Shows

Willy Chavarria Men’s Spring 2019

Models running wind sprints and stretching in colorful soccer gear on the runway prior to the show created the ideal introduction for Willy Chavarria’s new collaboration with Danish soccer brand Hummel.
The collection was defined by the use of bright colors and long boxy silhouettes in shorts and tops that paid homage to the designer’s main line. His creative use of the Hummel logo and soccer uniform staples such as numbers and insignias turned them into streetwear-infused details.
The collaboration will also serve to offer sponsorships to New York City soccer players with documented and undocumented U.S. citizens offering support to immigrants, another key element of this season for Chavarria.
His spin on soccerwear served as part one of a two-part spring collection.
For his main line, Chavarria said he pulled from Latino culture of the early Aughts on the East and West Coasts. The “baggy silhouettes” from Venice and Culver City were juxtaposed with the “long rise pants tucked into Timberlands” that defined the urban landscape in the Bronx and Harlem in that era.
The nostalgia kicked into high gear with Chavarria’s take on Polo Sport references: upside-down American flags, yellow trenchcoats and the word America printed upside down on the front of sweatshirts.
There was also

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Via:: https://wwd.com/runway/mens-spring-collections-2019/new-york/willy-chavarria/review/

      

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Taakk Collection Men’s Spring 2019

Yosuke Demukai has a way with textiles. The Japanese designer, who started Taakk six years ago, develops all of his own fabrics and for spring, he was influenced by what he sees every day. This translated into nylon pants and T-shirts covered in a print of a sunset he sees in from his studio window, jacquard overalls and pants that looked like denim — he bleached and overdyed the fabric for a different effect — and water-repellent organza parkas. One of the most interesting pieces were tracksuits that appeared as if they were leather, but were actually made from a coated knit.
It was lots of new ideas, but the collection lacked a cohesive statement.

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Via:: https://wwd.com/runway/mens-spring-collections-2019/new-york/taakk-collection/review/

      

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HBNS Men’s Spring 2019

Akio Mitobe has been designing HBNS for 12 years, but has spent two years attempting to expand into the U.S. For his New York Fashion Week: Men’s debut, he homed in on what he typically does — filter Americana through his Japanese perspective — but doubled down on denim, which came in multiple iterations. He presented a denim peacoat, a paint-splattered denim jacket paired with matching, patch-covered denim, jeans covered in sequins, and a nicely executed tie-dye set.
The rest of the collection hinged on updated preppy. Models wore striped oxford shirts, pleaded khaki shorts and pants attached to jeans. He rounded out the assortment with tropical printed suits and red, PVC track pants that lent some energy to the workwear.
Mitobe isn’t pulling from a new set of influences, but his execution is sharp and fresh.

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Via:: https://wwd.com/runway/mens-spring-collections-2019/new-york/hbns/review/

      

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Carlos Campos Men’s Spring 2019

Carlos Campos’ spring collection was a return to the brand’s original DNA, embracing clean tailoring, graphic elements and architectural influences with his usual classic Latin twist.
“As every season goes by, it’s good to remind yourself of who you really are,” said Campos backstage, as an array of tailored coats, high-waisted ultrafitted trousers (some with plackets turned inside-out intentionally in the front) in a washed-out color palette of creams, nude tones and even bright amarillo yellows provided the elegant clean contrast for most of the color-blocked items.

His brand name, written in the traditional “Coca-Cola” font on shirts, provided a fun twist to the more sportswear-driven pieces.

While using literal references can sometimes end up in the costume realm, it was refreshing to see how Campos again embraced the aesthetic for which he is known.

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Via:: https://wwd.com/runway/mens-spring-collections-2019/new-york/carlos-campos/review/

      

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HBNS Men’s Spring 2019

Akio Mitobe has been designing HBNS for 12 years, but has spent two years attempting to expand into the U.S. For his New York Fashion Week: Men’s debut, he homed in on what he typically does — filter Americana through his Japanese perspective — but doubled down on denim, which came in multiple iterations. He presented a denim peacoat, a paint-splattered denim jacket paired with matching, patch-covered denim, jeans covered in sequins, and a nicely executed tie-dye set.
The rest of the collection hinged on updated preppy. Models wore striped oxford shirts, pleaded khaki shorts and pants attached to jeans. He rounded out the assortment with tropical printed suits and red, PVC track pants that lent some energy to the workwear.
Mitobe isn’t pulling from a new set of influences, but his execution is sharp and fresh.

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Via:: https://wwd.com/runway/spring-2019/new-york/hbns/review/

      

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David Hart Men’s Spring 2019

David Hart recently watched “All the President’s Men” again and it influenced his spring collection, which had a decidedly Seventies vibe.
“I’m exploring the Watergate scandal,” he said. “I love how journalism took that whole thing down.”

That translated into ultrawide lapels, exaggerated shirt collars and roomier proportions in the tailored clothing. The same sensibility showed up in the eveningwear, which featured playful jacquards and peak lapels embellished with velvet ribbing, another classic from that period.

The standout included the assortment of knit polos in lively colorblocking, some paired with pastel-colored short-shorts and neon knee socks — a trend that emerged in the streets of Europe during the just completed spring season.

Hart got a little help this season from Italian fabric house Albini, which produced the shirts, and Christian Louboutin, which provided the footwear.

While Hart’s designs can at times be a bit visually overwhelming, his sartorial abilities allow him to create strong stand-alone pieces.

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Via:: https://wwd.com/runway/mens-spring-collections-2019/new-york/david-hart/review/

      

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Bristol Studio Men’s Spring 2019

Sportswear is the foundation of Bristol Studio, a Los Angeles-based brand designed by Luke Tadashi. While basketball has typically been the primary reference, Tadashi wanted to broaden his scope and looked to sportswear at large this season. He attempted to deconstruct these basics and elevate them through his textile choices.
Hoodies were made from a terry that was custom developed with a new factory, poly track pants with a tuxedo stripe looked refined enough to wear at night, and reversible sweatpants featured exposed pockets with just the right amount of drape. He added more texture to the collection with hoodies made from organza and plastic chest pockets on a T-shirt.
One of the most intriguing aspects of the collection were the three Adidas BYW sneakers that Tadashi created with the Shoe Surgeon. He wanted to treat the sneaker as a sculpture and constructed them with canvas, cardboard, PVC and plastic fibers. He collaborated with Adidas earlier in the year on a BYW sneaker and more colorways in addition to an apparel collection will be released this fall.
Many items felt desirable and salable, but Tadashi has shown better, more inspired collections. And with the glut of sportswear in the market, having a point

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Via:: https://wwd.com/runway/spring-2019/new-york/bristol/review/

      

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Palomo Spain Men’s Spring 2019

You could argue that at its essence, the best closet is like a cabinet of curiosities, filled with carefully collected pieces from around the world. With his spring collection focused on that theme, Alejandro Gómez took viewers on a dreamy and dramatic journey that spanned Seventies airport glam to the far reaches of the globe.
The show, held at the Museum of Natural Sciences in Madrid, also allowed the designer to catch his breath after the whirlwind following his January showing at Paris Fashion Week, where he plans to return next year to stage a collection big enough to stand out among the power players.
Using a palette of neutrals with pops of jewel tones and summery outfits in relaxed fabrics, the lineup represented a move away from the darker and heavier pieces of past collections.
“It’s the same boy that we’ve portrayed [in the past] but now he’s coming from this trip around the world, or since he’s a dreamer, his own mind. He’s collecting the weirdest things and attracted to all the beauty that Planet Earth has to offer,” Gómez said.
What wasn’t lost was his signature Seventies rock star aesthetic, as safari wear and 18th century aristocratic suits were given flamboyant

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Via:: https://wwd.com/runway/mens-spring-collections-2019/paris/palomo-spain/review/

      

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Zuhair Murad Resort 2019

Zuhair Murad embarked on a nautical theme while retaining his signature poetry and femininity, including a range of striking prints used across the collection.
With a stronger daywear focus incorporating a sprinkling of luxe ath-leisure pieces, he included nods to Captain Cook and sailor Corto Maltese, plus their discoveries of plants, Gauguin-esque colors and insects around the Southern Seas.
The most sartorial elements were navy blue or black-and-white outfits, like the sharp-shouldered jackets with tailored trousers and skirts. Shards of compass imagery decorated certain looks — in the form of beadwork and sequins on long black or white evening dresses. A bodysuit could be dressed down or up, and a jumpsuit had a sporty take.
These contrasted well with the fluid dresses with elegant patterns reminiscent of multicolored butterflies or hibiscus. Some standouts included the sweeping V-neck dress with pink, black and yellow embroidery evocative of pixilated butterfly wings and the shorter black-and-white dragonfly-like jacquard knit dress.
Fabrics such as leathers, metal cotton tweed and crepe de chine made appearances, too, adding an even wider reach to this rich collection.

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Via:: https://wwd.com/runway/cruise-2019/paris/zuhair-murad/review/

      

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Hugo Spring 2019

It’s always big news in Berlin when Hugo Boss decides to stage an event in the German capital during Fashion Week. Yet the decision to return with Hugo after a hiatus of seven years was primarily driven by the city itself. Not only was Berlin’s techno culture and “creative energy and eclectic street style” a key influence for the collection this season, but “with its very unique mix of fashion, art, music, literature and tech, it’s a good eco-system to take a brand like Hugo to the next level,” Boss chief executive officer Mark Langer told WWD prior to the show.
And what better place to do that than in the original home of techno, Motorwork, a gargantuan industrial space that Hugo transformed into a dark and gritty Nineties rave environment. The decade also figured strongly in the men’s and women’s looks on the runway, especially in terms of the prints based on ripped and collaged Rave posters or period album artwork, and the oversized, wide-shouldered, tailored silhouette for both genders derived from a Nineties Boss archive piece. However, that jacket and coat silhouette and baggy tailored pants were customized with DIY flair. Drawstrings were used to create new volumes and

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Via:: https://wwd.com/runway/spring-2019/berlin/hugo-boss/review/

      

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Marina Rinaldi by Fausto Puglisi RTW Fall 2018

“I adore women, all women. When you’re on Ocean Drive or Miami Beach, do you just see skinny people? No, you see girls having fun. You can be curvy or skinny, I love women who have personality,” Fausto Puglisi said at the presentation for the 20-piece capsule he designed for Italian plus-size brand Marina Rinaldi.
Sicilian-born, Los Angeles-based Puglisi brought his maximalist vision to bear, playing with vivid hues that wrap around the body in bold blocks of color, or in geometric patterns that adorn the inside and outside of oversized coats. Juxtaposed, these gave an Op Art feel to the silhouettes. Shoes and bags were also in the mix.
Face of the brand Ashley Graham attended the presentation in the Hôtel d’Evreux on Place Vendôme in a floor-length, red leopard chiffon dress with a deep neckline from the range.
“He’s known for his boldness, so to incorporate that with the femininity that Marina Rinaldi represents makes for an impeccable collection. I mean, we have to talk about that iconic leather jacket there,” said actress and model Hayley Hasselhoff, pointing to the gold flower-embellished studded biker jacket — a limited-edition item to be delivered in September — that was the talk of the evening.
The

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Via:: https://wwd.com/runway/fall-2018/paris/fausto-puglisi/review/

      

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Andrew Gn Resort 2019

Andrew Gn wants to bring back black and white in an Internet age obsessed with color.
Like many designers, he has felt under pressure to use bright hues to make his outfits pop for online buyers. But what about those chic wardrobe staples like a white shirt and a little black dress? “It’s very tricky these days — anything which is visually uninteresting is not really salable online,” he said.
For his resort collection, Gn found a compromise of sorts: graphic black-and-white patterns inspired by the Vienna Secession art movement. A black dress with three-quarter-length sleeves featured the geometric motifs at the neckline and hem, while a day dress came in a deconstructed houndstooth print.
A checkerboard pattern was a recurring motif that translated into color, namely in a yellow-and-white cape dress embroidered with an oversized gold brooch motif. And there were still plenty of Instagram-friendly designs, including dresses in a charming narcissus print.
Still, Gn hopes the tide will turn back in favor of darkness.
“There’s only so many colors you can wear, and sometimes you feel safe and protected and more relaxed in black,” he mused. “I still think that black is a very essential part of the wardrobe, and I truly believe

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Via:: https://wwd.com/runway/cruise-2019/paris/andrew-gn/review/

      

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Calvin Klein 205W39NYC Resort 2019

Raf Simons’ playful exploration of Americana continued for resort, which was full of collegiate references, interesting silhouettes such as oversized shoulders and wider arching sleeves, knits, bold Pop and Technicolors, and technical fabrics like Neoprene. It marked the first time a Calvin Klein 205W39NYC resort collection was presented in Paris, shown in the brand’s new headquarters in the city. It’s a vast multifloor space, spanning 15,000 square feet, that was designed by Simons and his longtime collaborator, artist Sterling Ruby. Architectural design was done by Architecture Research Office of New York.
There was a fluidity to the collection, with mostly pieces that can easily be mixed and matched. Take the blue, red and white intarsia knit sweater with the navy marching band pants featuring graphic, colorful piping and cowboy boots; the silhouette pairing a sporty pink tank with a tie-dye accent and a yellow satin skirt with couture airs, or the pink bustier gown worn over a long green turtleneck dress with orange pumps made of basketball material. Men’s wear took a similarly democratic approach.
A vintage sleeping-baglike fabric was morphed into quilted outerwear, while some knitwear was crafted of found yarn. It’s all something old made into something new — on

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Via:: https://wwd.com/runway/cruise-2019/paris/calvin-klein-205w39nyc/review/

      

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Alexis Mabille Couture Fall 2018

With the heat wave in Paris raising temperatures to boiling point, Alexis Mabille’s flower-themed show came as a welcome respite – if only for the eyes.
Fresh off dressing Beyoncé in a sculptural cape for her recent “Apeshit” video, the designer switched to a flirtier mood, bringing the freshness of a summer garden into his fall collection. His inspiration was an old Charles Trenet song, with its lyrics that begin with: “The heart of Paris is a flower.”
Kicking off with a trio of gowns in black or white Lyon lace, he loosened up with a swirling shirt dress in mauve and white pinstriped silk, its shoulders cut out for added ventilation. A sari-like one-shouldered kaftan in iridescent white radzimir was handpainted with watercolor blooms.
To contrast with the tent-like volumes, he showed variations on his signature shirt and tuxedo dresses in a spectrum of colors. Standouts included a satin shawl-collared wrap dress in a vibrant shade of purple, and a black crepe gown framed by a halo of ruffled tulle.
“I love to work on elegance and to create shapes on the body. This relationship we have in couture with the clients, it’s all about that: to make them beautiful,” said Mabille. Since not

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Via:: https://wwd.com/runway/fall-couture-2018/paris/alexis-mabille-collection/review/

      

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Stéphane Rolland Couture Fall 2018

Stéphane Rolland, as a master of bold, big-volume couture, has taken to favoring stages over runways, this season booking out one of the halls of Radio France. The setting was impressive, with six percussionists positioned above the stage providing the soundtrack.
But in terms of theatricality, Rolland toned it down, presenting a lighter, more fluid evolution of his aesthetic, to the collection’s favor.
The palette, especially the camel cashmeres and pops of deep rose, was also calming.
He moved between organic and futuristic embellishments, such as the curved leather plastrons on gowns, the lines of shell-like 3-D embroidery and the sharp, sculptural collars on a long tuxedo coat-dress with long sleeves.
The final run of voluminous gowns, which were lovely, and touches like the medieval-style floral embroidery, billowing sleeves and trains added a Renaissance flavor, only broken by elements such as skinny pants and boots.
Overall it felt chicer in tone, down to the wedding dress — an airy cloud of white organza dusted with crystals.

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Via:: https://wwd.com/runway/fall-couture-2018/paris/stephane-rolland/review/

      

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Ulyana Sergeenko Couture Fall 2018

After last season’s furor, Ulyana Sergeenko seems to have retreated to familiar territory, location-wise and in her work, showing her fall couture collection in Paris’ Russian embassy.
As is her wont, her lineup of car coats and day dresses, skirt suits and cocktail frocks tapped heavily into classic definitions of elegance, accompanied by memorable soundbites on respect and women’s rights from former First Lady Michelle Obama, Princess Diana and purportedly, Mother Teresa.
This iteration painted a well-executed time capsule-worthy picture of prim and proper Fifties dressing. The collection read as a metaphor for a wealthy debutante’s journey, starting with the immaculate white dress she’d wear on her first outing in the world — all virginal layers and matching crocodile accessories — and following her all the way to the saccharine confection that she might commission to walk down the aisle.
To her customer — and they were well-represented at the show — such considerations could be beside the point. After all, whatever lifestyle a woman wants today, it’s her prerogative to reach for it.

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Via:: https://wwd.com/runway/fall-couture-2018/paris/ulyana-sergeenko/review/

      

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Rami Kadi Couture Fall 2018

Taking his inspiration from the Aztec god Ometeotl and the concept of duality, Rami Kadi combined masculine and feminine forms and fabrics, adorning them with the graphic forms of Meso-American culture in his colorful, glittering embroideries.
Couture staples like transparent organza and tulle provided the backdrop, and were mixed with houndstooth checks, tweeds and industrial materials like aluminum, metal and plastic on his heavily embellished blazers, shirtdresses and gowns in this playful yet striking collection.
He textured his designs with a rainbow of holographic laser-cut sequins, Swarovski crystals and tiny leather and suede patches that provided contrast, his motifs creating graphic effects for a contemporary take on red carpet dressing.
Pale pink leather squares were sewn onto the skirt of one gown, which was cinched at the waist with a matching leather cummerbund to give it a more modern, masculine spin and contrasting with a sequin and ostrich feather-adorned bodice.
From such pastel-dominated designs to brighter looks like a colorful blazer embroidered with leather, crystals and beads that took 350 hours to make, Kadi’s approach to couture dressing was both experimental and eye-catching.
For the bridal look, he used a luminescent surface treatment on the fringed skirt and the ostrich feathers that adorned the bodice,

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Via:: https://wwd.com/runway/fall-couture-2018/paris/rami-kadi/review/

      

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Aelis Couture Fall 2018

For her third solo outing, Sofia Crociani was looking to take flight — like the eagle that inspired the designs in her sustainably positioned offering this season.
The dance-influenced roughly pleated pieces that gave an ethereal quality to her previous collections were offered up here in clouds of organza in the palest of blues with black tulle trains, or in beige and white organza with a chain belt hung with feathers painted with ethically sourced gold.
New this season were the more vertical lines and raw-edged velvet, which offered a sharper focus to certain pieces, as on a pleated red velvet minidress or a wrap dress with her now signature barely-there ribbon bodice.
The outerwear, made from meat byproducts like lambskin, included a fur and feather cape that definitely would not have looked out of place on a bird of prey, or a softer pale fur equivalent with vintage feather details and a shaved edge that gave it a dressed-up/dressed-down look.
By combining luxurious materials with ragged touches, Crociani continued to offer up a vision of couture that has a rough charm all its own.

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Via:: https://wwd.com/runway/fall-couture-2018/paris/aelis/review/

      

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Chanel Couture Fall 2018

“It is very Paris, it is very French,” Karl Lagerfeld said during a preview. “But you know, French couture is about promoting Paris. It is part of my job. “
Lagerfeld was speaking about his set, a stretch of stone wall and sidewalk along the Quai de Conti, the imposing dome of the Institut de France in the distance. In the foreground: three kiosks, les bouquinistes featuring myriad Chanel titles.
Those stands weren’t really along the Seine’s Left Bank. Rather, the vignette was another remarkable installation within the Grand Palais, where, on Tuesday morning, their dashing proprietors, Lagerfeld inner-circle denizens Hudson Kroenig, who turns 10 next week, younger brother Jameson and their dad, Brad, took their positions on folding chairs.
Celebration, and yes, marketing, of Paris is indeed inherent in the realization of one of the city’s unique pleasures, haute couture. But more concretely, it’s Lagerfeld’s job to keep Chanel vibrant and essential in an ever-changing fashion landscape and to keep those legions of couture-buying ladies coming back for more. As anyone who has ever seen that particular population arriving gleefully to one of Chanel’s haute shows knows, that starts with the suit. One practical aspect of Lagerfeld’s genius is his ability to

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Via:: https://wwd.com/?runway-review=chanel-couture-fall-1202745962

      

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Maticevski Resort 2019

For resort, Australian designer Toni Maticevski did not deviate from the draping, layering and ruffling that are his established signature. The driving notion of the season was “considering a fluid gown as a tailored outfit instead of an evening dress,” he said at the presentation.
Helped by the heavier hand of matte bonded crepe, the result skewed more architectural than fussy, even when he dabbled in laces and printed florals. Sportswear elements appeared throughout, balancing the drama of floor-length trains and voluminous ruffles. While rounding out the contemporary mien of the collection, they served structurally as interlining. On polka-dot chiffon trousers, it strengthened the waistband while offering visual contrast; as a bandage dress, sports tape provided the graphic kick of the outfit.
Among the standouts were a just-draped column dress with contrasting piping; a similarly wrapped one-sleeve top, seemingly held by only a long zip; a long wine-colored jacket became a dress by cinching a flowing cummerbund-corset at the waist, and a blouse with a train that paired equally well with cigarette trousers or a flowing skirt. Those were the sort of items that played off a body’s strengths to cast a woman as a head-turner rather than pretty in passing.

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Via:: https://wwd.com/runway/cruise-2019/paris/maticevski/review/

      

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