‘The beauty industry is failing people of color,’ Huda Kattan says

US-Iraqi beauty mogul Huda Kattan has been featured in a newly released documentary. (File/ AFP)
Short Url
Updated 27 June 2022
Follow

‘The beauty industry is failing people of color,’ Huda Kattan says

DUBAI: US-Iraqi beauty mogul Huda Kattan has been featured in a newly released news segment on racial inclusivity in the makeup industry.

Released by the UK’s Sky News on Sunday, the feature is based on the British Beauty Council’s criticism of what it calls the “apartheid” in the beauty industry.

Kattan was tapped to share her opinion in the feature, which is titled “The ‘Apartheid’ in the Beauty Industry.”

“The beauty industry is absolutely still failing people of color,” she told journalist Sabah Choudhry in the documentary. “Being inclusive is hard. It takes so much work. When I used to go to the factories and I’d say I need a deep or richer shade of foundation, they’d sometimes put black pigment in the formula... it’s harder to serve a community who doesn’t have a skin tone that hasn’t been worked on so much,” she added.

“There’s still not enough care and consideration taken when they’re creating the products,” she added. “I mean, you can use people of many different ethnicities in a campaign, but that’s just not enough. It’s a good start, but it’s so far beyond where we should be in this day and time. So, I would say absolutely, it’s still failing all people of color right now.”

Dubai-based Kattan founded her cosmetics line Huda Beauty in 2013. In 2018, the company was valued by Forbes at more than $1 billion.

Meanwhile, Dr Ateh Jewel, a spokesperson for the British Beauty Council, was featured in the report saying Caucasian people are offered a wider selection of products for their hair and skin.

"We are living with the hangover of empire… what I'm really interested in is power, and measuring that by beauty standards and how we see ourselves,” Jewel said.

She explained that the term “beauty apartheid” was coined to describe brands who simply add a small sample of darker shades to their portfolio in a “tokenistic” approach to diversity.

The mental health impact for people of color is “painful,” she said, adding “walking into a beauty hall was pleasure and pain all wrapped up into one. Not seeing yourself reflected in advertising or diverse colors can also be really damaging to your sense of self…. to your self-esteem... and taking your rightful place in the world.


At Jazan festival, Suad Al-Asiri paints memory, land and leadership

Updated 13 January 2026
Follow

At Jazan festival, Suad Al-Asiri paints memory, land and leadership

  • Local artist channels personal hardship into works that reflect Jazan’s identity, heritage
  • Jazan: A Nation and a Prince, places region at the heart of a composition featuring Prince Mohammed bin Abdulaziz and Prince Nasser bin Mohammed bin Abdullah bin Jalawi

RIYADH: At the Ahad Al-Masarihah pavilion at Jazan Festival 2026, Suad Al-Asiri’s paintings blend memory, place and personal history, offering visual narratives shaped by beauty and hardship. 

A novelist and visual artist, Al-Asiri has long used art as a storytelling tool. After a near-fatal car accident in March 2024, her work took on a new urgency. Bedridden for 11 months, cut off from the public world for more than a year, she describes that period as one of the most painful in her life — yet also transformative. 

“First of all, praise be to God for granting me life, as the accident was extremely severe,” she said. “By God’s grace, I was given a new life. All my thinking after the accident was about becoming an inspiration to others — about enduring pain and obstacles, and still leaving an impact.” 

Her return to public life came in 2025, when she participated in National Day celebrations with the ministry of interior. By the time she arrived at Jazan Festival, she was ready to channel that experience into her art. 

The centerpiece of her display, “Jazan: A Nation and a Prince,” places the region at the heart of a composition featuring Prince Mohammed bin Abdulaziz and Prince Nasser bin Mohammed bin Abdullah bin Jalawi, governor and deputy governor of Jazan respectively. 

Visitors linger over the details: the painting incorporates coffee beans, sesame and khudair — materials drawn from local products.

“I wanted people to recognize these products immediately,” she said. “They are part of Jazan’s daily life, and using them makes the work more tangible, more connected to everyday experience.” 

The painting sparks conversation. Visitors discuss leadership, identity, and the intimate relationship between people and their environment. 

Beyond the central piece, Al-Asiri presents individual portraits of the two princes, expanding the dialogue into a broader exploration of heritage and memory.  

Her journey into art is tied to her life as a storyteller. Early experiments with charcoal and pencil evolved into abstract art, drawn by its expressive freedom. 

From there, she explored realism, surrealism, and eventually modern art, particularly pop art, which has earned her wide recognition in artistic circles. Her novels and media work complement her visual practice, earning her the title “the comprehensive artist” from the governor.

Yet what stands out most in this exhibition is how Al-Asiri’s personal resilience flows through each piece. Her experience of surviving a devastating accident, enduring months of immobility, and returning to the public eye informs every brushstroke. 

Visitors sense not just her artistic skill, but her determination to turn life’s hardships into inspiration for others. 

Walking through the pavilion, one can see it in the way she blends heritage symbols, southern landscapes, and scenes of daily life. 

Each painting becomes both a document and a dialogue — a celebration of Jazan’s culture, a reflection on identity, and a testament to the power of human perseverance. 

At Jazan Festival 2026, Suad Al-Asiri’s art is a quiet, persistent inspiration for anyone who pauses long enough to listen.