Paris-based designer-maker Wendy Andreu uses materials as a means of communication, experimenting to find surprising outcomes that can be translated into functional design proposals. She collaborated with performance fabric manufacturer Sunbrella to create a new innovative material from its waste selvedges – the woven or knitted edges of textile rolls that are usually discarded.
Tell me a little bit about your childhood, education, and background in terms of how you first became interested in creativity, design, and sustainability.
I was born in a rural area of the South West of France. Growing up with a father who was a technician in an aeronautic factory and a mother who was an insurance agent, I felt that my perspective there was quite narrow. I wanted to explore art and culture, so at the age of 14, I decided to study applied arts at a boarding school in the Basque country. There, I discovered the potential of the creative industries and knew what I wanted to do with my life. At 17, I moved to Paris to study metal craftsmanship at the Ecole Boulle, gaining a traditional and technical education. In 2012, I was accepted into the Design Academy Eindhoven. There, I was able to be a craftsperson as well as a designer – making and thinking all at the same time. I was really inspired by that approach and pushed out of my comfort zone to try things I would never have thought about trying. I graduated cum laude in 2016 with a collection of rainproof accessories made with a textile I had developed myself – and won the Dorothy Waxman textile prize and the public prize for fashion accessories at the Villa Noailles, Hyères.
How would you describe your Solid Selvedges collaboration with Sunbrella
Sunbrella makes performance fabrics for awning and shade structures, as well as marine canvas and upholstery for both outdoor and indoor applications. I was introduced to them by The New Order of Fashion [formerly Modebelofte – a platform for interdisciplinary collaborations with emerging fashion talents] with the idea of sustainability and tackling waste in mind. Most of Sunbrella’s products are made with solution-dyed acrylic, a high-quality textile fiber that provides long-lasting colors and strong products. During production, the selvedges (the edge of a fabric – usually woven or knit so that it will not fray) of the textile rolls are discarded. Focusing on these selvedges, I created a composite material in which the discarded fiber from Sunbrella could become one of the raw materials.
What inspired this project?
I experiment with materials to understand their potential – I like to understand traditional techniques and then re-think how things are made. I am also very interested in small scale craftsmanship and I am very proud to produce only a few pieces each year, working with European suppliers and manufacturers. Sustainability is linked to how we produce goods – and this is a question that I ask myself every day. Which design choice will lead to the least waste? Which choice will create less pollution? By carefully thinking through all the options, applying knowledge and creativity, the best design outcomes can be reached. This particular research project was inspired by the material itself. The acrylic waste, once coated with a resin to make it waterproof, cannot be recycled, so I had to think about other ways to step in. I went to Lille to visit the Sunbrella factory and to understand the processes. I researched acrylic and acrylic properties. I spoke with people from the factory and try to understand the context and how this waste product be related to the same context? I was also inspired by carbon and glass fiber techniques, in which fibers are used to reinforce a resin – and I decided to give the Sunbrella fibers the same function. I didn’t want to use harmful transformation processes such as burning or melting, or use hazardous resins such as polyester or epoxy.
What waste materials are the products made from, how did you select that particular material, and how do you source it?
I limited myself to the selvedge. By focusing on a single type of waste, I was able to be efficient and precise in my research. Each waste stream has its own potential that can lead to its very own beauty. The key is to understand where the beauty stands, dig it out and translate it into a tangible proposal. Then waste becomes valuable. The Lille production site generates 70 tons of selvedges waste every year, so there is huge potential.
When did you first become interested in using waste as raw material and what motivated this decision?
I designed my first piece with waste as a raw material in 2018 in response to a brief from Laura Houseley and James Shaw to make a textile piece using plastic for the Plasticscene Exhibition they curated for LDF the same year. I contacted my rope suppliers, the Société Choletaise de Fabrication, and asked them if they could send me discarded polyester rope. I received a random selection of hiking boot laces in a diversity of colors and patterns. I bonded these laces together with a black polyurethane paste in order to create a rug. The use of waste always involves the randomness of the leftover and it was interesting to make a piece without being totally in control of the colors – I like to take advantage of this randomness as it always generates unique objects.
What processes does the waste material have to undergo to become the finished fabric?
The Sunbrella selvedges are cut into tiny squares and then reduced to fine fibers. These fibers are mixed with water-based, solvent-free acrylic resin to create a hard material. The acrylic fiber makes the material stronger by bonding with the acrylic paste – and gives the plaster-like resin a color. The resin can be poured into molds or coated onto existing forms. This process transforms soft and colorful textiles into a stone-like building material, extending the spectrum into which the Sunbrella textile can be applied. At this stage, the project is only a promising research project, but I would like to be able to push it further.
How did you feel the first time you saw the transformation from waste material to product/prototype?
I work step by step, so the first tests were small, flat, samples. They were promising as I liked their materiality and tactility. I was very keen to create molds as they allow production without waste. I designed molds in aluminum and kept the objects interesting, light and yet very abstract so people could envision many more possibilities with them. Everything worked out pretty well and I was very happy with the result. You can see and guess the fibers stuck in the resin – and some details of the colored fibers are quite beautiful as they layer in a very lively composition. It is very important to me that the designs I make are appealing and desirable.
What happens to the products at the end of their lives? Can they go back into the circular economy again?
Neither of the materials (the original waste selvedge fibers nor the resin) is biodegradable and neither can be recycled, unfortunately. However, I have turned a waste material which couldn’t be recycled into something that is made to last and won’t be destroyed easily, extending its lifespan.
How have people reacted to this project?
People were intrigued first and curious about the material – lots of people expected it to be much lighter than it is. It is interesting to notice the new aesthetics that can be created with waste – people could envision them for retail environments, interior design, objects, furniture… They also were craving to touch the material as it is quite tactile. I think these type of alternative materials are increasingly sought after as people become more and more interested in working with them. Companies big and small – be they manufacturers, retailers, or the fashion industry as a whole – will soon have no other choice but to think about their environmental footprint. Customers, then politics and laws, will push industries in this direction. In my opinion, the companies who don’t respond will decline fast.
How do you feel opinions towards waste as a raw material are changing?
The idea is still disgusting for many people, including designers – waste and garbage are not the most appealing things in the world. However, with a little bit more education on materials and how things are made, perhaps people can better envision products made from waste. It is the role of designers to create positive interpretations of waste or discarded products in order to create beauty. I wish that more industries and manufacturers would be open-minded enough to hire designers not only for their main objects, but also to think about their waste. It could be profitable for them on an ecological and economical basis. It is important to create appealing products and not make too much of the “trash aesthetic” that is often associated with waste.
What do you think the future holds for waste as a raw material?
Waste is the result of the Anthropocene. The amount of garbage is growing while available natural resources are becoming more and more scarce. Waste barely exists in the natural environment as nature works in cycles. Each element has a role and the outputs of one process simply become the inputs for another. It is easy to foresee a future in which waste becomes a raw material and an available resource. Waste is one of the materials of the future. In France a new law against overproduction comes into force next year: manufacturers and companies won’t be able to throw away or destroy their unsold products anymore. These products will need to be either donated or recycled. These very clean waste streams might be the beginning of a new perspective for materiality and production.
During Bill Clinton’s first term as President, the 104th U.S. Congress undertook a long-needed effort to overhaul telecommunications laws that had been on the books for over 60 years. Although the bill had a significant impact on phone, television, and radio services, the biggest outcome of the Telecommunications Act of 1996 was nothing less than the blossoming of the Internet.
Now, as the country begins reopening the economy following the largest public health panic in a century, the U.S. government has a chance to take similar actions on another emerging technology: blockchain. Like the Internet, blockchain technology will change the game again.
The COVID-19 pandemic paused the development and implementation of many products built using blockchain technology, but the great restarting is the perfect opportunity for companies to embrace the power of the technology. Far from being just a niche interest for developers, real-world applications built with blockchain already provide secure transactions that benefit people everywhere, from agriculture to land management to mobile voting.
However, as the momentum around these projects picks back up, many companies will find themselves once again in gray areas where government reach is ill-defined and sometimes clarified only through after-the-fact enforcement. Collaboration between all stakeholders—including government agencies—is essential to the future adoption of blockchain technology.
Blockchain technology can be a vital driver of the new normal as industries and economies recover from the pandemic, but the government’s role in regulating blockchain technology must be understood. Creating clear policies that protect consumers and building a framework for cooperation are some of the government’s most vital tasks in the coming months as more companies and other organizations explore the unique benefits that applications using blockchain technology will bring.
It’s important for the government to take a hands-off and clarifying role in the development of products built using blockchain technology. As legislators create policies to help guide developing blockchain technology, their primary concern should be ensuring that all businesses in the industry behave responsibly and have fair access to customers and resources.
At Medici Ventures, we invest in organizations that are using blockchain technology to solve real-world problems exacerbated by the pandemic. GrainChain, for example, secures trust across the entire agricultural supply chain, ensuring that the most vulnerable people—the farmers—are paid. Evernym helps everyone from individuals to companies control their identities. Voatz helps people exercise their right to vote in a safe and secure way.
These companies—and all others developing blockchain technology—should be able to operate on a fair and equal playing field, without giving any group or organization an upper hand thanks to unbalanced regulations. Perhaps most important of all, the government should remember that consumers are generally in a better position than regulators to determine what businesses they want to support—a point that was made perfectly clear in the early development of the Internet.
Cooperation will be key to success in the future. Companies need the freedom to develop blockchain technology without onerous oversight, especially as they seek to escape the economic shadow brought on by the pandemic.
As it did in the early days of the Internet, this freedom will lead to creative products and solutions. Blockchain entrepreneurs have barely scratched the surface of the power of blockchain technology. The government needs to let the innovation continue.
It is also crucial that the U.S. government moves quickly. China is urging its financial institutions to support blockchain, which could prove very problematic for the U.S. if we do not match or exceed China’s efforts. The overwhelming benefits of blockchain technology—being able to transfer digitized assets without friction, for example—are already coming to fruition. Without taking a position of leadership, the U.S. risks both slipping further into a potential economic recession and losing its position as the global hub for technological innovation.
The world is moving forward with developing blockchain-based applications, and the post-pandemic economy is a perfect environment in which to embrace new technology. If the U.S. is not careful, we will lose the opportunity to be a blockchain leader.
Blockchain technology has incredible potential. It will grow best in a free environment, unfettered from needless and unclear regulations. By understanding and limiting the government’s role, we can give companies the power to establish a new normal while offering consumers the confidence to invest in and use new blockchain-based products.
Jonathan Johnson is CEO of Overstock.com and president of Medici Ventures.
Bernhardt Design is welcoming two fresh collections this summer – Terry Crews’ Becca Modular Lounge Collection and Océane Delain’s Gallery Collection. The Becca Modular Lounge Collection is an extension of last season’s Becca Collection of sofas and club chairs, comprising nine pieces in all to accommodate a variety of seating and aesthetic needs. The Gallery Collection is full of poufs, ottomans, and benches with three differing color-blocked sections that invite designers to create.
The Becca Modular Lounge Collection is the latest collaboration between Bernhardt Design and Terry Crews, or rather an expansion of the tailored sofas and club chairs they previously created together. The addition of modular pieces adds an unparalleled versatility to the collection through nine interchangeable pieces. Every possible combination remains cohesive, with graceful lines and a continuous saddle stitched welt around the form. Creating the perfect space has never been so easy.
Crews states, “I loved the idea of comfortable lounging on pieces that are irresistibly cozy but still deliver a sleek, modern appearance. I began by drawing modular sections that could coexist with Becca, aspiring to provide enhanced comfort without sacrificing clean design. In our changing world, Becca works just as well at home as it does in a commercial space.”
Three welt choices are available: standard, the option of using decorative trim, and a bespoke welt in a material selected by the customer. The collection is available in any Bernhardt Textile fabric and leather or the customer’s own material.
Bernhardt Design and French designer Océane Delain worked together to bring the Gallery Collection to life, with Delain making bold moves like turning the usually innocuous pouf into a more expressive piece capable of creating signature looks. She kept the lines clean and striking through the use of high contrast colors and interesting patterns on each of the three sections.
“I was inspired to change the mood of the piece by taking advantage of various color palettes. Playing with bold colors and materials gives Gallery a carefree vibe and distinctive personality. In more restrained fabrics and tonal contrasts, the design can look very elegant,” Delain said.
The Gallery Collection is available in three sizes of round ottomans, and also comes as a single unit or in two- and three-seat capsule-shaped benches. Choose mobile casters for effortless moving or nylon non-marring glides for stationary use. Vertical seams are saddle-stitched, and the top seat panel is top-stitched. Upholstery options are available in any fabric or leather from Bernhardt Textiles or the customer’s own material.
The Gallery Collection and the Becca Modular Lounge Collection are both available at bernhardtdesign.com.
Just because we’re all still stuck at home this summer, doesn’t mean we can’t enjoy the fresh air and warm weather. Whether your idea of a fun time is relaxing with a well-crafted drink in hand or playing games with family, we’ve come up with some of our favorite ways to enjoy a stay-home summer!
>>> Games >>> Heat Wave 3′ Mega Jumbling Tower
We’re all familiar with jumbling tower games, but we love this one for its colorful twist! Not only is it bright and rainbow, but it’s also made with mega-sized blocks for an even better tumble at the end!
>>> Music >>> TYKHO Bluetooth Speaker + FM Radio
What’s a great summer without some music? That’s where the TYKHO Bluetooth Speaker comes in. It’s easy to use, making it great to grab and take outside. Plus, its minimalist aesthetic looks great sitting between your patio chairs.
> Sun Protection >>> SPF 30 Sunscreen Lotion
You’ve gotta stay protected when you’re out in the sun — that means everything from sunglasses to sunscreen. SALT & STONE’s lotion is our go-to this summer. It blocks UVA + UVB rays, it’s water resistant, and it’s not greasy, which is a huge bonus!
>>> Outdoor Furniture >>> Drum Table
Bend Goods has a creative, eye-catching collection of outdoor furniture. This table is just one of our favorites from it. An intricate wire pattern makes it into a simple shape that’s perfect for holding drinks, books, and a speaker.
>>> Lighting >>> Carrie Portable LED Lamp
One of our favorite parts of summer are late nights spent outside having good conversation. A portable lamp, like this LED one, is designed to go anywhere with you. That way you don’t have to go inside when the sun goes down.
>>> Drinks >>> Porter 15oz Glass
One essential for a stay-at-home summer is delicious drinks. W&P is always one of our go-tos for this because their products are portable, functional, and well designed. This 15oz Glass is perfect for a cocktail on a hot day — especially when you throw some ice from one of their molds in it.
>>> Barbecue Essentials >>> Essential BBQ Tool
When we think of a perfect summer day, one of the first things that comes to mind is barbecue. Izola’s Essential BBQ Tool is designed to be multi-functional, which is why it works as a spatula, fork, brush, corkscrew, and wine opener. You want this on hand whenever you’re standing at the grill.
>>> For more Stay at Home Summer ideas, visit the Design Milk Shop here! <<<
Through September, we are donating 1% of the Design Milk Shop sales to The NAACP Legal Defense and Educational Fund. Click here to read the Design Milk Mission for our commitment to donations, diversity, equity, + anti-racism action.
Over the past few months, coronavirus lockdowns have impacted cities and communities all over the globe in dramatic ways. This has raised the question: Is there still a place for cities?
The answer is not simple; it requires us to learn from what has happened over the past few months and rethink how we leverage technology to reimagine what cities can be, and the critical role they play in our collective future.
We are now faced with an unprecedented pivot to address what we have learned. And technology is helping us to redefine post-pandemic cities. The challenge is: How do we work together to manage that pivot? Over the past six months, one thing has become clear: Even though this is one of our most trying times as a global community, it also has the possibility to be one of our greatest moments. The progress we’re making as a collective in fighting the virus and rethinking our way of life is something many didn’t think possible at the beginning of 2020. In effect, I see one possible future—a future where people, powered by innovation and technology, pull together to improve our cities and communities.
The fight against COVID-19 is far from over, but there is already a premium placed on “smart” initiatives that leverage innovations such as quantum computing and digital twinning for solutions like smart street lighting and automated water meters. From the COVID-19 pandemic to the climate crisis to the well-being of all life on earth, I believe that technology holds the key to solving some of the world’s greatest problems.
Leadership now needs to increasingly focus on long-range targets, as well as on achieving short-term quarterly profits. For example, business leaders looking at achieving the UN Development Program’s 17 goals for sustainable development now have reason to renew their efforts. Those who have previously dismissed such efforts as unrealistic or aspirational have reason to reconsider their objections.
This is a departure from traditional thinking and a challenge for conventional leadership. As we emerge from this pandemic, it’s important that we learn from the bold commitments and brave solutions the world has undertaken over such a short time.
As our cities reopen, we have the chance to reimagine them. I absolutely believe that cities will continue to be our social centers, our cultural hearts; but now we have the chance to make them cleaner, safer, smarter, and more innovative than ever thanks to the promise of technology. Our evolving relationship with cities will require increased computing power as we continue to process exponential amounts of data, and require better connectivity and more advanced networks.
However, we will also relieve pressure on the environment, as the supply chain linked to the relationship we once had with cities is redirected. We will preserve what we love about cities and build upon the lessons we’ve learned from the coronavirus pandemic.
COVID-19 has created a significant challenge for all of us, but it has also shown us what we as a human team can accomplish working together—a better world and cities that give more than they take.
Jason Goodall is global CEO of NTT Ltd.
Coronavirus has significantly impacted the entertainment industry—with virtually all film and TV productions halted in mid-March and thousands of crew members temporarily furloughed. California recently greenlit film production on June 12, and New York last week entered Phase Two reopening for limited pre- and post-production work. Big movie studios are still weeks and months away from actual film shooting, but these moves are big steps toward reviving the entertainment industry after more than three months of shutdown. The box office could still face up to a 60% loss compared to 2019, with global loss in box office revenue projected to be as high as $17 billion. At the same time, the demand for streaming services continues to surge as people seek new content to be entertained at home. Further, the release dates of major movies have been pushed back, from the latest James Bond film No Time to Die to Top Gun: Maverick.
It’s challenging enough to film with traditional methods while social distancing. But for many studios, the virus has also made it difficult to make creative decisions before the shoot, such as casting, set, and costume design. The same goes for post-production tasks. These are all highly collaborative processes involving hundreds of professionals—from editors to sound engineers, foley artists, colorists, and more during the marketing and promotion stage right up to distribution. Last-minute editing or approval change in one small scene could impact every version of the trailer and movie poster that follows.
Until now, many movie studios have never made these types of decisions before while working remotely. Now they have to.
The entertainment business has been one of the last industries to fully leverage the shift to remote collaboration, which is now being dramatically accelerated by the coronavirus. There were good reasons for Hollywood’s reluctance. High-definition video and audio take up a lot of bandwidth, which can stall or freeze while working over the Internet. Collaboration tools are good for messaging and virtual meetings, but for visually complex development exercises like storyboarding for film sequencing, there were few quality options available.
As a result of past practices, Hollywood, for all its global reach, has frequently worked like a small town. While certain contributions to content creation have begun to be performed on a global basis, creative teams have tended to cluster in Los Angeles and, to a lesser extent, New York. And even when creative teams cluster in these production hubs they often endure commuting in hours of traffic, resulting in more Los Angelenos quitting their jobs because of commute times than residents of any other metropolitan area. They see less of their families and have heightened feelings of stress, anxiety, and depression. It doesn’t have to be this way.
We’ve seen what happens when filmmakers embrace digital transformation. Previously, teams used to spend time in one room for months on some of the simplest tasks. New virtual workspace technology is enabling leading Hollywood studios to make progress toward the goal of working 100% remotely, allowing them to complete pre-production, post-production, and marketing and promotion at rates that are significantly faster than the prior way of working. (Peter’s company Bluescape is a visual collaboration platform that could financially benefit from increased remote collaboration in the film industry.)
Other shifts that may significantly change how Hollywood works post-coronavirus include:
The pandemic is posing significant challenges for Hollywood, but the opportunity for creative industries to work differently will endure. Technology will solve broader challenges related to talent diversity, proximity, and inclusion, and usher in a new era of creative innovation—one with collaboration at scale. Those achievements are the type of movie magic we fully applaud.
Peter Jackson is CEO of Bluescape. Prior to Bluescape, he co-founded Ziploop Inc. (acquired by SNIPP in October 2017); served on the boards of Eventbrite, DocuSign, and Kanjoya; took Intraware to IPO; and was president/COO of Dataflex following its acquisition of Granite Systems.
Kenneth Williams currently serves as executive director and CEO of the Entertainment Technology Center at the University of Southern California. He spent 18 years with Sony Pictures Entertainment—including treasurer of Columbia Pictures Entertainment and executive vice president of Sony Pictures Entertainment—culminating as president of Sony’s digital studios division.
Last week, Isola Design District concluded their 6-day virtual festival, Isola Goes Digital, to celebrate new designs and designers featured on their digital platform. If you missed any of the events, you can still e-meet a selection of the designers, studios, and brands on the platform and learn more about their projects and collections. In the coming months, even more designers and projects will join the platform, as well as live-streaming events organized by international guests.
The platform is such a fun way to discover designers and their projects, take an inside look at their creative process, and even purchase items! Here’s a few featured designers we think you should check out:
Isola Design District will also take part in Dutch Design Week, from October 17-25, 2020, with another digital format to come. Stay tuned and visit isoladesigndesigndistrict.com to learn more about upcoming events!
5 min read
Opinions expressed by Entrepreneur contributors are their own.
We’re now realizing that encapsulated awareness months alone aren’t enough to dismantle systemic discrimination or marginalization. Don’t get me wrong, pride month is incredibly important to us LGBTQ+ folk. But it often feels like after June ends, the “Love wins” messaging that businesses bombarded me with all month goes away too. Why is that?
You’d actually capture more total market share by appealing to us throughout the year. In the book Blue Ocean Strategy, W. Chan Kim and Renée Mauborgne use the terms “blue ocean” and “red ocean” to describe market competition. Red oceans are bloody, crowded and saturated with other predators; blue oceans, by contrast, are pristine, full of untapped potential and devoid of competition. Most importantly, blue oceans are rife with high-growth opportunities.
Related: Promoting Inclusivity Beyond Pride Month: Why We Should Support the LGBTQ+ Community Year-Round
Every June, marketing to and for the LGBTQ+ community is important. But it’s also a red ocean for the month (And it’s a fabulous shade of red, trust me). Why not appeal to us throughout the year? We have $3.7 trillion in buying power and aren’t afraid to use it.
Here are three ways to continue capturing LGBTQ+ market share after pride month ends.
Most pride swag drops in May in early June — so much, in fact, that the commercialization of pride has become a serious concern.
So when menswear maker Chubbies dropped an entire pride collection last year on September 10 to raise awareness for World Suicide Prevention Day, it caught everyone by surprise — and was blue ocean strategy at its finest. By releasing the line in September, it essentially had no competition from its usual retail competitors.
Not only did the campaign shine light on a real issue impacting the LGBTQ+ community — the fact that queer youth are three times more likely to attempt suicide than their non-queer counterparts — Chubbies used the launch for good and announced its charitable giving arrangement with The Trevor Project.
There are LGBTQ+ awareness days and causes being celebrated nearly every month of the year that you can align with and support, and a short list of campaigns to get you started is here.
Related: This Is What LGBTQ Customers Actually Want to See During Pride Month
Afraid of making a misstep in your language? Don’t be; we need your voice. And to ensure your messaging is accurate and respectful, the Gay & Lesbian Alliance Against Defamation (GLAAD) has a media reference guide that you can download for free.
June saw a burst in anti-racism activism, and many companies are recognizing that putting their positions on human rights front and center is important. A company statement on where you stand can go a long way.
Tomboy X specializes in gender-neutral underwear, and it’s certainly not the first company to have its products worn by more than one gender. I don’t have to wonder where gender-neutral underwear company Tomboy X stands on gender identity though, because they lay it’s all out for me in an overt company statement. When you stick your neck out and take a risk in expressing your opinion, you get our attention, because this risk is what marginalized communities deal with each and every day.
I tear up a little when I see an image of a couple that looks like me on a billboard or in a commercial, especially outside of the month of June. The continued rise of LGBTQ+ representation in entertainment has helped to accelerate year-round visibility.
Software companies are getting the memo, too. Pexels, a free stock photo company, recently tweaked its algorithm to have same-sex couples appear in results for search terms like “couples” or “holding hands”.
This seems small but is actually a huge step forward for our community. At the end of the day, we don’t want to be on a pedestal all the time; what we really want is to be showcased as normal and part of everyday life, because we are.
Related: The LGBTQ+ Community Has $3.7 Trillion In Purchasing Power; Here’s How We Want You to Sell to Us.
Want to get your creative gears turning on other LGBTQ+ stories and marketing? A selection of past pro-LGBTQ+ campaigns and commercials (mostly produced by larger companies or agencies) has been cataloged online for reference.
With most pride marches having been postponed or cancelled this year, the doors are wide open to create new virtual campaigns that support the LGBTQ+ community. Get creative, get informed and don’t be afraid to appeal to us outside the month of June. Remember: We’re gay 12 months a year.