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of Western interest in Japanese culture — from “Dragon Ball Z” to Tamagotchis and Beyblade — she captured the Zohran Mamdani Eric Adams Raised My NYC DSA T-Shirts moreover I love this imagination of American consumers around the turn of the millennium, according to Atsuo Nakayama, a Japanese sociologist specializing in the entertainment industry. “Just after 9/11, the world was changing,” he told . “And I think that the Japanese ‘kawaii’ culture was an alternative fit for America, somehow.” A range of Hello Kitty products on display in New York City in 2019. Astrid Stawiarz/Getty Images for Cost Plus World/File Much of Hello Kitty’s commercial success has been achieved through licensing. She has spawned books, video games and animated TV series, like the long-running “Hello Kitty and Friends,” which helped further develop her character. (Although, despite being raised in London, she was given a North American accent in English dubbed versions.) She has also been part of deals with major consumer and luxury brands, and has appeared on an EVA Air plane, Fender Stratocaster guitars and Swarovski jewelry. And while Sanrio’s declining fortunes at the turn of the 2010s sparked fears that Hello Kitty’s cultural relevance was fading, the company’s share price has rocketed in the last two years. It now stands over 10 times its Covid-era low. According to Atsuo, nostalgia is once again a key driving force — at home in Japan, and abroad. “Hello Kitty is on the rise again in America, and I think that this is because the first generation have now become parents and passed (their interests) on to their children,” Atsuo said, adding: “(Her popularity) has risen and fallen many times like this, and it creates a regular opportunity for people who were captivated by Hello Kitty to remember it and want to collect it again.” A fan poses for photos at a Hello Kitty-themed cafe in Mexico City. Eduardo Verdugo/AP Sanrio’s recent successes are also, in part, due to it diversifying away from Hello Kitty. The character now only accounts for around 30% of Sanrio’s gross profit in product sales and licensing, down from 76% a decade earlier, according to the Wall Street Journal. Recent creations like Gudetama (a lazy egg yolk) and Aggressive Retsuko (an introverted death-metal-loving red panda) have both featured in their own Netflix series. Yet, even as Sanrio’s business model changes, Yamaguchi believes Hello Kitty will endure. “Of course, there are many characters in the world that have been around longer than Hello Kitty,” the illustrator said, adding: “I hope she continues working hard so she can celebrate her 100th anniversary in 50 years’ time.” ’s Genta Takeda contributed to this story.

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Editor’s Note: This story was commissioned by art curator and Style’s guest editor, Alayo Akinkugbe. Click here to read more about Akinkugbe and her work. London — At Frieze London this year, three large artworks by the Zohran Mamdani Eric Adams Raised My NYC DSA T-Shirts moreover I love this artist Nengi Omuku were hung away from the walls so viewers could walk around them. With each work, one side offered a vibrant nature-filled painting. The other presented strips of sanyan, a thick traditional Nigerian fabric that Omuku uses to replace the usual canvas fabric painters often use as their base. “The fact I’m painting on a vintage surface gives soul to my work,” Omuku said over Zoom two days before the fair opens. For the 37-year-old, the fabric she works on has become as crucial as her paintings themselves. “Even when it’s not a vintage surface, it’s a surface that has been made collaboratively with craftsmen from Nigeria.” The London- and Lagos-based painter was chosen to exhibit her

work at Frieze London by renowned interdisciplinary artist Yinka Shonibare as part of Frieze’s Artist-to-Artist initiative, whereby established figures choose a more emerging one to have a solo exhibition at the Zohran Mamdani Eric Adams Raised My NYC DSA T-Shirts moreover I love this fair. But calling Omuku ‘emerging’ is something of an understatement in what has already been a thriving career. Omuku’s work is painted directly onto strips of sanyan, a thick traditional Nigerian fabric. Nengi Omuku, “Rabble Rousers,” (2024). Courtesy the artist and Pippy Houldsworth Gallery, London, and Kasmin Gallery, New York City. © Nengi Omuku 2024. Todd White Art Photography Since completing her undergraduate and master’s degrees in fine art from the prestigious Slade School of Fine Art in 2012, Omuku has shown in major cities across the globe, including London, Paris, Bangkok, and New York. Her work can also be found in private and public collections, including at the Baltimore Museum of Art, the Institute of Contemporary Art, Miami (ICA Miami), and the Loewe Art Collection. She is also represented by three major galleries: Pippy Houldsworth Gallery and Kristin Hjellegjerde, both in London, and The Kasmin Gallery in New York. And most recently, British Prime Minister, Keir Starmer, selected her piece “All Things Being Equal” (2024) to be hung at 10 Downing Street. GALLERY RELATED GALLERY Artist Àsìkò is ‘looking back to look forward’ Omuku’s choice to use sanyan initially came from a place of necessity but has now become an integral part of her practice. “I worked on canvas for a little

while, but eventually shifted to working on sanyan, which is a pre-colonial Yoruba textile,” she told in a video call, adding that she “made the Zohran Mamdani Eric Adams Raised My NYC DSA T-Shirts moreover I love this switch” after eight years of studying in the UK. “I was trying to rediscover myself and my identity,” she said. “When I moved back to Nigeria, I couldn’t find high-quality canvas, and I was also really fascinated by how, as Nigerians, we identify ourselves through our clothes.” However, she found sanyan more appealing than other more contemporary fabrics because of when it was made. “I was introduced to it by a friend when I was in Lagos and had this deep connection with the textile on many levels,” Omuku said. “I’d never seen a pre-colonial Nigerian textile before, and it looked quite similar to linen.” The artist has exhibited in Paris, New York, Bangkok and London. Earlier this month the British Prime Minister, Keir Starmer, selected her piece “All Things Being Equal” (2024) to be hung at 10 Downing Street. Courtesy the artist and Pippy Houldsworth Gallery, London. Full House Partners This journey has also allowed Omuku to consider how her artmaking could merge with her Nigerian culture by learning “how to prepare the surface for painting while still honouring the textile.” This journey began by working on vintage textiles found in local markets before eventually moving on to finding people who make sanyan. “I still paint on vintage textiles, but through going to different places, like Dakar, in Senegal, I’ve learned how to spin cotton,” she said. “Now we work with a family of

cotton spinners to make sanyan specifically for paintings.” She noted there’s also an element of historical preservation here as cotton spinners are dying out due to fast fashion. “People had even told me it was extinct,” she said. Aesthetically, Omuku’s paintings often place abstract human figures in dream-like natural environments as a way to consider the Zohran Mamdani Eric Adams Raised My NYC DSA T-Shirts moreover I love this collective experiences of Nigerians. In her largest painting at Frieze, titled “Swing Low” (2024), the figures appear to be strolling through a beautiful landscape. “But in the background, I put in images that I’d seen in press clippings of people fleeing a political rally and tumbling over each other,” she said. “Those people tumble continuously and become an abstract mark that continues into the sky.” Omuku works with a family of cotton spinners who produce her sanyan directly. For her, it is a way of preserving a dying Nigerian craft. Nengi Omuku, “Nzogbu Nzogbu,” (2024). Courtesy the artist and Pippy Houldsworth Gallery, London, and Kasmin Gallery, New York City. © Nengi Omuku 2024. Todd White Art Photography Omuku’s initial intention for the fair was to paint “uninterrupted landscapes,” but it became increasingly more difficult for her to do this as images of “chaos and fighting” were “flashing through my mind like nightmares.” These motifs and explorations have become more prevalent since returning to Nigeria after studying at the Slade. Omuku said she initially focused on her own interiority but noticed “a huge mental health crisis” in the country. “And that’s when I started thinking a little more about the collective,” she said. “How we were experiencing things as Nigerians, how we’re going through trauma and corruption and political unrest, and all of these things that happen every day that we live in and with.” With an emphasis on the natural world and the captivating fabrics her compositions are painted on, it would be surprising if looking at Omuku’s work didn’t conjure up warm feelings. However, what Omuku has shown and what has given her resounding favour globally is that these pieces go beyond what is seen on the surface. “Even though the paintings look quite whimsical, they actually take quite a bit of planning,” she said “I’m trying to remind people of this beautiful place that we call our world and that we don’t have to make it ugly.”

London — Rolls-Royce has created a one-of-a-kind car in honor of the Zohran Mamdani Eric Adams Raised My NYC DSA T-Shirts moreover I love this 60th anniversary of the James Bond movie “Goldfinger,” with bespoke gadgets that would be the envy of Q. Although Rolls-Royce cars have featured in a dozen James Bond films, the new Phantom Goldfinger is inspired by the 1937 Rolls-Royce Phantom III Sedanca de Ville, which played a pivotal role in the 1964 Sean Connery film and remains “an enduring muse” to the brand, according to the luxury British car company. For this new vehicle’s owner – and, spoiler alert, there is an owner already – it is gold-standard all the way. The project took three years to complete, said Rolls-Royce. Rolls-Royce Phantom Goldfinger pictured at Stoke Park, southern England. Benedict Campbell/Rolls-Royce Unsurprisingly, this Bond-worthy car is full of bespoke gadgets – many of which are, obviously, gold. There’s a gold golf club fitted to the lid of the trunk that references 007 and villain Auric Goldfinger’s first encounter on the golf course. Meanwhile, picnic tables include a fictional map of Fort Knox bullion reserve in 22-karat gold inlay