VMAs: All the Over-The-Top Accessories From Snakes to Men on Leashes

Stars arrived on the red carpet at the 2019 MTV VMAs with some wild accessories.

The MTV Video Music Awards are notorious for their wild and crazy red carpet looks. Stars often show up after checking their inhibitions at the door. Monday’s red carpet was no exception with several stars arriving with noteworthy accessories from live snakes to men on leashes. Here, a look at this year’s most extra accessory moments.

Leashed Men

YouTube Influencer Nikita Dragun arrived in New Jersey wearing a custom look by “fantasy” designer L.O.C.A., including a pink nipple, a pink feather boa and the ultimate red carpet accessories — men on leashes wearing black sunglasses and fingerless gloves.

Dia Dipasupil/Getty Images


Despite the VMAs having a history of snake bites (a dancer for Nicki Minaj was nipped in 2014), two stars arrived at the  with snakes draped around their shoulders. In a copycat ode to Britney Spears who brought along a sunny-colored snake to the 2001 VMAs, Internet personality Tana Mongeau walked the carpet with a yellow snake to complement her gold dress by Nicola Bacchilega.

Singer/songwriter H.E.R. arrived wearing a floral suit from Valentino’s fall 2019 collection with one of her pet “noodles” around her neck. The singer posted on Instagram about bringing her snake-slash-accessory to the VMAs: “I got 5 noodles at home. I try to bring them everywhere I can because people love them and they are really cool.”

JOHANNES EISELE/AFP/Getty Images; Kevin Mazur/WireImage

Armageddon-esque Mask

Hip-hop group Naughty by Nature arrived fully prepared for the end of the world. Treach wore an Armageddon-inspired white mask with netting over the eyes and mouth area, similar to the mask Nick Cannon accessorized with at the MTV Movie & TV Awards, adding a cane and a cluster of necklaces including a large cross pendant.


Blinged-out Cellphone

Actress Keke Palmer walked the carpet in a stunning yellow sequined, high-neck gown by Yousef Aljasmi with a matching  blinged out retro cellphone accessory. Clueless, anyone?


J. Hannah’s Designer On Minimalism And Matching Your Mani To Your Jewelry

If you aren’t lucky enough to inherit jewelry that you can wear forever, J. Hannah is the next best thing. Founded by Jess Hannah Révész, J. Hannah is all about pieces that are meant to be future heirlooms. In fact, the line with a cult-following was inspired by jewelry Révész received from her grandmother. The jewelry line was officially launched in 2014, and nail polish followed a few years later when she needed just the right palette to compliment her pieces. Now J. Hannah is stocked everywhere from FortyFiveTen to 10 Corso Como to Violet Grey, Barneys Japan and Need Supply, to name just a few. Révész gives us the scoop on her line.

A model wearing J. Hannah jewelry and nail polish


Why did you decide to focus on sustainability? At the early stages of J. Hannah I was making each piece myself by hand, and sustainability was default to my practice. Learning about where my materials came from was part of the craft that drew me in in the first place. As our orders increased and it was no longer possible to personally make the jewelry, I wanted to keep production local for control reasons. Using foreign manufacturers and materials never crossed my mind. As a jeweler myself I was aware of the environmental and ethical ailments of the industry and was conscious of circumventing these as we grew. It’s been an intentional and uphill journey to prioritize sustainability since then, but always worthwhile. What’s disheartening is that there are very limited independent certifications or standards, so you really need to do your own legwork to figure out what terms like “recycled” or “ethically sourced” mean to different suppliers. It’s taught me a lot about greenwashing and false marketing, and motivated me to be better at telling this story. It’s important to share how to authentically support and sustain better business practices with other jewelry companies as well as consumers.

J. Hannah jewelry


How is J. Hannah sustainable? For us, sustainability requires a thoughtful and holistic approach because there are so many points of consideration. Specifically, the ethics of environmentalism, humanitarian concerns and business operations are three areas we work to address in our efforts to be sustainable. We treat it as an ongoing effort, and something we are always actively striving for—not a definitive marker of achievement. We are just barely scratching the surface with these examples.

Environmental concerns most obviously include how much waste is produced by our business and if we are partnering with suppliers who are concerned with their effects on the environment. We’ve cut most plastic out of our packaging, aside from our nail polish caps and labels, and our shipping boxes come from an amazing company called EcoEnclose, which makes recyclable and compostable packaging using recycled materials. We make an effort to reuse any plastic that does end up in our offices from our jewelry manufacturers. Jewelry baggies were a hard thing to banish but we finally found a compostable alternative; these still of course have a disposal issue but strides are being made. All our cast gold and diamonds are 100% recycled, which was a hard-won goal since we weren’t willing to sacrifice in quality. It also required adapting certain designs, like our Diamond Demi Signet (which we will be changing to a brilliant cut versus the current rose cut because we can’t find a reliable ethical source), to ensure we would always be able to reliably source recycled stones. Currently we are working on incorporating detailed sourcing for each piece on our website for improved transparency with our customers.

Sometimes the most ecologically sustainable option is not the most human friendly approach. For example, using recycled gold makes the least impact on the environment, but what if you want to make a positive impact? Communities near sites rich with gemstones and metals will always mine there. Supporting safe and fairly compensated mining and stone cutting can make a huge difference in these communities. If more companies refuse to support unregulated and dangerous mining practices, we can show the world that exploitation is not lucrative. Our gemstones sometimes come from other countries, or they might be cut in other countries, but we make sure that each person in our supply chain was paid fairly and working under safe conditions.

This extends to our company culture, which I think is the last prong in our efforts to be genuinely sustainable. It matters to me that I have a monetarily viable business that can provide for its employees. At J. Hannah, despite being a very small team, that means healthcare, vacation time, etc. I consider this an essential investment in the foundation of the company. We all take care of each other.

Jess Hannah Révész

Jess Hannah Révész


How would you describe your aesthetic? It’s been described as “minimal” so many times but I’d have to respectfully disagree. More often than not my designs are informed by the decorative, historical, and traditional. If you boiled down these opulent themes into a reduction I think you get the J. Hannah aesthetic—simplified opulence, edited maximalism. Classics like signets and hoops are a huge part of our collection because they are wearable staples. Recently I’ve been delving more into kinetic and inventive designs. Our Objet Pendant, Duo Form Ring and Duet earrings are just a few pieces that employ moving parts, and there will be more.

Tell me about your philosophy of designing jewelry that never is taken off. “Never taken off” is how we want our customers to wear their jewelry, but it’s also a context for their purchase. We do not expect people to be able to afford our jewelry on a whim—it’s a luxury product. We see a lot of language used in our industry that tells women “this product will empower you” or “you need and deserve this,” as though jewelers are providing something necessary or benevolent, which is such a fiction. Jewelry is extra, it’s fun. It’s special and rare and expensive and hopefully something the customer will deeply consider as a special purchase that will last them a lifetime. We envision our customer as someone who saves up for that perfect piece of jewelry they’ve wanted for so long, or to commemorate a major life event. Hopefully they will pass it down one day as an heirloom. This feels closer to reality, which is important when we are continually exposed to entire Instagram feeds that promote excess as the norm. The prevalence of fast fashion works against us in so many ways and everything comes back to sustainability. Trend-based shopping is a wasteful pursuit. If the consumer started thinking about their purchases from a cost per wear perspective, it could change the whole design industry.

J. Hannah jewelry

J. Hannah jewelry


What are a few of your favorite pieces in your jewelry collection? I’m always found in at least one pinky ring—but usually two!—which currently is our Duet signet. Another favorite is our Clara necklace. A big part of why I became a jeweler was my early interest in tinkering with my grandmother’s jewelry. She had accumulated a lifetime of pieces that all had different significance for her. My favorite piece of hers inspired my Clara collection; it’s a delicate oval bead that is suspended from a cable chain. I elaborated on the original design with a few variations, including a bracelet and a few other necklaces. My Clara Necklace is a foundational piece that I never take off.

Why did you decide to launch a nail polish collection? It mostly started out of personal desire. I am often showing off the jewels on my hands, so I make an effort to keep them well-manicured. I was having so much trouble finding good colors at my usual nail salons aside from your typical fire engine red and a sea of pale pinks. I decided to fill the void I saw at the time, selfishly in a way I suppose. It has grown to become an integral part of the brand: A key storytelling opportunity (#jhcolortheory) as well as a product with a lower barrier to entry price point. It’s now more accessible to buy into the brand.

The J. Hannah nail polish collection

The J. Hannah nail polish collection


You said the palette is “color-resistant”—what does that mean? J. Hannah polish is not about having every color in the rainbow or following trends—rather a tight selection of effortlessly wearable colors. I figured I probably wasn’t the only one craving some respite from the louder pop colors you usually see on the shelf. I wanted to make it easier to find that laid back shade that you won’t ever get sick of, and that will actually look good once you put it on, not just in the bottle.

Why do you focus on neutral nail polish tones? We started with a palette dominated by neutrals, and we will definitely continue to expand our array of muted shades because you can never have too many. One of the reasons was my own frustration with how it was so difficult to select a color that would blend with my wardrobe. If it’s going to be on your nails for one to two weeks it should look good with anything you might want to wear, so that posed a fun design challenge for me. That said, some of our best sellers are actually our least neutral shades, like Eames (a midcentury green) and Ghost Ranch (our red rock shade). They’re colorful, but not in a polarizing way.

J. Hannah jewelry

J. Hannah jewelry


How can people choose a nail polish color to complement their jewelry? Styling advice is hard to give; I think it’s always a matter of personal choice and the main thing is that there are no rules. I think a good arena for juxtaposition is with cool and warm tones. Our aquamarine is an icy green color and it looks beautiful set in warm yellow gold. Ghost Ranch, our red rock shade of polish, looks incredible paired with bigger silver rings for a more modernist look. Maybe that’s because both evoke the New Mexican desert.


‘GLOW’ Costume Designer on Creating Bridesmaids Leotards, Borrowing a Bob Mackie Original

Beth Morgan photographed by Dan Doperalski at the PMC Studio in Los Angeles for Variety on July 23, 2019

Beth Morgan received her first Emmy nom for the first television show on which she ever worked, “Deadwood.” Now, she is nominated in the period costumes category again for the costume design of Netflix’s “GLOW.” Morgan is up for the second season finale “Every Potato Has a Receipt,” in which she got the chance to create a full set of bridesmaids leotards for a special stunt in the 1980s wrestling comedy. But not to be outdone, she worked hard to top herself in Season 3, when the characters went on the road to Vegas.

In the second season, the female wrestling troupe becomes much more comfortable in the ring and the actresses perform more complicated stunts. How did that kind of wear and tear affect the amount of doubles of costumes you needed?

It didn’t affect it as much as some shows because we don’t have stunt doubles. Really we have a double for an emergency, but the girls really wear their one. The wear and tear on them has not been extreme. We were fortunate in all of the fabrics we chose in the beginning; they can stand the test of time. What does change is the girls’ bodies. In the reality of our show, and in life, as you’re getting better at something and training more and more, your body is more physically fit, so some of the costumes were tweaked a little bit for that.

What is something about the way the costumes are made that you think no one thinks about when they watch the show?

The Zoya costume gets the most beat up because I was insistent that she had the belt. A lot of things about “GLOW” and the ’80s is about the silhouette and it being simple, so a lot of them are very simple leotards — especially in the ring because you have to make sure they can be safe. Everyone except Zoya wears Capezios. But we had to make sure they could grab each other — the wrestling is about interacting closely with each other and making sure you’re a good partner, so what fabrics were too slick, that when they go to grab to turn them around, they can’t get the right grip. All of that had to come into play. Also, we have to think about everybody’s ring looks and their entrance looks. We don’t always see everybody enter, but what is that — because wrestling is about showmanship, but these girls are gritty and they don’t have any money, so they’re putting these things together themselves. So it’s about what found objects can they use? We wanted it to be realistic that they could put this together, so when we were picking fabrics, it was about what would they be able to get and augmented? Season 2 was kind of a leftover from Season 1, but we wanted them to be iconic looks.

Speaking more to that realism, then if something does start to fray, do you leave it, rather than rush to make a new double?

We leave it. Because we’re shooting in chronological order, if somebody would have busted a seam, we would have it look liked it’s hand-stitched up. Carly [Mensch], one of our showrunners, would be so happy if we had a busted seam; she loves stuff like that! And people always notice that we do a lot of repeating — because I wear three pairs of jeans, and I feel like that’s the one thing that TV makes not as realistic. These people, especially in Season 2, have a small amount of money to spend. Rhonda is living in her car; she wouldn’t have this copious amount of wardrobe. And they’re wearing the same wrestling things. So I wanted it to feel realistic and organic. And some people who would have a lot of clothes, like Melrose has a trust fund and Debbie has divorcee money, we do a little more with.

Something really big and new in the second season was in the finale episode, for which you are nominated, when you made bridesmaids leotards and a wedding dress.

That is actually why I entered this episode. In my career, it was my favorite creative collaborative experience to date.

So how did the design come about?

Originally it was going to be that the girls were in their “GLOW” costumes for the wedding, and I was like, “Can I pitch something?” It was my own doing, but we didn’t have a lot of time. My sketch artist and I started working on Rhonda’s wedding dress, but we didn’t know what was going to happen — was she going to have to wrestle? So I decided to make the tearaway leotard. And then we sketched all the girls in the leotards — the pink side and the gold side. I went and pitched that because I knew they wanted “GLOW” costumes, but I thought there was something about the girls being on this journey, and being a bridesmaid for a person is really a symbol of showing up for them, no matter what. And that’s what I wanted to show for the girls, but I just thought it translated better in something new. And bridesmaids dresses in the ’80s were insane, and there’s something about being in an iconic part of each decade that weddings does, and we were going to get that opportunity only once, so I was like, “We need to do the big ruffle and the headpieces and all that.” It was really a time when it showcased how supportive the whole creative process is there.

How functional did the wedding looks have to be, knowing they would start wrestling around the ceremony? 

I was adamant I wanted the ruffles to be off the shoulder for the ceremony, but then they would pull them up when they go to the Battle Royale. But the functionality of building a garment that’s off the shoulders is very different than on the shoulders because of the fit. And we have many different body types in the same look, which is the beauty of bridesmaids dresses: How do you make 15 women look good in the same thing? Who gets what color? Originally it was going to be the good girls in pink and the bad girls in gold, but it didn’t quite work out that way because of how they were walking down the aisles. But then we also had to double the fabric and get cups because we have a nipple issue in general because it’s cold. We love nipples, but we don’t want to distract!

Do you have to use special fabrics or line the costumes so they stay perfectly in place while the women are moving so vigorously to avoid other wardrobe malfunctions?

We’ve had no wardrobe malfunctions. There’s not a lot of coverage, and every once in awhile I will watch something like, “When is there going to be a slip?” We are so lucky; we’ve never had anything pop out. Season 1 we used this Bikini Bite and these different things to keep the wedgies in place, but as we were watching it — and as you watch ’80s wrestling and aerobics — wedgies were such a part of it. So we stopped. We really only used it for the fantasy match in Season 1, Episode 1. We used it and then we stopped, and it’s a wing and a prayer, and that speaks to how perfectly fit how all of those leotards are that we’ve had no slips.

Going back to the philosophy of reusing certain looks, how did those bridesmaids’ leotards end up in Season 3?

I didn’t make them specifically to reuse them. I had specifically said to my assistant, “Don’t worry, they’re only going to wear these once.” Because they were such an engineering feat — they’re delicate costumes to wear — we assumed they would only be in that one episode, but then they loved them so much. They weren’t meant to be worn again, but usually I am thinking of how they can be. Like, in Season 3 now that they have more of a bond and they’re living in the same place, you see them wear each other’s things. It’s that thing that girlfriends do, so I always try to think of, “Oh, this piece would be great on multiple actors.” And when they’re at the pool, well I know for each season I usually have one piece and a backup, so we have to really love the looks because we’re going to see them again and again, and that does inform the idea of signature pieces. Ruth’s jeans with the seam down the front, the minute she tried them on, we knew everyone would know we were repeating because they’re so obvious.

When you end a second season in such a big way, do you feel you need to go bigger the next year to continue to challenge or further inspire yourself?

It’s hard because you have to hope the story lends itself to that. This one, luckily, we go to Vegas, so it’s easy to top [Season 2] because we’re in Vegas and everything is bigger there. I love the storytelling part of what I do, so that’s what always draws me in. One of my favorite jobs was “Key and Peele,” and when it started we had no money and I had a department of me plus two and every day they’d be, like, vikings in the morning and DJs in the afternoon. It was the best training ground, and because I had assisted on “Deadwood” and “John Adams,” these amazing period shows, I was able to take that knowledge and underappreciated genre of variety sketch and make it historically accurate.

Was there one of those big moments in Season 3 that stands out as a favorite?

The Geena Davis Bob Mackie Jubliee outfit. In general Season 3 is like Season 2 on steroids. Everything is bigger: People are in formal wear, we had so many more background fittings, we had so many more changes, the girls had money. Basically it was like the finale every episode. But the Geena Davis moment at the end when they’re at the ball — the writers had gone to Vegas and they got a tour of the Jubilee costumes, and then I got in contact with them and we were able to actually rent them, which has never happened. Bob Mackie is one of the reasons I got into costumes. I’m a “more is more” type of person and when I started, he was the master, and the fact that I got to pay homage was amazing. I added pasties, but we took a Jubilee costume and put it on Geena Davis, and she was game for it, and she looked amazing. I did get to design originals for our Fan-Tan girls with our show in mind, but the Jubilee is a special aesthetic. So we definitely got to have the best of both worlds in Vegas.

Your first Emmy nom was for a period piece, as well. What keeps you coming back to that realm?

I think just because you have perspective. You have research that you’re doing. It’s hard to say today what exactly the forecasting of the future will be — especially working on Netflix when it’s a year to go. But I think you can really develop a character in a different way when you’re doing a period show — because you have all of the information already. You know what the outcome was. So you’re getting to delve deep into the character aspect, and usually you get to make more. You have a little more of a budget, where typically on modern shows you’re doing more shopping, more putting pieces together, and you don’t have the budget or freedom to create your own things. It depends on the show, obviously, but for me, I love that we can create so many original pieces and delve deep into what was happening in the time period, what was going to happen, what happened already, and how that informed the characters at the time.

What are the quintessential colors, design aesthetics and style pieces that you try to infuse in all your jobs, no matter the time period?

I have an insane love for vintage belts, and I feel like it’s something that’s an insane hole in the market. I always use vintage belts on any show I’m doing, and I feel like it really becomes my favorite thing that ties everything together. But it’s hard to say that there’s something quintessentially me because I want to be here to serve the characters, so of course my stamp is on it — it can’t not be — but it’s about thinking with the character’s brain: What about these characters, when they went in their closet, would they pick this particular outfit in this particular moment?


Best Deals On Women’s Shoes At The Nordstrom Anniversary Sale

A woman trying on a selection of shoes, 1951.

A good deal on shoes doesn’t happen everyday, which is exactly why you need to get moving on the Nordstrom Anniversary Sale. Officially opening to the public on July 19 and running through August 4, anyone can preview the discounts now but only Nordstrom card members can shop them. Take this window of time as an opportunity to do your research, and since the sale has everything your shoe rack was missing, from luxurious basics to artful showstoppers, you’ll be thankful for the head-start. These are the soles everyone should be scouting:

Aquatalia Cathryn Water Resistant Bootie

The story involving a sudden rainstorm, your favorite shoes, and a sinking feeling in your gut used to be a common one, but no longer: this, right here, is a fashionable, Made-in-Italy leather boot that will have you protected no matter the weather. With a small block heel offering stability and a zipper for easy, slip-in, it’s the ultimate practical piece, ready to take on whatever your calendar has planned. The square toe gives it a geometric modernity—keep your pants wide-legged and ankle-length to show it off.

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Vince Heath Cross Strap Sandal

The mule trend has been snaking its way through closets for a while now, and this style by Vince makes them even more desirable. If animal prints aren’t your thing, these are available in a range of other neutrals including black, nude, and saddle-colored leathers and a black suede; since they’re on sale, you might as well stock up on a few. The broad straps give their front a contemporary texture and coverage, separating these mules from the pack, and the thick heel will keep you sure-footed—these are perfect to elevate your airport look, or to make part of your daily uniform.

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Nike Blazer Mid Rebel Sneaker

These are called “rebel sneakers” for good reason. At first glance, they may look like any new high-top: all-white, in the classic shape of a basketball sneaker, the only thing that stands out on the one side is some orange stitching. But look closely and you’ll see that this is no average sneaker. Mismatched white/black swooshes on either side meet asymmetrical lacing just below your ankle, while backward branding on the heel nods to the logo-hungry trends of today. They’re a go-to athleisure number that tells everyone you’re cool without you needing to.

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Nordstrom Signature Giovanna Mule

The gentle curve to the upper of these slides will make you feel like you’re sliding your feet into a piece of wearable art. The woven leather detailing, in a calm blend of black, navy and various shades of tan, makes these incredibly versatile—they’re a patterned neutral, wearable with any clothes in their colors. Couple them with a pair of pressed trousers for a low spin on your usual workwear.

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Vince Camuto Corlina Ankle Strap Sandal

Study the shape of this sandal. See the sturdy high heel, the slender ankle strap, the simple design; imagine the endless possibilities. The shape is so important but the color isn’t—it’s available in 22 different shades and patterns, so you can get the one that fits your lifestyle, whether that’s a crackly “pop pink leather” or an icy “swan lake suede.” It’s the shoe you step into to give any outfit a little lift; an understated partner that doesn’t steal the show from whatever look you pair it with, be it a bohemian sundress or a dark moto-suit.


Gucci now allows people to ‘try on’ its shoes without going to the store


NEW DELHI: Going out to malls or markets to shop for shoes will soon be passe!

Various startups have been, for some time now, using the cool technology of Augmented Reality (AR) to enable people to virtually try on stuff like clothes, spectacles, make-up and hair before actually making a purchase.

Recently, Italian luxury brand Gucci teamed up with technology partner Waanaby to launch the ‘Try On’, a groundbreaking AR function that allows people to “try-on” one of its Ace sneakers at any time and from anywhere with a simple push of a button, reported Venturebeat.com.

So to buy a shoe, a person using the refreshed iOS Gucci app can pick the Ace sneakers of their choice and point their phone’s camera at their feet, after which they’re prompted to try the shoes on virtually.

From Gucci To Givenchy: A Peek Into Melania Trump’s High-On-Fashion UK Visit


Fashion Fest

6 Jun, 2019

US President Donald Trump and first lady Melania Trump are currently on their state visit to the United Kingdom. From dining with the royals to exploring Downing Street 10 with British Prime Minister Theresa May and her husband Philip, their visit made headlines around the world. However, one of the highlights of the three-day tour was the first lady’s UK-inspired wardrobe.From Gucci to Givenchy, Mrs Trump opted for expensive brand labels again and left the world stunned with every look.

What’s more? A built-in photo feature lets people capture themselves “wearing” the models that speak to them and share their snaps via text, email, or social media.

While it is Gucci today, very soon other brands too could follow suit.

The Belarus based startup Wannaby had earlier this year launched its own app Wanna Kicks where users can virtually try on 3D models from Nike, Adidas, Allbirds and others.

The app uses real-time machine learning algorithms that take into consideration colour, texture, and lighting variations, plus a fully equipped printing studio that Wannaby uses to create 3D sneaker models.

All designed to create a tracking technology that’s robust enough to follow people’s footsteps as their feet move and rotate.

Apart from shoes the startup also offers Wanna Nails, an app that lets users “try on” nail polish from curated collections with real-time segmentation and recolouring.

Next on the startups agenda is jewellery and apparel.


Target Sets Sights on Wide-Width Shoe Customers With Trend-Driven Women’s Styles

Universal Thread Aviana Microsuede Block Heeled Mules

Target is going after a new demographic — the wide-width customer. The company has announced its plan to increase its current offering of women’s shoes in the category available at both Target stores and online.

According to the company, the initiative has been in the works. Over the past year it has expanded its offering of wide-width shoes, which currently makes up 30% of its entire women’s shoe department.

“We want our guests to know they can count on Target for a wide range of sizes and styles, from swimwear to intimates to apparel and shoes, so they can look and feel their very best,” said Jill Sando, SVP and GMM, apparel and accessories and home for Target. “In shoes, we’ve recently expanded our assortment to include hundreds of wide-width shoe options to ensure all guests can find the perfect shoes that fit amazing and complete their look.”

Coming for fall, Target is introducing more than 100 new styles in wide widths, including ballet flats, booties and heels. And the retailer will continue to expand these options across the kids’ and men’s departments.

Target is not alone in its efforts. There are a range of brands currently catering to the size-and-width market. These include Clarks, Easy Spirit, J. Renée, Naturalizer, Walking Cradles and others. While they have traditionally targeted a more mature customer, they’re now recognizing there are younger consumers today who need wider-width shoes, and they are raising the style bar on their collections to appeal to these consumers.