Avanti hair straightener is the latest hair straightner which gives high performance and salon finishing wherever you are. The models of Avanti straighteners are the leaders in electrical appliance manufacturing industry, which explains it effectively that why Avanti flat is demanded the just about all. Based upon greatest and up to date computerized technology, Avanti flat irons can be procured in various different styles, designs and colors. Avanti hair straighteners are amongst those few brands which make flat iron plates from original ceramic material which are not only long lasting but a protective guard for hair. In any case the infusion of tourmaline gives protection against static build up due to which people in northern region demand it the a great number of. Avanti ceramic straightening irons are created in different models which are most effective suited for different hair types. There are models which can be used on wet hair to dry hair, and each model gives extremely pleasing results. It has latest heating technology which saves your time and protects your hair from excessive heat exposure. It's voltage of 110v 60Hz makes it a large percentage of economical for use in USA and Canada, and it is easy to carry anywhere. Unique features such as swirl cord, travelling bag, light weight and above all, two year warranty makes it the most of demanded hair straightner as a large amount of hair straightening iron companies give one year warranty. Avanti hair straightener comes with negative ion technology which ensures the hygiene and stops the advancement of bacteria or fungi on scalp which can cause severe problems such as hair loss. Along with, due to the assimilation of ceramic plates, the heat is distributed evenly which prevents damaging spots. You can select any Avanti hair straightner model according to your hair length as various designs are manufactured with different plate sizes specifically for short to long hair. Summing up, if you are looking for the prime hair straightening iron to date then Avanti hair straightner is the one which you need since it has the latest technology which is specially design to give professional touch and hair protection against severe heat.CHI hair straightener is hot sale everywhere.The CHI Iron is suitable for just about all hair types.Using state-of-the-art temperature control technology, it allows you to smooth, flick, curl or straighten hair at lower temperatures. Meanwhile, its unique black plates provide added shine every time you use your irons. Temperature Control Panel With low, medium and high heat options, plus everything in-between, you can learn to help develop styles with your irons at lower temperatures. The LED panel gives a clear indication of temperature, and with a simple tap of the button you can raise or lower heat. Black Ceramic Plates The "special and mysterious ingredient" from Cloud Nine gives your hair added shine and sparkle, each and every time you use your irons.The professional salon designer is also use it,it have many advantages,This tool heats up quickly and within a few seconds of turning it on, you are ready to style your hair. With a one-inch wide surface, you can straighten, flip, or even add curl to your hair with this tool, replacing all the other styling tools you have been using. Check hair is dry before starting and take care that you do not hold the hot iron on any one section of hair too long.
2008 7 10, "Jiangsu Business News", "Yangcheng Evening News" and published called "comprehensive than the U.S.
Galanz
"The report said, as of June 2008, the PRC, market research firm's monitoring data show that the first half of this year
U.S. microwave
The actual volume of nearly 300 million units out of the market share for 10 consecutive months, more than 40%, the strong rise in the United States, while Galanz is losing ground, beautiful beyond Galanz the industry first.
Reported a Galanz immediately to the media that the instigation of dealers from the United States
Home Appliances
Store a large number of "buy back" their products to create the illusion of the market share of high and has acquired a number of the United States of "fake" evidence, would choose to announce at the appropriate time, the media, the United States then began the "Back Share door "scandal coverage.
The face of public pressure and Glanz's closing in, the United States's repeated silence, the only beauty
Microwave ovens
Planning Division Director Yang Xing Bing responded briefly, from the current sales system point of view, there is no false motives and conditions. However, this excuse is not persuasive. So far, the war of words with Galanz, the beauty in a passive position, losing ground.
Incidents continue to escalate
7 14, the related reports for the U.S. to provide "data to prove that" the market research company in Yee-cheung, vice-chairman Lee Ki-accept "Beijing Daily" interview that the first half of this year, survey data do not microwave release, the United States of how to the first 6 months of statistical data? Thus beauty is a lie.
Major home appliances website quickly launched the integrity of the U.S. debate, the tide of public opinion in coming to the United States, is beautiful once again chose to remain silent does not seem to feel the crisis coming.
And beauty products on the 7,8 explosion two months of avoidance-style crisis management approach?? Explosion and companies related to the product may be due to consumers caused by improper use of the re-aroused strong indignation of consumers, the United States brand image of the greatly reduced. According to financial website survey of the explosion, more than 2,000 users participating in the survey, 43.72 percent of the users that the product defect and the United States, to conduct a serious investigation of beauty. America's brand image into a shirk responsibility, sophistry non-business.
At the cusp of the United States, and did not send these negative news related to the spokesman position, it seems not aware of a series of negative reports have the brand image of the United States have serious implications.
As "Successful Marketing" magazine reporter called the United States in the microwave oven business unit requires the data to conduct interviews with suspected fraud, the United States in the microwave for convenient refuse all relevant interview. The August 8 to August 25 the group for the U.S. holiday period, all calls to computer help desk, group public relations can not be contacted.
There are significant problems
PR strategy
Domestic observers in the acceptance of digital appliances, "Successful Marketing" have expressed an interview with the U.S. performance in the series of events reflects the U.S. strategy in public relations and crisis management capabilities, there are significant loopholes, to the subordinate from the Group Division should review its public relations strategy.
1. PR "hype" tactics inappropriate
Before, there was the media that the United States beyond the Galanz comprehensive coverage of the U.S. microwave business unit e-mail sent to the first through the hands of big media, in August, according to "21st Century Business Herald" Guangzhou Ministry of Economic Affairs disclosed to the media before the Guangzhou part of the media did receive a comprehensive beauty beyond Glanz sent relevant messages, but only the "Yangcheng Evening News" was published, and page charges are spent advertising. Then press call, "Yangcheng Evening News" interview with Director of Economic Affairs, confirmed that this is the beauty of each other to spend money to buy the soft, we reporters would not write such an article. United States of such practices came to light by the media, so public opinion fueled.
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Are you thoroughly confused by a barrage of advertising from companies selling beauty products? Each of them promises you beauty and youth and you just don’t know which one to believe. And even if you do want to buy some beauty products they are prohibitively expensive. The dilemma you face is that you can’t entirely avoid beauty products, yet you require ones that will certainly work and be inexpensive as well. The irony is that you will find a solution to most of your beauty problems right in your kitchen. Look back to a time when there wasn’t such a profusion of beauty companies. What did women do during those days? They made the most of the natural ingredients that were available locally.
The first of these natural beauty products are fruits. Available in all their seasonal abundance, fruits are a fantastic source of enzymes and anti-oxidants. You can eat them or you can apply them to your skin in very nourishing facepacks. You will see an almost immediate result if you apply a fresh fruit facepack. Mash a mixture of strawberries and bananas with the back of a spoon. Squeeze a few drops of fresh orange juice into this mixture and apply it to your face. Relax for twenty or thirty minutes and then wash it off. You will be amazed at the fresh glowing skin it will give you. A facepack of mashed tomatoes is rich in hydroxy acids and removes the top layer of dead skin to leave newer youthful looking skin. Add a lot of fruit to your diet, both whole or in fresh juices or smoothies. Your improved health will give you a marked improvement in your skin tone.
You may think that oats are one of the most unlikely beauty products, but they have tremendous uses. Take normal oats, not the quick cooking variety, and mix with milk to form a paste. Apply this paste to your face and keep it on for two or three minutes only. Gently rub the pack away with a damp towel to exfoliate your face. Don’t let it dry too much and be gentle as you don’t want to damage your skin. You could also use yogurt to improve your complexion. Get the natural variety, not a flavored one. Apply it to your face for ten minutes and then wash it away for an instant pick-me-up. Find ways to add it to your diet. Yogurt contains lactobacillus bacteria that improve your digestion thereby improving your health and also your looks. The best thing about kitchen beauty products are that you can treat yourself to a quick beauty treatment without having to step out of your house. It goes without saying that you save plenty of money this way. When you are responsible for your own beauty treatment the natural way, you learn to treat your body well, both on the outside and the inside. This will reflect in your healthy hair, bright eyes and luminescent skin.
Gianfranco Fracassi is the webmaster of |f70bb554d4982c61a5368eae4d1bef2e|. and also|aa9dbe5426c6ecf96b4fe24be7bb53b6|These web sites offer many subjects that will interest you such as: cosmetic products, samples, beauty freebies, promotional offers, weight loss diets and many more
These days, most skincare and bath and body lines boast of natural plant extracts in their beauty products.
Supermarket shelves are packed with beauty products that contain alove vera, chamomile, lavender and other common plant extracts.
Luxury beauty brands boast of plant extracts from less known sources like crowberry as well as expensive ingredients like caviar extracts and rose essential oil. Some go so far as to use only organic plant extracts and forgo synthetics altogether.
Then there are the mid-range beauty brands that use a wider range of plant extracts but avoid the prohibitively expensive items. They may be green companies that care for the environment and avoid animal testing altogether. They may even have organic ingredients at still affordable prices.
The common denominator is that the focus on natural ingredients.
In ancient times up to the invention of modern cosmetics, beauty was derived from nature. Flowers, herbs, clay, vegetable oils, honey and beeswax are common ingredients in home made beauty products. The problem with these home made concoctions is that they cannot keep. Bacteria and mould breed happily in these nourishing creams and face packs. You have to use them immediately and they do not have the shelf life necessary to make them commercially viable. Leave them out too long before you use them and you can get a nasty rash, outbreak of acne from the mould or bacteria that has proliferated in your beauty treat.
Along came petroleum by products. While in the past, vegetable oils which go rancid with time, were used to make creams and lotions, we now have cheap synthetic oils that do not go bad.These form the base of moisturizers and other beauty products for the mass market. On top of that, modern science has provided us with a myriad of cheap synthetic preservatives that inhibit bacterial growth and fungal growth. Now beauty products can be left on the shelf for years, hence the modern cosmetic industry was born.
Modern science has developed new molecules that can deliver active ingredients deeper into the skin, isolated chemicals that can help the skin regenerate itself and do so many modern miracles in the beauty arena.No doubt, the starting point is some discovery in nature, like a herb with some medical property. The labs would then isolate the chemical responsible for that effect and duplicate it synthetically, or just extract it straight from the source and patent that chemical for that sole use in that cosmetic house's products.
Then why are natural ingredients so popular?
For one thing, some of the synthetics, especially the petroleum by-products clog up skin pores leading to acne outbreaks. Artificial colors and scents and many of these chemicals can irritate sensitive skin. Some people find that natural skincare which do not contain the particular offending synthetics give them less problems.
Also, even the beauty products that have lab extracted components of herbs, plants and natural ingredients give credit back to nature, telling you what plants, herbs and other sources the active ingredients came from, so in a sense, these too can be considered having natural ingredients
Not all natural skincare is equal. A jar of aloe vera cream from one brand may contain 1% aloe vera while a tube of aloe vera gel form another brand may contain 99.7% aloe vera. Both are labelled aloe vera products since they do contain aloe vera. Look at the list of the ingredients. The ones listed on top of the list are what this product is made mostly of. The ones at the end of the list make up the smallest percentage of the product.
Clarins skincare products typically contain as much as 30% plant extracts as compared to 10% in most good skincare lines. Clarins uses interesting plants in their beauty products.
Before starting my article I will like to say a few words about health.
"Every human being is the author of his own health or disease." "He, who has health, has hope. And he, who has hope, has everything." "It is health that is real wealth and not pieces of gold and silver."
For the past three weeks its felt as if I've been reliving my teenage years. No, I haven't plastered my walls with NKOTB posters or taken to covering my puffy jackets with button pins.(Less snickering please, if your in my age bracket and female-then there's a good chance you did the same as a teenager.) Anyway, besides silly things like those previously mentioned I also,in my youth,made up all natural concoctions to serve as beauty aides.
I still remember clutching my favorite mags and scanning them for face mask recipes or beauty tips that could be followed without extra cost. Let's be honest, after the magazine was bought most of my pocket money was gone. It was good back then to know that tea bags or cucumbers on your eyes got rid of puffiness.(Because I had so much eye puffiness when I was thirteen right? Maybe after sleepovers when I stayed at my niece's house and played Tetris all night!) But these things,cucumbers and tea bags, these were easy to get my hands on. Lemons were a treasure trove of beauty-unlocking potential. Baking soda and peroxide? They were the secret to whiter teeth. I'd store my favorite beauty tips in a beauty binder and when my friends came over we'd have spa day- it was a blast.
Flash forward .....how many ever years and I've started searching for all natural (and relatively cheap) beauty secrets again. What's awesome about this now is that I actually need eye bag eraser remedies and foot sloughs,and I don't even have to go buy a mag to get them. We have the Internet now, and you better believe I try to fully achieve it's beauty secret unlocking potential. Why do I still love these all natural, home made wonders? There are many reasons why: 1.All natural means no weird, you can't pronounce them,let alone know what effect they'll have on you chemicals. 2.most of the things I need for these recipes are in my pantry already. 3. Even if you have to buy ingredients,you get to make several batches of stuff at less cost then buying the products ready made. 4. Less waste in packaging=better for the environment 5. Making my own beauty products makes me feel all pioneer women circa Little House on the Prairie(Laura's mom wad a stunner, she had to have a few tricks up her sleeve)
I've been talking about all natural beauty treatments and there are alot out there. You should do lots of research before jumping in to anything. But there are other homemade wonders that are good for man or woman. My favorites?
Washing your hair with baking soda and conditioning it with apple cider vinegar. You use a tablespoon baking soda to 1-2 cups water as a shampoo replacement. You use 2 tablespoons apple cider vinegar (ACV) to 2cups of water on the tips of your hair instead of conditioner. You do this 2-3 times a week with water rinses in between. There is a couple weeks that your hair takes to get used to this, but after that this is actually better for your hair then regular shampoos and conditioners.
Apple juice, yogurt, baking soda face wash for oily skin. I've been using this twice a day for a week and I'm loving it. Alot of the face washes out there for oily skin contain salytic acid which kills my skin, it's just too harsh. I've had no problems with this homemade face wash so far. I found information on this and the no shampoo baking soda solution on recipe that uses coconut oil, corn starch and essential oils as well as baking soda, peppermint oil, glycerin toothpaste replacement. I'm really excited to make our home more natural, less wasteful and pass these lessons on to my children.
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For more information about health and fitness, body fitness guide, health tips, baby care tips, parenting tips, health exercises, workouts, men's health, women's health and teen health, please visit www.pkdoctor.com
Marie Claire Magazine 's Beauty Closet with Tone It Up!
You know the lipstick you wear, that indispensible cosmetic made of pigment and wax that you ingest on a daily basis? That’s right -- ingest. As in “absorb and take into your body.” Guess what? That lipstick isn’t much different than a wax crayon. Surprised? Check out these Wax Facts:
Glamour magazine reported that women inadvertently ingest about four pounds of lipstick in a lifetime, though no studies back up this claim. Nevertheless, every time a woman licks her lips, she swallows some of the wax, which is what binds the pigment and preservatives, which in turn contain lead.
The pigments used can include iron oxides, dyes, pigments and additives. The color pigments contain aluminum and other metals such as lead. That’s right -- lead. Lead is present, in trace amounts, in almost all dyes and pigments that are used as an ingredient for cosmetic color.
Chronic and constant lead exposure can lead to severe neurological problems, particularly in children, including reduced cognitive abilities, irritability, headache, lethargy, and hyperactivity and in some cases insomnia.
A 2004 survey of nearly 6,000 girls found that 63% age ten and younger used lipstick.
According to study results released by |9b64e1bf716bb05df213c48ded807400|, a national coalition of nonprofit health and environmental organizations, more than 60% of 33 brand-name lipsticks contain lead.
Presently, lipstick labels do not and are not required to list lead as an ingredient. Even though the Food and Drug Administration (FDA) inspects all pigments before they are sold as an ingredient to be used in a cosmetic formulation, all formulations are different, so the amount of lead cannot be determined, thus is not required to be listed as an ingredient. Note: the more pigment used in a formula the higher the lead level. In addition, one-third of these 33 lipstick brands contain amounts of lead that |5d7fd71ae6b6abe211dc49d0f7cabbd7| the limit set by the FDA for appropriate levels in candy -- 0.1 parts per million (ppm).
There is no limit set by the FDA for lead levels in lipstick.
Studies shows that the lead levels in lipstick range from 0.03-0.65 ppm. Researchers have yet to test individuals wearing lipstick, especially those lipsticks with high lead levels, to see if those individuals have elevated lead levels in the bloodstream.
Most lipsticks contain anywhere from 3% to 17% pigment. You can test any lipstick to see if the lead presence is high enough to be concerned.
A lead test can be done by applying a streak of lipstick on the hand and then rubbing it. If the lipstick leaves a black faint line -- it contains lead.
Lipstick is made from taking a color mixture and grinding it into oil such as propylene glycol which is readily available and inexpensive to use. Propylene glycol has good solubility and it is quite synergetic with the standards for lipstick production. Propylene glycol has been found to cause cancer.
Lipstick color mixtures are added to wax, such as candellila, bees wax, and paraffin, just like a crayon, which is color pigment mixed with hot paraffin before cooled. The wax for both lipstick and crayons creates binding and molding properties which enable the lipstick and crayon to be formed into a solid.
Lipstick ingredients are melted together with some form of humectants and blended with animal fat oils such as cholesterol and animal-by-products like lanolin. Shea butters and other oils keep the lipstick formula moist and slippery. Sizable amounts of preservatives are used to keep bacteria from growing as well as to keep Shea butters, and the like, from going rancid in the initially warm and sticky lipstick mixture.
While hot, the lipstick mixture is poured into metal molds to maintain its stiffness as it solidifies. A flame is then passed over the mixture to create a smooth and shiny finish, and remove any imperfections. Metal or plastic tubes, capped off either by hand or by machine, are used to contain the cooling mixture then readied for market to be sold as the commonly used substance -- LIPSTICK.
Long lasting lipstick requires more pigment, more heavy wax and other additives.
Manufacturers add aluminum to give lipstick a frosted look. They also add sunscreen and other protective elements to try and create what consumers will think is a more “health-friendly” product.
If you’re wondering where lipstick even came from, historians believe lipstick was probably invented by the Egyptians. In some of their hieroglyphics, the eyes and mouth are detailed with radiant color. To create the ancient cosmetic, Egyptians used vegetable matter colored with cinnabar, plant dye, iodine and bromine carmine known to us today as beetle wings. Some of these ingredients are not considered safe by today’s standards, but as a whole, they are much safer than what manufacturers use in basic lipstick formulations.
Any healthy ingredients like botanicals, antioxidants, vitamins, minerals and organic live ingredients are rendered useless in a solid pre-cooked crayon-like wax that we call lipstick.
We’ve been subjected to the “Lipstick Paradigm” for over 60 years with little improvement. Not a lot of thought has been put into keeping lipstick an ECO and sustainable product.
There is a solution. It’s been around for 15 years and just waiting to be discovered by you. A Totally Unique Healthy Answer, with:
~Natural Flavored 190 Proof Corn Grain Alcohol From the Heartland of
America
~ Sun Screens (UVA/UVB)
~ Moisturizers
~Botanicals (Certified Organic)
~ Minerals (13 Trace Minerals)
~ Vitamins (Pharmaceutical Grade)
~ Film Formers/ the Same Used in Pill and Candy Coatings (All Natural)
~ Humectants
~ More Vibrant Colors with 90% Less Pigment (FDA approved)
~ De-ionized water
~ Antioxidants
~ Organic Live Ingredients
~ Vegan & Kosher
~ Most Important of All -- Guaranteed Smear-Proof
~ No Animal Products or Animal By Products
~ No Petroleum Products
~ No Lacquers
~ No Waxes
~ No Added Preservatives
~ No Glycols
~ No Parabens
~ No Urea
~ No Lead
~ No Aluminum
~ Never-Cooked
~ No Peanuts or Peanut By Products
See what was brought back from the future for your healthy conscious lifestyle and enjoy the empowering benefits it creates. Change your life in a nanosecond with our liquid botanical color solution that replaces lipstick for Lips, Brows, Eyes, Face and Lashes -- Lip-Ink ®. Color, the way Nature intended.
Written by the Cosmetic Chief “Lip Diva®” Rose Nichols, President & CEO of http://www.lipink.com.
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Rose Nichols, CEO and Founder of Lip-Ink® International. Rose strives to satisfy with safe and natural products, the cosmetic needs of women around the world.
Jean Genet and Herve Guibert : A Comparative Analysis of `Journal du voleur' and `To the Friend Who Did Not Save My Life'
Jean Genet and Herve Guibert occupy a unique place in French literature. In Journal du voleur and To the Friend Who Did Not Save My Life both authors produce fictionalised memoirs which interrogate the very essence of truth and correlate love with suffering, rather than with joy. Genet and Guibert, both self-confessed homosexuals, reject traditional notions of normalcy, of love, of friendship and, significantly, of truth. They live within the parameters of their own interpretations of reality and as their memoirs are written from an unapologetically subjective perspective, readers are often left confused as to whether they are reading fiction or fact. They are, indeed, reading fact; fact as subjectively interpreted by either of the authors mentioned. Within the context of these facts, the relationship between love and suffering is immutable, albeit implicitly, rather than explicitly stated.
Journal du voleur is the closest Genet came to writing a traditional autobiography. As D'Asciano (1998) points out, though his other novels incorporate names from the author's life experience, the focus of these novels is to create mythical characters out of names pulled from Genet's reality. The character "Genet" figures in these other novels as the creator/narrator, but it is in the Journal that Genet concentrates on recounting his life experience (D'Asciano, 1998). As White has shown in his biography of Genet, the chronology of events in Journal, while loosely followed, does, in fact, correspond with Genet's life in the late 1930's. What is most important to Genet, however, is not a simple recounting of his life story, but rather the elaboration of his aesthetic preoccupations. It is in this narrative that Genet identifies most clearly his means of literary production, and discusses the relationship of body to text. It is within the context of the stated reality, and as influenced by Genet's own sexual proclivities, that the theme of sexuality and suffering asserts itself.
Traditionally, autobiography is a narrative form that has as its primary theme the recounting of the life of the author. The key element in identifying a narrative as autobiographical is, to use the terminology of Philippe Lejeune (1975, p. 1), the pacte autobiographie By identifyingthe pacte the ideal reader realises without a doubt that the character denoted by "I" is indeed a projection of the author on the page. Genet accomplishes this in Journal principally by providing verifiable statistics regarding his "statut civil," - his date of birth and the circumstances which surrounded it. Though a Genet character exists in Genet's other novels, this information appears only in Journaldu voleur. What is most remarkable about this fact is that, rather than stabilizing the identity of the author, by its very nature it destabilises. The fact that Genet was orphaned at a young age, and that he knows only the name of his mother, and not that of his father, puts the author character in an awkward position in a society more patrilineal than most.
The Journal is in many ways, an aesthetic treatise, an examination of the ideas and practices that have made Genet a creator. The two fundamental concepts that drive his creation are "beauty," and a vertiginous space that we could call the "vide," or, "nothingness." As may be inferred from Barber's (2004) analysis of Journal, Genet's writing exists in a tense space between the aesthetic attractions of the physical world, and the intellectual imperative of the contemplation of the emptiness of existence. Genet attributes his attraction to the physical world to its beauty. Pinning down a precise meaning of beauty is difficult. In the short entry on "beauty" in the Oxford Companion to Philosophy, Aquinas is quoted as defining beauty as "that which pleases in the very apprehension of it" (Hondrich, 1995, p. 80). This definition, though vague, does point to two components of the assessment of beauty, the observer and the observed. There is no beauty without a subjectivity to apprehend it. The article goes on to note that the physical beauty of a human being is hard to define in the absence of the desire that is aroused by that person in the beholder. Though philosophers have long searched to provide an understanding of the universality of beauty, we must ask if any assessment of beauty can be truly objective. It would seem that, in order for aesthetic judgements such as beauty to be meaningful, they would have to be understood in the context of subjectivity.
Aesthetic philosophy, beginning with Longinus, has chosen to focus on the "sublime," that which transcends mere physical beauty and creates a deeper, more mystical meaning. In his treatise On the Sublime, Longinus says, "sublimity in all its truth and beauty exists in such works as please all men at all times" (107). In this case one might ask if any work could possibly live up to such a general definition. Longinus further elaborates on the nature of the sublime in the following quotation:
By some innate power the true sublime uplifts our souls; we are filled with a proud exaltation and a sense of vaunting joy (107).
Thus, the sublime is that which transcends the rational to reach the human soul, and the true sublime is that which would have this effect on "all men at all times."
In the modem era, discussions of the sublime were revived by Boileau and Kant in the seventeenth and eighteenth centuries. Boileau invented the famous term "je ne sais quoi" to describe the presence of the sublime in a work of art (cited in Thormann, 1958, p. 351). By its very nature, this term demonstrates the difficulty of pinning down the ways in which the sublime works on the interpreter of art. The source of the effect is mysterious; the "sublime" escapes qualification. For Boileau, the sublime is an effect of style that is neither provable nor demonstrable (Thormann, 1958).
Kant discusses his views on beauty and taste in the Critique of Judgement, published in 1790. Beauty is distinguished from enjoyment, which is subjective and individual. Assessment of beauty, however, does not involve a cognitive process, rather it is contemplative, and springs from disinterested judgement. Judgements of beauty for Kant are always made in relation to nature. Artifice always pales in beauty when compared to the natural, but nature tends to conceal its beauty, and art helps reveal a sense of design and purpose to nature. Surpassing beauty, for Kant, is the sublime. The feeling of the sublime is one of sensory overload, being overwhelmed by power. The sublime is not inherent in the object observed, however, but rather is dependent on the subject. It is within the human imagination, when an excess of sensory data blocks understanding, that the sublime is felt. Beauty and the sublime are important concepts to Kant, because he believes in their universality.
Genet does not believe in objective criteria for determining the beautiful, and his use of terms of beauty to describe what is traditionally considered ugly by French society is his way of undermining an objective notion of the beautiful. To this effect, Genet makes the following statement to the bourgeois public about his past writing:
Si j'examine ce que j'écrivis j'y distingue aujourd'hui, patiemment poursuivie, une volonté de réhabilitation des Etres, des objets, des sentiments répute vils. De les avoir nommes avec les mots qui d'habitude désignent la noblesse, c'était peut-être enfantin, facile: j'allais vite. J'uti1isais le moyen le plus court, mais je ne l'eusse pas fait si, en moi-même, ces objets, ces sentiments (la trahison, le vol, la lâcheté, la peur) n'eussent appelé le qualificatif réserve d'habitude et par vous a leurs contraires. Sur-le-champ, au moment que j'écrivais, peut-être ai-je voulu magnifier des sentiments, des attitudes, ou des objets qu'honorait un garçon magnifique devant la beauté de qui je me courbais, mais aujourd'hui que je me relis, j'ai oublie ces garçon, il ne reste d'eux que cet attribut que j'ai chante, et c'est lui qui resplendira dans mes livres d'un éclat égal a l'orgueil, a l'héroïsme, a I' audace. Je ne leur ai pas cherche d'excuses. Pas de justification. J'ai voulu qu'ils aient droit aux honneurs du Nom. Cette opération, pour moi n'aura pas été vaine. J'en éprouve déjà l'efficacité. En embellissant ce que vous méprisez, voici que mon esprit, lasse de ce jeu qui consiste a nommer d'un nom prestigieux ce qui bouleversa mon cœur, refuse tout qualificatif (122).
In this passage, it is evident how Genet's valorisation of what others see as vile is central to his aesthetic project. It is also clear how this process is directly inspired by the physical beauty of men, and how this beauty inspires Genet to yield to them. This physical beauty, however, is fleeting, and what remains in its wake is the artistic production that it inspired, and the liberation this production allows of Genet's "esprit." Genet's writing has been atranscription of his experience of the beautiful, of the men who overwhelmed his heart. The way in which beauty as a concept is understood, however, is mutable, changing from one individual to another. This is underlined by Genet's valorisation of the vile. Genet ultimately succeeds in re-placing the notion of beauty in the realm of subjectivity by undermining the supposed "objective" standards of beauty that guide bourgeois culture.
The term "beauty," may, of course, also be applied to the abstract. The notion of beauty is first of all physical for Genet, and it is only through understanding physical beauty that Genet can begin to "flesh out" what he understands by the concept "moral beauty." Early on in the Journal, in speaking of a lover, the narrator asserts:
De la beauté de son expression dépend la beauté d'un acte moral. Dire qu'il est beau d'ide déjà qu'il le sera. Reste a le prouver. S'en chargent les images, c'este-dire les correspondances avec les magnificences du monde physique. L'acte est beau s'il provoque, et dans notre gorge fait découvrir, le chant (23-4).
In the first sentence, Genet reverses the clauses of a more traditional Christian definition of beauty. In this tradition, the physical manifestation of beauty relies upon the moral goodness/beauty that produces it. Genet here affirms the opposite, that the beauty of the moral act depends upon the physical manifestation of beauty in the face of the young lover. According to Genet, the beauty of the physical world is what gives one ideas about beauty in the first place. What is necessary to provide "proof" of beauty in language is a correspondence with the splendours of the physical world.
He completes the quotation with an assertion that the act is beautiful if it provokes song. This song, when transcribed, becomes literature, and opens up a new world of beautiful production. Physical beauty inspires poetic beauty. Physical beauty and language are intertwined, but beauty originates for Genet in the physical. This is the essence of Genet's art, the transcription of his experience of the beautiful into words, which then recreate beauty in the subjectivity of the reader. Genet states:
Le but de ce récit, c'est d'embellir mes aventures révolues, c'est-i-dire obtenir d'elles la beauté, découvrir en elles ce qui aujourd'hui suscitera le chant, seule preuve de cette beauté (232).
It is possible for Genet to create beauty, to bring it out of his past adventures. He will discover in these adventures that which will give rise to a song, which will then offer the proof of that beauty. The mark of beauty in the world belongs to its textual recreation. Though Genet's experience of beauty is subjective, there is no proof of beauty without writing. This writing can, in turn, anchor this experience in verbal patterns that will create (ideally) the effect of the beautiful for the reader. Genet's choice of subject matter, however, assures that not all readers will find his work beautiful.
A cornerstone in Genet's understanding of beauty is virility. Genet states:
Si je voulais qu'ils fussent beaux, policiers et voyous, c'est afin que leurs corps éclatants se vengeassent du mépris oh vous les tenez. Des muscles durs, un visage harmonieux devaient chanter et glorifier les immondes fonctions de mes amis, vous les imposer ... Policiers et criminels sont l'émanation la plus virile de ce monde. On jette sur elle un voile. Elle est vos parties honteuses, qu'avec vous cependant je nomme les parties nobles (220).
It would be easy to see this reliance on the force of male virility as reductive. It may seem that Genet does not offer a true path to the reconsideration of the production of beauty, but rather simply offers the opposite, backed up by bullying, as a substitution for the dominant paradigm. Of course, true physical bullying is not possible through the medium of the written word. Genet believes that the simple fact of describing the overwhelming strength and beauty of these men will subdue bourgeois readers and make them acquiesce. In this way, Genet will have inspired in the reader the same vertiginous feelings that he has when faced with this virile beauty. The reader will be forced (metaphorically) to acquiesce to the force of the male body.
Beauty for Genet is firmly linked to the physical, and especially to male bodies. But in order to reproduce this notion of beauty, Genet is forced to use words. It is important to underline here that Genet's project is not primarily to describe the beautiful bodies he sees, but to describe the emotion that is provoked in him by this beauty. In describing this feeling, he wants to communicate to the reader his apprehension of a higher plane of meaning, something that it is difficult to gain access to. He says:
Pour obtenir ici la poésie, c'est-a-dire communiquer au lecteur une émotion que j'ignorais alors-que j'ignore encore-mes mots appellent a la somptuosité charnelle, a l'apparat des cérémonies d'ici-bas, hélas, non a l'ordonnance, qu'on voudrait rationnelle, de la notre, mais a la beauté des Coques mortes ou moribondes. J'ai cru, en l'exprimant, la débarrasser de ce pouvoir qu'exercent les objets, les organes, les matières, les métaux, les humeurs, auxquels longtemps un culte fit rendu (diamants, pourpre, sang, sperme, fleurs, oriflammes, yeux, ongles, or, couronnes, colliers, m e s , lames, automne, vent, chimères, mains, pluie, crêpe), et me défaire du monde qu'ils signifient (non de celui qu'ils nomment mais de celui qu'ils évoquent et dans quoi je m'embourbe), ma tentative reste vaine. C'est toujours a eux que j'ai recours. Ils prolifèrent et me happent (190).
In order to obtain true poetry, Genet wants to ground his words in carnal sumptuousness, and somehow surpass the cult of the object and strip the objects bare of signification. He wants to remove poetic associations from physical objects, and create them anew. In writing, however, he finds it impossible to escape the accumulated meanings associated with these objects. His ultimate goal is access to an emotion of which he has, so far, been ignorant, a place of meaning which lies beyond what he has yet been able to feel or describe.
Ultimately, physical objects represent the core of experience. They are what one can hold onto as a basis for truth and beauty. He writes:
Sur les systèmes planétaires, les soleils, les nébuleuses, les galaxies, une méditation, fulgurante, ou nonchalante, ne me permettra, ne me consolera jamais de ne pas contenir le monde: devant l'Univers je suis perdu mais le simple attribut d'une virilité puissante me rassure. Cessent les pensées inquiètes, les angoisses. Ma tendresse-la représentation dans le marbre ou l'or, et la plus admirable, ne vaut pas le modèle de chair-dépose sur cette force des bracelets de folle avoine (229).
The power of the reproduction never matches that of the original body, and therefore the power of art has its limits in a philosophical realm. It is the connection to the physical that is most important, and provides consolation to Genet in the face of the anguish created by the contemplation of the universe.
The written word will never accomplish the communication of the ultimate experience for Genet, that of having a body to hold onto when faced with the vast universe of meaning. This vast and indefinite space is one that many critics and contemporary philosophers have attempted to describe. This space is similar to the "disaster" which Maurice Blanchot (1986) describes in The Writing of the Disaster. The "disaster" of which Blanchot writes resides in that which cannot be written. It is the disaster alone, he says, which holds mastery at a distance (9). The disaster represents the evacuation of all of the metaphorical associations of language in pursuit of pure truth.
Writing about such a phenomenon is inherently difficult. For Blanchot (1986), the ultimate question is, "How many efforts are required in order not to write-in order that, writing, I not write, in spite of everything" (11). Readers are faced in Blanchot's writing with a gaping chasm between writing and non-writing (silence) wherein lies what we can no longer call truth, but perhaps the contemplation of truth; the oblivion that is not silence, but the contemplation of silence: thought, not language.
Blanchot (1986) is writing toward a place of expression for that which we cannot express, and form of expression that will lie between language and silence, between presence and absence. This, it is quite possible to argue, is just the sort of space that Genet is referring to when he writes of his project in the Journal du voleur in the following manner: "Ce livre, <<Journal du voleur>>: poursuite de l'impossible Nullité" (106). In discussing his artistic sensibility, Genet writes the following:
Je vous indique, de la sorte, ce que pouvait être ma forme de sensibilité. La nature m'inquiétait. Mon amour pour Stilitano, le fracas de son irruption dans ma misère, je ne sais quoi, me livrèrent aux éléments. Mais ceux-ci sont méchants. Afin de les apprivoiser je les voulus contenir. Je refusai de leur denier toute cruauté, au contraire, je les félicitai d'en posséder tant, je les flattai.
Une telle opération ne se pouvant réussir par la dialectique, j'eus recours a la magie, c'est-a-dire a une sorte de prédisposition voulue, une intuitive complicité avec la nature. Le langage ne m'eut été d'aucun secours (79).
Genet's love for Stilitano throws him to the elements. He finds nature disturbing, and wants to tame it somehow, to incorporate it into his understanding. He realises that this will not be possible through dialogue and reason, and thus will have recourse to magic. Language ceases to be effective to him in this domain. Genet finally reaches a point where he has exhausted what may be expressed through writing, and Journal du voleur is the last narrative Genet wrote until faced with his death nearly 40 years later.
Guibert's 1990 novel To the Friend Who Did Not Save My Life follows on the same themes picked up by Genet. As Buot (1999) emphasises, it similarly must be understood, in the context of a fictionalised memoir which interrogates the status of truth in its very form. Just as Genet calls into question the modern notion that sexual desire bespeaks the truth of subjectivity, Guibert plays with the popular genre of the truth-revealing literary memoir. Predicated upon a notion of confessional authorial authenticity, the memoir becomes for Guibert a medium through which this authenticity is given lie. Hence, the confessed "truths" emanating from this book should never be trusted as such. Although a self-identified gay man, Guibert resists the truth-telling imperatives of out-politics. In both form and content, Buot (1999) asserts that To the Friend expresses a desire not to tell its author's truth and a desire to be anonymous. The title itself-which is in fact not a title at all but rather an address-attests to this desire; it resists entitlement, deflects the compulsion to identify oneself and others, and displaces the proper name with a dedication. Indeed, this text skips the formalities of names and titles in favour of a vague dedication.
Judging from the first person narrative voice written from the perspective of the character "Herve Guibert," the life not saved is most obviously his, and the friend who did not save it is unreliable Bill, an American who wields power over Guibert by promising, yet never delivering, AIDS-treatment. If Bill is the only friend to which the title refers, why, then, after not saving the narrator's life, is he still considered a friend? The protagonist relates to other characters above all as a friend; thus, is there more than one friend, and more than one conception of friendship at work in the title? Guibert the protagonist certainly spews bile at his companions throughout the hundred chapters of the novel, and it might even be argued that these expressions of hate frame the narrative itself. Toward the beginning of Chapter Three: "me - a man who has just discovered that he doesn't like his fellow man, no, I definitely don't like them, I rather hate them instead" (4), and then finally in the last chapter: "Just how deep do you want me to sink? Fuck you, Bill!" (246). At the same time, Guibert devotes the majority of the book's pages to loving descriptions, portraits and stories of friends. If anything is to be grasped from this contradictory rendering of friendship, it is that love and hate are not mutually exclusive. Similarly, the traditional boundaries between self/other, life/death, singular/multiple, and sexual/non-sexual relations are also blurred if not demolished in Guibert's relations. This raises questions concerning the "my life" of the title/dedication: is it only Herve-the protagonist's life not saved? How are we to understand "life" and the possessive pronoun "my"? As the plot progresses-disjunctively, disruptively-Herve becomes doubled, multiplied. Concerning his lover-friend Jules (with whom he shares a birthday): "I now had the feeling that we were part of one and the same being" (153); concerning Jules's family (the Club of Five): "the HIV virus had allowed me to become part of their blood" (194); concerning Rainieri, his blood-work accomplice: "So we advanced side by side, like shadows of each other, going at the same speed in the same direction" (218); concerning an episode of mistaken identity at the lab: "we decided that a certain Margherita had provided the contents of Herve Guibert's test tubes" (222); and, finally, concerning Guibert's last meeting with Bill: "I kept splitting into two people during the dinner" (242). Furthermore, this "self' becomes increasingly phantasmal: a ghost rather than a stable and autonomous ego; a self shot through with both memories of friends who have died and encounters with the living whose deaths are imminent; a presence whose absence becomes increasingly visible in the daily confrontation with death. In Guibert's rendering of friendship a shared, spectral self thus effaces individual identity: the possessive pronoun "my" becomes multiple, the life not saved plural. In the face of AIDS, Guibert is forced to reconceptualise the friend and with a new conception of friendship comes a new conception of life and subjectivity.
Yet each friend, including Guibert, is left to die his or her own death, and death confronts these friends at every turn. "As soon as he'd gone I felt better: I was my own best nurse, for I was the only person able to cope with my suffering" (154). Though the friends in the novel often merge to the point of where it is impossible to distinguish the one from the other, a recognition of each other's final absence is their sole commonality. This uncomfortable fact, and the ensuing discomfort that manifests itself in each interaction, becomes the ethical backbone of Guibert's conception of friendship. This ethic of discomfort takes on a new meaning when, in the time of AIDS, the finitude of friendship becomes so unavoidable. The idea of a love without transcendence becomes literalised in friendships ending in AIDS deaths. Immersed in death's ubiquity, Guibert-the-protagonist is forced to become a philosopher of friendship, to re-evaluate his understanding of life, subjectivity, and relationality. Not surprisingly, this re-evaluation occurs most intensely through the death of Muzil, the character most likely named after the German writer Robert Musil whose novel The Man Without Qualities resonates in Guibert's text. "I understood for the first time … that Muzil was going to die and very soon; a certainty that disfigured me in the eyes of passersby, for my face disintegrated, washed away by my tears and shattered into fragments by my cries" (92). Guibert sees his "selfs" disappearance, his own becoming-man-without-qualities, in the death of Muzil. In the recognition of the friend's death, Guibert mourns his own passing: "it wasn't so much my friend's last agony I was describing, it was my own" (91). The recognition and acceptance of finitude brings with it a new conception of life and relationality: death is no longer the opposite of life, but immanent to it; death and absence are at the very core of life and thus life must be lived as if each and every moment is the last. As a result, friendship emerges at the point where relating with the Other is impossible. This is a difficult, if not disturbing, relation to imagine. Maurice Blanchot's (1997) eulogy for Georges Bataille entitled "Friendship" resonates with Guibert's conception and perhaps helps clarify what Guibert is trying to define. Blanchot (1997, p. 291) writes:
We must give up trying to know those to whom we are linked by something essential; by this I mean we must greet them in the relation with the unknown in which they greet us as well, in our estrangement. Friendship, this relation without dependence, without episode, yet into which all the simplicity of life enters, passes by way of the recognition of the common strangeness that does not allow us to speak of our friends but only to speak to them, not to make of them a topic of conversations (or essays), but the movement of understanding in which, speaking to us, they reserve, even on the most familiar terms, an infinite distance, the fundamental separation on the basis of which what separates becomes relation.
The finitude that Guibert recognises in himself and others, as Blanchot reminds us, can never be shared. Upon the recognition of the infinite distance between singular lives, however, new relational possibilities emerge. On the status of gay bathhouses amidst the pandemic, Muzil remarks: "The baths have never been so popular and now they're fantastic. This danger lurking everywhere has created new complicities, new tenderness, new solidarities. Before no one ever said a word; now we talk to one another" (22). AIDS merely magnifies the impermanence that is always present in the self, in the Other, and in the friend.
For Guibert, HIV is "a disease that gave death time to live and its victims time to die, time to discover time, and in the end to discover life, so in a way those green monkeys of Africa provided us with a brilliant modem invention … If life was nothing but the presentiment of death and the constant torture of wondering when the axe would fall, then AIDS, by setting an official limit to our life span … made us men who were fully conscious of our lives, and freed us from our ignorance" (164). If AIDS is a "brilliant modern invention" that shortens a life span yet allows Guibert to live more fully and more consciously, is the virus his friend? Or, if the friend is one who acknowledges the finitude in another and relates with this other precisely at the point of unrelatability-and thus never truly possesses the power to save the other's life-is the friend not Bill, but perhaps Muzil? If so, Sarkonak (2000, p. 107) argues that this entire book could be Guibert's response to the letter from his "Cher Michel," his contribution to the joint production of a discourse of impersonal friendship.
In the final analysis, both works are intimately concerned with the exposition of their respective author's interpretation of his own life, friendships and the loves he suffered. The community of friends and lovers which emerge in both novels are ones that intensifies alienation, ones that emphasise that which cannot be shared, and ones that are founded upon estrangement in regard to the unknown. While these friends seem in one way or another united through their marginalised sexual identities and practices, the importance of the sex act is diminished in relation to the bonds that develop out of it; bonds which give rise to suffering and ultimately intensify loneliness and alienation.
Bibliography
Barber, S. (2004) Jean Genet. London: Reaktion Books, 2004.
Blanchot, M. (1997) Friendship. Trans. Elizabeth Rottenberg. Stanford: Stanford UP.
Blanchot, M. (1986) The Writing of the Disaster. Trans. Ann Smock. Lincoln: University of Nebraska Press.
Buot, F. (1999) Herve Guibert : Le jeune homme et la mort. Paris : B. Grasset.
D'Asciano, J.L (1998) La famille, la mort, l'amour dans l'oeuvre de Jean Genet. Villeneuve d' Ascq: Presses Universitaires du Septentrion.
Genet, J. (1949) Journal du voleur. Paris: Gallimard.
Guibert, H. (1999). To the Friend Who Did Not Save My Life. Trans. Linda Coverdale. New York: High Risk Books.
Honderich, T. ed. (1995) The Oxford Companion to Philosophy. Oxford: Oxford University Press.
Kant, I. (1952) The Critique of Judgement. Trans. James Creed Meredith. Oxford: Clarendon Press.
Lejeune, P. (1975) Le Pacte autobiographie. Paris: Scuile.
Longinus (1965) On the Sublime. Classical Literary Criticism. Trans. T.S. Dorsch. New York: Penguin, 99-158.
Sarkonak, R. (2000) Angelic Echoes : Herve Guilbert and Company. Toronto: University of Toronto Press.
Thormann, W. (1958) Again the `je ne se quoi.' Modern Language Notes, 73(5), 351-355.
The best way to buy cosmetics and beauty products, at least for the first time, is to go in a store and talk to a make-up artist or in a beauty salon and talk to a hair stylist. You can also go in a specialized store where the staff can explain the difference between products, to they have to be applied and how to clean your face and body after using beauty products. You do not have to be a specialist to buy beauty products. However if you talk to one and find out what kind of cosmetics work for you, you will be happier with your products.
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TOXIC BEAUTY: Not all skin care products are created equal. Part 2
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Anne Marie Williams specialises in writing and reviewing organic skincare products.
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|faffa34217a037d3a7b1437f6339c647| Dermatologists say BIOSKINCARE performs three (3) coordinated functions:
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From the consumer’s perspective:
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Apply on clean and pat dry skin twice daily. More is not necessarily better, but to ensure optimum results application on older blemishes or more affected areas should be repeated more frequently. Results are cumulative and become permanent.
Use the cream as a belly balm to prevent stretch marks from the third month of pregnancy and continue for three months after child birth. See further below our offer for the BIO STRETCH MARK CREAM, which is the same as BIOSKINCARE in a larger container and with a twist that is better suited for pregnancy and to simultaneously get rid of cellulite.
Use BIOSKINCARE™ on raised hypertrophy scars or on stretch marks in conjunction with strong massage and exfoliation to eliminate dead skin cells or
try our new cream to break down old and rough stretch marks presented in the section on new products further.Apply bio-skin-care™ on after cleansing with a salicylic pad. Use on dry face after washing the face with lukewarm water for the relief of rosaceous or skin rashes. Use it after shaving to prevent and heal ingrown hairs and razor bumps.
BIOSKINCARE ™ is recommended for use before and after skin resurfacing procedures such as chemical peels, micro-dermabrasion or laser surgery.
The cream is also a unique nutrient-rich moisturizer for wrinkles on the face, the delicate eye area, neck, and body. It promotes balanced skin renewal. Treatment should be continued until desired results are achieved. Or, try our new BIO SKIN innovation cream to even your skin condition and get free of age a skin condition.
When applying BIOSKINCARE CREAM to get rid of acne dab it on your face twice a day on the whole faces, not only on the pimples, whiteheads or blackheads. You can also use it safely n conjunction with acne drugs to avoid their side effects. If your skin is too oily and you wish to use an oil free product try our bio-sicklier oil free gel, with soothing seaweed extract, for people with very oily skin that suffer from acne or rosaceous.
All our products are safe for children and moms-to-be. The cream relieves baby's diaper rash & eczema and softens and moisturizes rough areas on knees and cracked feet.
Hydrates from within, boosts the production of antimicrobials, unclogs pores, replenishes the lipid barrier of the skin and stimulates the regeneration of damaged cells and collagen. Prevents dry skin, scars, acne, ingrown hairs, heals nicks and cuts, and removes razor bumps, acne scars and all types of skin blemishes.
2) Promotes cell proliferation and new synthesis of collagen, elastic, and the water holding molecules within the skin acid and other
Collagen provides strength, elastic the elasticity, and proteolysis the moisture and plumpness of the skin. With aging, the thickness of the dermal layer is reduced and this is partially responsible for the formation of wrinkles in aging skin.
3) Helps remodel and speed turnover of the basal membrane of the skin
4) Antioxidant - provides protection from the effects of UV radiation and free radicals: photo-protective action.
Specific studies show the following antioxidant activities in the biological ingredient: a) enzymatic as super oxide demitasse (SOD), b) conjugation enzymes as glutathione-S-transferees and c) low molecular weight antioxidants.
Antioxidant activities benefit the cells in the skin by: • Inhibiting Reactive Oxygen Species (ROS) generation and free radical sequestration effects. • By protecting the cells against UVA radiation, with double the antioxidant activity of a water-soluble vitamin E analog, used as control antioxidants in this type of studies.
5) Breaks down denatured proteins into its amino-acid components, which otherwise cause inflaming-aging, and releases those for rebuilding of the skin structures.
6) Hydrates the skin from within because it promotes the proliferation of glycol the molecules that hold in water in the skin. This strengthens and firms the skin, thus preventing tearing of skin that may show as stretch marks and avoiding sagging.
liposome’s, which secures their bioavailability and proper release deep within the skin.
S|8a3ea227ba64b1d23b7ed9f414b5ef64|
BIOSKINCARE™ is formulated to transform a complex substance that is an antioxidant fluid with cell-communicating ingredients and biological activators of skin renewal into a natural skin cream. A treatment cream that also moisturizes, replenishes and stabilizes the lipid content within the intercellular skin matrix.
This is achieved by adding natural emollients, emulsifiers, surfactants and nourishing extracts derived from Olive Oil, hydrating acid, and humectants Glycerin.
The Olive Oil derivatives in the formulation make the liquid biological ingredient into a cream, especially Squalling -which is also an antioxidant-, and replenish the lipid barrier of the skin.
Acid, Glycerin, and Squalling in the cream contribute to your skin’s hydration and have long term effects on the capacity of skin to hold in water.
|a823f933f5e43bbe21063be694311845|
Apply on clean and pat dry skin twice daily. More is not necessarily better, but to ensure optimum results application on older blemishes or more affected areas should be repeated more frequently. Results are cumulative and become permanent.
Use the cream as a belly balm to prevent stretch marks from the third month of pregnancy and continue for three months after child birth. See further below our offer for the BIO STRETCH MARK CREAM, which is the same as BIOSKINCARE in a larger container and with a twist that is better suited for pregnancy and to simultaneously get rid of cellulite.
Use BIOSKINCARE™ on raised hypertrophy scars or on stretch marks in conjunction with strong massage and exfoliation to eliminate dead skin cells or
try our new cream to break down old and rough stretch marks presented in the section on new products further on after cleansing with a salicylic pad. Use on dry face after washing the face with lukewarm water for the relief of rosaceous or skin rashes. Use it after shaving to prevent and heal ingrown hairs and razor bumps.
BIOSKINCARE ™ is recommended for use before and after skin resurfacing procedures such as chemical peels, micro-dermabrasion or laser surgery.
The cream is also a unique nutrient-rich moisturizer for wrinkles on the face, the delicate eye area, neck, and body. It promotes balanced skin renewal. Treatment should be continued until desired results are achieved. Or, try our new BIO SKIN innovation cream to even your skin condition and get free of age a skin condition.
When applying BIOSKINCARE CREAM to get rid of acne dab it on your face twice a day on the whole faces, not only on the pimples, whiteheads or blackheads. You can also use it safely n conjunction with acne drugs to avoid their side effects. If your skin is too oily and you wish to use an oil free product try our bio-sicklier oil free gel, with soothing seaweed extract, for people with very oily skin that suffer from acne or rosaceous.
All our products are safe for children and moms-to-be. The cream relieves baby's diaper rash & eczema and softens and moisturizes rough areas on knees and cracked feet.
Hydrates from within, boosts the production of antimicrobials, unclogs pores, replenishes the lipid barrier of the skin and stimulates the regeneration of damaged cells and collagen. Prevents dry skin, scars, acne, ingrown hairs, heals nicks and cuts, and removes razor bumps, acne scars and all types of skin blemishes.
|29f455421f2895b2e97443d06ad2623e|
Pregnancy Tips : How to Keep Up Your Beauty Regimen During Pregnancy
US $16.95
