Sustainable beauty storytelling is the future says eco video streaming platform WaterBear

Last month, beauty major Natura &Co became a founding member of WaterBear,​ launching a dedicated channel designed to showcase its environmental and social ambitions worldwide on the free eco video streaming platform. The goal? To take Natura &Co’s green messaging to an even wider audience, touching the hearts and minds of more citizens to inspire sustainable action, it said. And with 250,000 global users already on the WaterBear platform just nine months after launch, there was good potential.

But, was this the future of sustainable beauty? Did brands now need to stretch out beyond on-shelf messaging, in-store marketing and social media noise into video storytelling?

In short – yes, said Sam Sutaria, head of strategy at WaterBear. “Trust of brands is at an all-time low; people are not necessarily responding as they usually do to the traditional advertising. That’s where we come to storytelling,”​ Sutaria told CosmeticsDesign-Europe.

Breaking the ‘echo chamber’ in sustainability communication

“…From an impact perspective, engaging new people and recruits to the environmental space is something very, very interesting to us,” ​he said. “And obviously, with a pioneering brand like Natura &Co, they’ve been leading the field in purpose-led cosmetics, so turning that into something very story-led was very exciting for us.”

What WaterBear wanted to do – with Natura &Co and other brands on the platform – was “break the echo chamber”​ of sustainability communications, he said, through collaborative storytelling.

Working with Natura &Co, for example, WaterBear’s production studio would transform the beauty major’s sustainability accomplishments into a stories people could “engage with very deeply”,​ he said. More specifically, Sutaria said WaterBear would focus on “atomic storytelling” ​that had a sharper focus on individual characters, events and small-stature stories – a far cry from traditional environmental storytelling that tended to pivot on scaremongering and big, scary truths. The goal, he said, was to create “living, breathing, emotive and empathetic”​ stories.

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