The beauty of imperfection: Daniel Arsham’s 356 Bonsai

Textiles rich in tradition and old processing techniques

Arsham ruminates, “Throughout my career, I have looked to Japan as a source of inspiration for their love and dedication to craft. These sensibilities were the base for the Bonsai 356. We produced all textiles in Japan using traditional craftsmen.”

For the interior of the vehicle, the artist worked alongside Japanese fashion designers Motofumi ‘Poggy’ Kogi and Yutaka Fujihara to outfit the complete interior with traditional Japanese fabrics from boro patchwork to Japanese selvedge denim. For the driver and passenger seat, along with the boot cover, these are made of indigo-dyed boro patchwork textiles. Originally, this Japanese mending technique was used to extend the quality and durability of garments, embracing the natural wear and tear of local workwear. Alongside the boro, Arsham added more indigo-dyed cotton fabric punctuated with sashiko-stitched lines on the door trim and edge of the seats. As the final fabric, Arsham and team produced a Japanese denim to upholster the roof, covering the car’s interior. These three fabrics come together to enhance the Wabi Sabi influence on the car as a whole – selectively choosing materials that are intended to progress with use and age.

In the trunk, a Japanese tatami mat sits under the spare wheel in the luggage compartment. Made of rice straw, these mats are a classic element of Japanese architecture, and are usually fitted as a floor covering in living areas. The connection between the car interior and home architecture is a detail that nods to the artist’s admiration of omotenashi, like wabi-sabi, better experienced than explained: warmth and the welcoming of guests into a household.

About Daniel Arsham

Daniel Arsham was born on 8 September 1980, in Cleveland, Ohio and raised in Miami, Florida. As an iconic artist of our time, Arsham breathes new life into the everyday, experimenting structurally to connect past, present and future in unexpected forms. His work is distinguished by subtle changes, in particular when he amalgamates objects in order to transform familiar structures. The 356 Bonsai is Arsham’s third project involving a car from the Zuffenhausen-based sports car manufacturer. Porsche Japan plans to exhibit the 356 Bonsai in Tokyo at the end of the year.

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The beauty of imperfection: Daniel Arsham’s 356 Bonsai
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La belleza de la imperfección: el bonsái 356 de Daniel Arsham

La belleza de la imperfección: el bonsái 356 de Daniel Arsham

En su último proyecto, Daniel Arsham se inclina ante la artesanía japonesa: está basado en su Porsche 356 Speedster de 1955, el artista estadounidense ha vuelto a concebir el automóvil deportivo de casi 70 años, dejando al descubierto las materias primas que componen el automóvil y abrazando la rica historia del vehículo a través del concepto estético japonés, Wabi Sabi.

En el lapso de dos años, Arsham tomó medidas para revelar la edad y el desgaste del vehículo, apoyándose en la historia de producción del automóvil, inspirado por la reverencia de Arsham hacia la cultura japonesa y sus muchos artesanos especializados. La aceptación de la ‘imperfección’ y la búsqueda de la paz en los procesos naturales del tiempo se manifiestan tanto en el exterior de metal en bruto despojado como en el interior teñido de añil del 356 Bonsai.

Para el exterior del 356, Arsham ha quitado toda la pintura del auto, quitando el acabado original y años de restauraciones, revelando todas las soldaduras, marcas de hoyos y el desgaste natural a lo largo del tiempo. Ahora, solo una capa de aceite de linaza protege el metal en bruto de los elementos, de acuerdo con los procesos de fabricación japoneses originales. En la parrilla trasera del motor del vehículo, Arsham ha añadido un relieve de bronce patinado en forma de bonsái. Sin embargo, el exterior patinado no se detiene en la carrocería, ya que el artista también encontró componentes totalmente originales muy desgastados para el resto del exterior, desde las cubiertas de los faros hasta la placa de matrícula antigua.

Aunque el exterior del automóvil puede parecer desgastado, el 356 Bonsai es completamente manejable, con todos los componentes relacionados con la función, incluido el motor numerado original, que se restauraron al nivel original de fábrica. Para los trabajos técnicos, Arsham colaboró ​​con Willhoit Auto Restoration y Bridgehampton Motoring Club.

“El 356 se encuentra en una posición tan interesante dentro del catálogo de Porsche como punto de partida para la marca tradicional”, dice Arsham. “El vehículo de casi 70 años contiene las raíces de la moderna marca Porsche que conocemos y amamos en la forma más pura”.

The beauty of imperfection: Daniel Arsham’s 356 Bonsai
The beauty of imperfection: Daniel Arsham’s 356 Bonsai

Textiles ricos en tradición y antiguas técnicas de elaboración

Arsham reflexiona: “A lo largo de mi carrera, he mirado a Japón como una fuente de inspiración por su amor y dedicación a la artesanía. Estas sensibilidades fueron la base para el Bonsai 356. Producimos todos los textiles en Japón usando artesanos tradicionales”.

Para el interior del vehículo, el artista trabajó junto con los diseñadores de moda japoneses Motofumi ‘Poggy’ Kogi y Yutaka Fujihara para equipar todo el interior con telas japonesas tradicionales, desde patchwork de boro hasta denim de orillo japonés. Para el asiento del conductor y del pasajero, junto con la cubierta del maletero, estos están hechos de textiles patchwork de boro teñidos de añil. Originalmente, esta técnica de reparación japonesa se utilizó para extender la calidad y la durabilidad de las prendas, adoptando el desgaste natural de la ropa de trabajo local. Junto al boro, Arsham agregó más tela de algodón teñida de índigo puntuada con líneas cosidas con sashiko en el borde de la puerta y el borde de los asientos. Como tela final, Arsham y su equipo produjeron una mezclilla japonesa para tapizar el techo y cubrir el interior del automóvil. Estos tres tejidos se unen para realzar la influencia de Wabi Sabi en el coche en su conjunto, eligiendo selectivamente materiales destinados a progresar con el uso y el tiempo.

En el maletero, un tatami japonés se encuentra debajo de la rueda de repuesto en el maletero. Hechas de paja de arroz, estas esteras son un elemento clásico de la arquitectura japonesa y generalmente se colocan como revestimiento de pisos en las áreas de estar. La conexión entre el interior del automóvil y la arquitectura del hogar es un detalle que hace un guiño a la admiración del artista por los omotenashi, como wabi-sabi, mejor experimentado que explicado: calidez y la bienvenida de los invitados en un hogar.

Sobre Daniel Arham

Daniel Arsham nació el 8 de septiembre de 1980 en Cleveland, Ohio y creció en Miami, Florida. Como artista icónico de nuestro tiempo, Arsham da nueva vida a lo cotidiano, experimentando estructuralmente para conectar el pasado, el presente y el futuro en formas inesperadas. Su obra se distingue por cambios sutiles, en particular cuando fusiona objetos para transformar estructuras familiares. El 356 Bonsai es el tercer proyecto de Arsham que involucra un automóvil del fabricante de automóviles deportivos con sede en Zuffenhausen. Porsche Japón planea exhibir el 356 Bonsai en Tokio a finales de año.

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The beauty of imperfection: Daniel Arsham’s 356 Bonsai
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The beauty of imperfection: Daniel Arsham’s 356 Bonsai

The beauty of imperfection: Daniel Arsham’s 356 Bonsai

In his latest project, Daniel Arsham bows down before Japanese craftsmanship: it is based on his 1955 Porsche 356 Speedster, the American artist has reconceived the nearly 70-year-old sports car – laying bare the raw materials that make up the car and embracing the rich history of the vehicle through the Japanese aesthetic concept, Wabi Sabi.

Over the span of two years, Arsham took steps to reveal the vehicle’s age and wear, leaning into the car’s production history, inspired by Arsham’s reverence towards Japanese culture and its many specialized craftspeople. The acceptance of ‘imperfection’ and finding peace in the natural processes of time come through in both the stripped-down raw metal exterior and the indigo-dyed interior of the 356 Bonsai.

For the exterior of the 356, Arsham has stripped all of the paint from the car, removing the original finish and years of restorations, revealing all of the welds, pit marks, and natural wear over the course of time. Now, only a layer of linseed oil protects the raw metal from the elements, in accordance with original Japanese manufacturing processes. On the rear engine grille of the vehicle, Arsham has added a patinated bronze relief in the shape of a Bonsai tree. However, the patinated exterior does not stop at the body, as the artist also found all-original well-worn components for the rest of the exterior – from the headlight covers to the vintage license plate.

Though the exterior of the car may appear worn, the 356 Bonsai is fully drivable, with all components related to function, including the original numbered engine, having been restored to off-the-factory-floor level. For the technical works, Arsham collaborated with Willhoit Auto Restoration and the Bridgehampton Motoring Club.

“The 356 sits in such an interesting position within the Porsche catalog as the starting point for the heritage brand,” says Arsham. “The nearly 70-year-old vehicle contains the roots of the modern Porsche brand that we know and love in the purest form.”

The beauty of imperfection: Daniel Arsham’s 356 Bonsai
The beauty of imperfection: Daniel Arsham’s 356 Bonsai

Textiles rich in tradition and old processing techniques

Arsham ruminates, “Throughout my career, I have looked to Japan as a source of inspiration for their love and dedication to craft. These sensibilities were the base for the Bonsai 356. We produced all textiles in Japan using traditional craftsmen.”

For the interior of the vehicle, the artist worked alongside Japanese fashion designers Motofumi ‘Poggy’ Kogi and Yutaka Fujihara to outfit the complete interior with traditional Japanese fabrics from boro patchwork to Japanese selvedge denim. For the driver and passenger seat, along with the boot cover, these are made of indigo-dyed boro patchwork textiles. Originally, this Japanese mending technique was used to extend the quality and durability of garments, embracing the natural wear and tear of local workwear. Alongside the boro, Arsham added more indigo-dyed cotton fabric punctuated with sashiko-stitched lines on the door trim and edge of the seats. As the final fabric, Arsham and team produced a Japanese denim to upholster the roof, covering the car’s interior. These three fabrics come together to enhance the Wabi Sabi influence on the car as a whole – selectively choosing materials that are intended to progress with use and age.

In the trunk, a Japanese tatami mat sits under the spare wheel in the luggage compartment. Made of rice straw, these mats are a classic element of Japanese architecture, and are usually fitted as a floor covering in living areas. The connection between the car interior and home architecture is a detail that nods to the artist’s admiration of omotenashi, like wabi-sabi, better experienced than explained: warmth and the welcoming of guests into a household.

About Daniel Arsham

Daniel Arsham was born on 8 September 1980, in Cleveland, Ohio and raised in Miami, Florida. As an iconic artist of our time, Arsham breathes new life into the everyday, experimenting structurally to connect past, present and future in unexpected forms. His work is distinguished by subtle changes, in particular when he amalgamates objects in order to transform familiar structures. The 356 Bonsai is Arsham’s third project involving a car from the Zuffenhausen-based sports car manufacturer. Porsche Japan plans to exhibit the 356 Bonsai in Tokyo at the end of the year.

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LOVE IS ALL
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Cartier celebra la belleza del amor con  LOVE IS ALL

Cartier celebra la belleza del amor con  LOVE IS ALL

Cartier presenta LOVE IS ALL, una película coral sin igual, un himno al amor. Representa la visión de una Maison que celebra el amor universal y atemporal y tiene como objetivo compartirlo con un espíritu de deleite y generosidad.

Cartier celebrates the beauty of love with LOVE IS ALL

Cartier celebrates the beauty of love with LOVE IS ALL

Filmada entre París, Los Ángeles y Shanghai, LOVE IS ALL es un testimonio de la familia en todas sus formas. Reúne a varios Amigos de la Maison por primera vez con un elenco extraordinario que incluye a Ella Balinska, Mariacarla Boscono, Monica Bellucci, Khatia Buniatishvili, Lily Collins, Golshifteh Farahani, Mélanie Laurent, Troye Sivan, Willow Smith, Annabelle Wallis, Jackson Wang y Maisie Williams.

Estas 12 personalidades singulares se basan en la creatividad y la energía de cada uno a través de este alegre himno, que muestra la importancia de la diversidad cultural y artística para la vitalidad de una Maison como Cartier.

Dirigida por la joven directora británica y fotógrafa de moda Charlotte Wales, conocida por su enfoque fresco, considerado y alegre, esta película refleja lo que es importante para Cartier: la creencia de que la singularidad de cada persona se enriquece con la de los demás y que estas conexiones refuerzan nuestra talentos. Es una declaración sin reservas de aprecio por las artes y la cultura de una Maison que sabe que debemos pensar fuera de la caja, superar los límites y superar las barreras, y cualquier otra cosa que frene nuestras vidas o nuestro deseo de liberar nuestros corazones.

LOVE IS ALL es también una elección de canción importante, una melodía pop compuesta en los años 70 por Roger Glover y Ronnie James Dio. “Todos tienen que vivir juntos”: la película de Cartier comparte el mensaje universal detrás de estas letras cálidas y alegres mientras celebramos la temporada navideña, el momento más importante para reunirnos y celebrar la familia.

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John Tsagaris
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John Tsagaris, el beauty-acupuntor más solicitado por las celebrities internacionales

John Tsagaris, el beautyacupuntor más solicitado por las celebrities internacionales

No es la primera vez que Natalia de la Vega sorprende a las periodistas de belleza (y a sus clientas) con sus “fichajes”. Tras Hervé Herau, Linda Meredith, Martine de Richeville y otros gurús estéticos que tienen en Tacha Beauty su centro de operaciones en España, Natalia, ha conseguido que John Tsagaris pase consulta en sus dos centros (El Plantío y Castellana, 60) una vez al trimestre. Para las que os estéis preguntando quién es este señor, os diré que es el experto en medicina tradicional china más solicitado por modelos, actores y actrices de Hollywood, futbolistas y miembros de familias reales de Oriente Medio. Y estoy segura de que, a partir de ahora, se va a convertir en el “mejor amigo” de nuestras celebrities locales.

¿Y qué tiene de especial? Muchas cosas, pero destacan sus innovadores tratamientos de acupuntura que para muchos se han convertido en una estupenda alternativa tanto al botox como a otros tratamientos temporales inyectables.  Tsagaris ha creado una técnica bautizada como Signature Beauty Acupuncture Threatment con la que consigue rejuvenecer y reestructurar la piel atacando tanto los signos superficiales del envejecimiento como los factores internos que provocan dicho envejecimiento. A través de la acupuntura estimula y canaliza la propia energía del cuerpo para “reparar” la piel desde el interior.

El tratamiento que ya ha comenzado a realizar en Tacha, con tanto éxito que, a pesar de que la sesión cuesta 350€  me he quedado sin hora para probarlo, aunque lo haré en su próxima visita a Madrid, es el mismo que realiza en su exclusiva clínica londinense. Comienza con una evaluación visual de la persona a tratar y a continuación aplica agujas de acupuntura en puntos específicos del rostro y del cuerpo. Dichas agujas permanecen la piel durante 20 minutos y en ese tiempo se aplican luces LED (personalizadas según las necesidades del “paciente”) para duplicar el efecto (reafirmante, antiedad, antiinflamatorio,…) de las agujas. Con este protocolo, entre otras cosas, se aumenta el flujo de oxígeno, se acelera la eliminación de desechos celulares y se estimula la producción de nuevo colágeno y elastina. Gracias a este tratamiento, la piel aparece más turgente, más tonificada, más elástica y mucho más luminosa. En definitiva, rejuvenecida.

Como complemento a sus tratamientos en cabina, Tsagaris cuenta con una completa línea cosmética propia llamada SkinPointEight. Consta de ocho productos en los que se han combinado la sabiduría oriental sobre el envejecimiento y las últimas formulaciones de la ciencia moderna. En ellos encontramos: potentes hierbas medicinales procedentes de la medicina china y que son terapéuticas para la piel ya que actúan sobre los factores inflamatorios que causan envejecimiento a largo plazo (Burdock, Scuterallia); innovadores ingredientes cosmetológicos para lograr beneficios complementarios, texturas excepcionales y dotar de la máxima efectividad a la fórmula y, por último, el gran pilar de esta línea que son los  adaptógenos:  unos extractos naturales de élite (Astragalus, Rhodiola, Shisandra) biocompatibles con nuestra piel a la que ayudan a adaptarse a su entorno, a aumentar su resistencia a las influencias negativas y a reforzar su salud al normalizar el equilibrio de sus funciones fisiológicas. Se trata de una línea de cosmética “inteligente” que puede emplearse en cualquier tipo de piel independientemente de sus “problemas” ya que si se emplea sobre una piel grasa los adaptógenos van a actuar sobre la causa de ese problema mientras que si se emplea en una seca o sensible se centrará en dicha problemática.

John Tsagaris,

John Tsagaris,

Para quienes estéis interesadas en esta línea podéis comprarla tanto en Harrod’s como en Tacha Beauty (en sus centros y en su web).

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