In case you miss him Lewis Hamilton He still expands its influence beyond the race track.

The seven -time Formula 1 world champion was Announced as the latest Lululemon Ambassador In a partnership wherein he’ll cooperate in the innovation of products and global initiatives of spokesmaking.

The commercial, issued last month, appears in the period wherein Hamilton strategically builds his business portfolio with a racing profession. This movement is perfectly combined with the evolution of Hamilton from the motor sport icon to the global brand and the lawyer of social justice.

Expressing his enthusiasm related to the partnership, Hamilton said: “The Lululemon product is so high, it looks amazing and ultimately ensures the performance I need. I am excited about cooperation with the brand, which includes a comprehensive approach to biological renewal. Together we want to inspire our communities to the best versions of ourselves. “

Like everyone knows Formula 1, Lewis Hamilton has already reached the status of goat. He has more Grand Prix wins, podium ends and positions on a pole than any driver in history. His seven world championships equals the record of all time. But Hamilton’s meaning goes far beyond his clear dominance on the track.

Nikki Neuburger, director of Marek and activation of the Lululemon product, emphasized what Hamilton is such a precious ambassador. “Lewis changes the game in every sense of the word. His relentless commitment to performance, well -being and influence are completely consistent with what we stand in Lulummon, “said Neuburger. “We are excited to cooperate with him so that innovation inspires and create positive changes together.”

Hamilton was a revolutionary figure in a historically devoid of diversity. As the only black controller in Formula 1, he used his platform to support increased representation and integration. His open position in matters of social justice and commitment to the initiative of diversity modified the way wherein sport concerns these critical topics.

Multi-Hyfenate Saloan Goodwin Dunlap, also often known as Queen Loana, will be known contemporary, will be known for her digital works of pop art, but her artistic journey becomes much deeper. Initially, working in photography, she landed to clients each locally and in the entire country. After her and her husband decided to expand her family in 2019, it was difficult for her to create through this medium, as she wanted.

“I started designing digital pop art at the end of 2019, when I was too pregnant to shoot,” says Dunlap. “The first song was an element of the collection that I still share a lot, as well as a piece of Rihanna, which I have not yet released. In February 2020 I created my piece of black hair and became viral. Immediately afterwards the world closed. “

What began as a creative outlet in the course of the transitional period in her life soon flourished into a powerful type of self -expression. She found inspiration from black experience, moments of popular culture in Black America, in addition to her own basic memories and things she saw in her community and round her. Due to the knowledge of all this, her work immediately resonated with people on the Internet, especially black women who saw one another in her songs. “When I see a photo that moves me, almost as if I had no control over my hands,” says the artist. “I will turn on the music and just go for it.”

This ability to allow to photo caused its creative juices in such a way that he produces something so fascinating, also caught the favored fashion stylist June Ambrose. Like the remaining of the world, Ambrose found latest stores during a pandemic and asked Dunlap to design art for her and the virtual program of her daughter – it was a match made in heaven.

“I got DM since June, saying:” You have a job! “It surprised me because I wasn’t sure what happened, and I didn’t even remember to apply for anything,” recalls Dunlap. “People marked her in the article I did and she contacted me about my work and asked me to create photos from the cover for her live concert. It seems to me that Pandemia was really a blessing in a disguise, because it also forced people to release and pay attention to things. “

Despite finding success so quickly, Dunlap also realized what she wanted when it involves her art. Yes, the viral was amazing, but additionally undesirable expectations were created on the terms of other people in comparison with her own. She discovered that only to feel when the song was really in the very best and last form.

“I know that it is difficult for people to look at digital artists as real artists, so I have already fought with it,” he explains. “In addition to receiving requests here and there from people who demanded from me to chop my art based on how they wanted it to look. Everything became overwhelming and I just closed myself. “

Given herself for a moment, she returned in 2021 with a latest emphasis on artistic endeavors based on affirmation. These strengthening projects, containing the spirits, still construct their loyal supporters. She even raised the stake by designing the layers of affirmation cards, which also contain her creations.

“It started as a hashtag,” listen to yourself, turn to you, “says Dunlap. “When I put my songs on this planet, I just don’t share that my story, I also need to encourage people. Because sooner or later I experienced and went through it. This is where my affirmations come from. At the start I just tried to feed me, but it also became a have to feed people. There was the purposefulness that bloomed after the primary wave, which was simply popular. “

The same need for motion with the intention also forced her to create more elements that also positively reflect the black male experience in America. He wants black men to feel the identical as of their work, as black women do, especially amongst today’s social climate.

“The inspiration of black men just behind my father’s and my husband’s strength, as well as other people around me,” explains Dunlap. “Of course, creating a job that appeals to black women comes easily because it is my living reality. But when it comes to black men, I want to turn them on more because I don’t think they often receive reflection in such a beautiful way and I want them to have this experience. ”

Looking to the longer term, Queen Loany is worked up to cooperate closely with the National Museum of African American History and Culture in the longer term. Meanwhile, he hopes to begin the debut exhibition of Solo art this 12 months in his hometown of Charlotte.

When all this is claimed and done, she wants her art to be seen as a healing medium, which allows her to attach with people in a significant way. “I want people to connect with the same energy that kept us alive as children again. When they accept my songs, I hope he speaks to these basic memories that were full of joy and simplicity of life. “

Through his living digital works, he definitely does this, while raising his community and maintaining the fantastic thing about black American experience.

Black cultural institutions are greater than just buildings full of artifacts; They are history guards, defenders of the truth and spaces during which narratives could be told by those that lived them – subsequently re -opening Hampton University Museum is so essential. As each the oldest African American Museum, and the longest in the Commonwealth of Virginia, its revival shouldn’t be only about refreshed galleries-it’s about to proceed to honor and share the depth of black experiences. Thanks to the latest exhibits and the renovated vision of the museum, it’s an affidavit of immunity, creativity and the strength of our stories.

The structure, founded in 1868, has turn out to be a lighthouse of African -American art for over 150 years, having one of the most versatile African, African -American and indigenous art collections on this country. Thanks to the re -opening, guests can now experience the prolonged space of the gallery, which easily connects the newly acquired masterpieces with iconic works that determine its unusual heritage.

One of the most enjoyable additions is the veterans exhibition, honoring Hampton graduates who served in the armed forces. But perhaps the most striking latest function is the costume collection designed by the legendary graduate Hampton Ruth E. Carter, the first African American who won many academy awards for designing costumes. Her songs, worn by Denzel Washington, Eddie Murphy and Oprah Winfrey, are an intimate take a look at some of the strongest black narratives in Hollywood.

However, aside from the latest exhibits, the heart of the establishment stays its deep historical roots, and the treasures he has secured for generations. Among the most famous works of the museum is Painted in 1893 by Henry Ossawa Tanner. A masterpiece of African -American art, the picture reflects the intimate moment between an older man and a young boy, bathed in a warm light when the elder teaches a toddler patiently. It is a presentation of a black life – free stereotypes and full of dignity – it was groundbreaking when such performances were rare. The song was one of the first acquisitions of African -American art by the American institution and continues to be a favourite amongst visitors.

“And another track Tanner, creating the foundation of our collection,” says Dr. Thaxton -ward, director of the Museum of the Hampton University. “They are an important part of our heritage.”

For a long time, the location has consistently expanded its collection, opposing the barriers which have long tried to cut back black artistic expression. In 1967, the Harmon Foundation gave a whole lot of works from the Harlem Renaissance and never only, strengthening its role as a guardian of black creativity. He also boasts the collection of the art of the countess and Ida Cullen, with 29 works obtained from the widow of the legendary poet. These songs, along with the works of John T. Biggers, Elizabeth Catelett and Samelli Lewis – artists who share deep connections with Hampton’s heritage – hand over the popularity of the museum as the most vital institution of African American art.

When Black Art was excluded from the predominant galleries and rejected as “folk” or “primitive” over the years, the Museum of the Hampton University remained lifting and behavior. “Thanks to historically black institutions, we all have our strengths,” wonders Dr. Thaxton -ward. “Spelman focuses on artists of women from African Americans – their strength. In Hampton, our strength concerns the relationships that we built with artists, graduates and donors. “

The revitalized constructing still sends forward, not only as an area for watching art, but as a spot of education and conversation. His everlasting exhibitions are presented by African masks, Indian textiles and contemporary masterpieces, offering visitors to a large journey through global artistic traditions. From over 9,000 works in your collection. This ensures that every visit discovers a brand new layer of black artistry and history.

The leadership of Thaxton -ward also secured the financing of the predominant cultural institutions, including the Mellon and the National Trust for Historic Conservation Foundation. “These funds helped in the documentation, maintaining and ensuring that our collections remain safe for future generations,” he explains. “You have to keep it or you don’t have anything to see in the future.”

As the talks about racial equality and representation in art evolve, the Museum of the University of Hampton stays the foundation stone of these discussions. His involvement in maintaining black artistic perfection is unwavering, and this constructing is firmly a storyteller, defender and lighthouse of artistic triumph. His re -opening shouldn’t be only an event – it’s a catalyst that can encourage generations to return.