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October 1, 2014

IWC Schaffhausen launches Timeless Portofino exhibition in Hong Kong

Lucire staff/23.34

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JĂ©rĂŽme Favre

IWC Schaffhausen hosted a gala dinner on Monday at the Grand Hyatt in Hong Kong with its brand ambassadors Cate Blanchett, Zhou Xun and Karolína Kurková, and photographer Peter Lindbergh present. IWC CEO Georges Kern played host, with Goris Verburg, IWC marketing and communication director, and Benoüt de Clerck, IWC managing director, Asia–Pacific.
   Earlier they had opened the Timeless Portofino exhibition, which marked the launch of IWC Schaffhausen’s Portofino mid-size watch range. The three ambassadors played a role in the exhibition, shot by Lindbergh, as did Emily Blunt, Christoph Waltz, Ewan McGregor, and Adriana Lima.
   The event coincided with the first day of the Watches and Wonders exhibition in the Chinese city, which is currently beset by pro-democracy protests demanding that Beijing fulfil its promise of granting universal suffrage for the 2017 election of the chief executive.
   Beijing, for its part, suggests that the US State Department is interfering in the city’s affairs.
   There was little sign of the concerns at the event as the 250 celebrity and VIP guests were entertained at the dinner, including Francis Ng, Anita Yuen, Audrey Ai, Jamie Campbell, Alfred Cheung, Brandon Chau, Leigh Tung, Julien Lepeu, Jeffrey Yau, Cissy Wang, Deborah Hung, and Amanda S. The renowned Shandong-born violinist LĂŒ Siqing performed at the gala dinner.
   The Timeless Portofino exhibition has already appeared in ZĂŒrich and will go on to London, Miami and Dubai.

Opening







JĂ©rĂŽme Favre

Arrivals









JĂ©rĂŽme Favre

Gala dinner

Moses Ng


Aitor Alcalde



Moses Ng


Aitor Alcalde


StudioEast

The shoots, by Peter Lindbergh












Peter Lindbergh



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September 9, 2014

Jaguar launches XE in London, with David Gandy, Stella McCartney, Eva Herzigova, Laura Whitmore

Lucire staff/1.28

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Jaguar has launched its most important car in years with the brand-new XE, a saloon that sees the Indian-owned company tackle a segment dominated by the BMW 3er and Audi A4. The XE also marks a new generation of Jaguars powered by the company’s new series of Ingenium engines, and features a first-in-segment aluminium-intensive monocoque structure for lightness and strength.
   Jaguar Land Rover, which has seen its profits soar in recent years, spared no expense with the XE’s launch in London, bringing celebrities including Stella McCartney, David Gandy, Eva Herzigova, Sir Stirling Moss, JosĂ© Mourinho, Laura Whitmore, Damian Lewis, Ruben Cortada, David Blakeley, Sam Riley, Sienna Guillory, Steve Redgrave, Brian Johnson and Gary Lineker together at an event that saw Emeli SandĂ©, the Kaiser Chiefs, Eliza Doolittle, the Royal Ballet, Max Milner (The Voice), and members of the London Philharmonic Orchestra perform, and John Hannah narrating.
   While many saw the helicopter delivery of the red XE into London on Monday, Jaguar formally kicked off the launch event that evening at Earls Court with its VIP audience, with the performances evoking models from the company’s past, including the SS100 of 1935.
   SandĂ© composed a ‘Feels Like’ track for the event that had been inspired by the public via social media and the hashtag #FeelXE. The song received its premiĂšre live on a floating stage on the Thames in a 45-minute set later in the evening, with the London Eye and County Hall as a backdrop.
   The performance was complemented with a projection-mapping show on London’s County Hall, showing the public’s messages that inspired the composition. Red flares lit up the London skyline in red to match the hero colour of the new car.
   McCartney will reveal her Parisian Feel XE experience later this month, while Idris Elba will reveal his Feel XE project afterwards.
   Earlier in the day, employees at Jaguar’s Solihull plant—where 1,700 jobs are expected to be created—formed an XE shape as the Red Arrows flew past, and the car was airlifted by helicopter toward London. It was placed on a high-speed landing craft on the Thames to Chelsea Harbour.
   In another nod to its past, Jaguar then had the new XE escorted by two 1960s Mk II police cars from Battersea Bridge to Earls Court.
   The “delivery” was intentional: Jaguar wanted to signal that the XE is the spiritual successor to the Mk II, still considered by many fans to be the quintessential Jaguar close-coupled sporting saloon, and the car that arguably pioneered the segment in which the new model now competes.
   One car from Jaguar’s past that was not mentioned was the X-type, the company’s turn-of-the-century attempt to tap into the compact executive market. Younger buyers rejected that model partly because of its unadventurous styling, overseen by Jaguar’s then-parent company Ford. The X-type was also hampered by its front-wheel-drive transmission on cheaper models, something that Jaguar has avoided repeating by giving the XE rear-wheel drive. It is also the most aerodynamic Jaguar made, with a drag coefficient of 0,26.
   The cab-backward fastback look of the XE takes styling themes established by the XJ and XF, and features a short front overhang and a low driving position. The car looks more aggressive and taut than the larger models, which should appeal to buyers in the segment.
   â€˜Our mission was to create an exciting and dynamic design clearly reflecting the XE’s positioning as a serious driver’s car. The cab-rearward proportions and tight packaging achieve that and give the XE the appearance of movement even when it’s standing still. It bears a strong family resemblance to the F-type and will stand apart in the crowd,’ says Jaguar’s director of design, Ian Callum.
   The aluminium components also mean more effective recycling, and in a world first for cars, Jaguar has specified RC5754, an aluminium alloy made from recycled material.
   The high-tech features extend to Jaguar’s new electric power steering, which is more efficient than a traditional hydraulic system, and what the company calls All Surface Progress Control (ASPC), which works as a low-speed cruise control that can control the brake system and powertrain for the best traction in slippery conditions. The XE also features a laser head-up display, nearly a third lighter than existing systems. Jaguar also dĂ©buts a new InControl infotainment system, which is claimed to be more intuitive, especially with a pioneering plain-speech voice control. The car is also a wifi hotspot for internet-enabled devices, and both Apple Iphone and Android users can control various functions remotely.
   Full details of the XE range will be released at the Salon de Paris on October 2. The range will be topped by a supercharged V6 delivering 340 PS, while the two-litre Ingenium diesel is claimed to deliver 75 mpg (Imperial) with carbon dioxide emissions of 99 g/km. Prices are set to begin at ÂŁ27,000.















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August 28, 2014

New Zealand Fashion Week autumn–winter 2015, day three: Hailwood and Kate Sylvester up the standard

Sopheak Seng/15.11

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Lucire’s fashion and beauty editor Sopheak Seng and photographer Matthew Beveridge look at day three’s mixed bag of shows.

New Generation
   Vibe: Four up-and-coming designers showcasing what they have to offer the fashion world as the voices of the future.
   Clothes: Like a pick-and-mix bag of lollies, there were some dud and then some great pieces. Overall, the collections seemed forced and not polished enough. Construction of the garments left something to be desired, as there were twisted seams and puckering on most trousers and dresses, and a lack of cohesion in ideas, novelty and innovation. Stand-outs, which were few and far between, were Itzme, with their androgynous take on soft tailoring and sportswear. A bright colour palette of fuchsia, purple and orange showed great potential but was let down by shoddy construction and finishing. Nomsa Mabuto showed a good collection of predominately separates of coats, pants and shell tops in a colour palette of varying shades of green.


Trish Peng
   Vibe: Sportswear for ready-to-wear, gowns and party dresses.
   Clothes: Laser-cut bomber jackets and circle skirts with anoraks and ’80s ruffled off-the-shoulder tops and bright multi-coloured striped pieces. The collection then diverged into party dresses in bright pop colours. This was where the collection was let down: poor fabric and construction choices meant that under the glare of the lights, the gowns didn’t feel luxurious enough—and this was viewed between people’s heads in row B. Also the fits of the gowns on some of the models were not great, either. It is the little details that are often overlooked that add to the polish of a collection.
   Look: directed by L’OrĂ©al Professionnel New Zealand ambassador, Michael Beel, who created an origami-inspired criss-cross weave pattern in the models’ hair, then gathered into a low ponytail. Simple and elegant.

Designer Selection
   Vibe: In-season showcase to consumers. Fun, commercial fashion.
   Clothes: All in-season summer pieces from the 30-odd designers that were showing as part of New Zealand Fashion Week. Think bright, fun, commercial pieces that you could buy off the racks the moment you walked out of the show. The middle section of the show was presented by Woman’s Day, who showed a selective range of garments in red and white styled by Lulu Wilcox, featuring models in turbans and carrying red heart-shaped balloons, reminiscent of a Banksy street art piece. Closing the show was Jockey, who set hearts a-flutter with five All Black players, including Victor Vito, showcasing the spring–summer 2014–15 underwear looks for men, and model Nikki Phillips showing the women’s range.

Hailwood
   Vibe: Wearable streetwear with a glamorous edge. Rock concert chic.
   Clothes: Streetwear-oriented, the collection was denim-heavy but moved into Hailwood’s take on his draped velvet gowns that work for every body shape. The dĂ©vorĂ© silks and velvets were great, as were the sequinned jackets and dresses that closed the show. Stand-outs, however, were his denim range and the oversized unicorn motif ponchos. Super-cool, relaxed dressing.
   Look: Dirty, gritty, but pretty. Messy and textural.

Kate Sylvester
   Vibe: Romantic, literary geek chic, celebrating nonchalant luxury and refined classics.
   Clothes: Vintage-inspired with references to menswear and long days in an English countryside, tucked up in your boyfriend’s clothes, his pyjama bottoms or boxers with his robes and shirts. Great masculine-inspired tailoring in regatta stripes and polka dots. Sheer dresses and blouses added a soft romantic air to the collection as did the long Isadora Duncan-style fringe scarves casually draped around the models’ necks. Loved the return of males on the Sylvester runway and stand-outs were the camel trench, open shirt, and striped trousers casually rolled up with brogues. All this romantic vision was helped along by a cascading shower of ripped pages from a book.
   Look: Just rolled out of bed, slightly textural hair with just flushed make-up.—Sopheak Seng, Fashion and Beauty Editor

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August 6, 2014

Retrospectives: great moments in Parisian fashion history, with YSL, McQueen, Galliano, Gaultier

Lucire staff/14.05

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What are some of the great fashion moments in recent history? You’ll have seen these videos run on Lucire TV, and we’ve singled them out for an additional focus. In French and English.

1. The departure of Yves Saint Laurent
In January 2001, Yves Saint Laurent retired from the house that bears his name, with the brand’s final haute couture show and retrospective at the Hotel Inter-continental in Paris. Two thousand people were invited to the Centre Pompidou to see Saint Laurent’s 300 greatest classics, and models included Claudia Schiffer, Carla Bruni, Jerry Hall, and Naomi Campbell. In the finalĂ©, 40 tuxedos paraded to a song performed by Laetitia Casta. Catherine Deneuve, a long-time friend of the designer, was in tears. Saint Laurent died in 2008.
   Saint Laurent says, ‘I tried to prove that Paris was still the city of light and of haute couture, and haute couture made like this was necessary for people’s imaginations. I like seeing my models evolve and seeing how the public react and actually in that moment I feel really close to the public. I still get nervous in this profession. I’m still not used to it after 42 years. I’ve tried again to perfect this style that has now become really important in fashion, this style that I created and to which I remain loyal, as fashions pass but style stays. It’s a part of me, it’s my life. I wouldn’t know what to do; I wouldn’t be able to live if I didn’t make dresses.’

2. The shows of Alexander McQueen
Lee Alexander McQueen was known for his extravagant shows, and had come to most people’s attention after he succeeded John Galliano at Givenchy in 1996. He was later hired by the Gucci Group, joining the group in 2000. Gucci had bought a controlling stake in McQueen’s own label. An extraordinary creator, McQueen was depressed after the death of his mother, and committed suicide in 2010. The video looks at some of his greatest hits.
   Said McQueen: ‘After I left college I went to Paris to look for work, like every student does, and I went to see Martin but he couldn’t afford to pay me, and then I went to Gaultier and then there was some nasty queen on the front door to Gaultier. And I thought f*** this. I was supposed to be there for five days I was back in five hours, because there was no one else I wanted to work for apart from Margiela and Gaultier 

   â€˜I call myself very schizophrenic; I have so many different, you know, personalities.’
   Katy England notes in the video below, ‘He’s just got a very clever mind, and he doesn’t follow fashion, he’s not that interested in the trends. He just suddenly thinks of something that’s really really imaginative, he might be inspired by art or 
 he just has a very strange vision of things which suddenly comes to life. He’ll explain an image and you’ll think wow, that’s very very strong, and that will then in turn inspire a collection. I’ve never met someone else who thinks of these things, it’s just exciting really.’

3. John Galliano at Christian Dior, haute couture spring–summer 2002
One of John Galliano’s most controversial haute couture collections was for spring–summer 2002, where he showed one inspired by the homeless, paying tribute to the ‘ingenuity shown by the underprivileged in the way they dress,’ with unstitched dresses, jacket arms held on by pegs, the layering of trousers and torn effects. Galliano said, ‘There’s the new cut but it’s also to show the work, the delicacy of the Dior atelier’s work, and also to show that this house is a laboratory of ideas where you can thrive off the rest of the house, the ready-to-wear fashion, the collection and the accessories 
 that’s why I’m there, to inspire the house. I cut it up a bit, a little bit crazily and expressively 
 They took the dress upstairs and they made the whole patronage and everything and they came back down with the same expressive cutting which blew me away, me and Stephen [Jones] couldn’t tell the difference.’

4. Madonna models for Jean Paul Gaultier
Madonna, who had been friends with Jean Paul Gaultier since 1989 when he made the costumes for her Blonde Ambition tour, went to Paris in September 1994 to model the designer’s spring–summer 1995 collection. The show was memorable for both Madonna and Gaultier, for a body corset with a conical bra.
   Looking back, Gaultier says, ‘That exact date in 1989. I knew her from that, professionally because I made the costumes for the Blonde Ambition tour, so that was really fun, it was one of my most beautiful experiences I have to say. An then obviously she modelled for me. First, she modelled in a charity show in LA in support of Aids, and the second time she modelled, you recorded her, at the MusĂ©e des Arts Forains, that must have been around ’96. There you go!
   Marie-Christiane Marek summarizes the influence: ‘Madonna produced a visual shock, leaving a mark on her era and captivating a fascinated public from the end of the ’80s. She presented corseted silhouettes with conical bras, or more Jean Paul Gaultier men’s suits. Madonna, therefore, embodied the Parisian designer’s success, heralding a new feminine era with a stamp of sex appeal.’

Le dĂ©part d’Yves Saint Laurent (version française)

The departure of Yves Saint Laurent (English dub)

The shows of Alexander McQueen

John Galliano at Christian Dior, haute couture spring–summer 2002

Madonna défile chez Jean-Paul Gaultier (version française)

Madonna models for Jean Paul Gaultier (English dub)

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July 26, 2014

Bambi Northwood-Blyth named face of Ba&Sh for autumn–winter 2014–15 fashion campaign

Lucire staff/13.46

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Quentin de Briey

Bambi Northwood-Blyth, who was one of Lucire’s news-makers of 2013, has now been named the face of the international press campaign for French label Ba&Sh.
   The autumn–winter 2014–15 collection will feature Northwood-Blyth in a shoot in Barcelona by Belgian photographer Quentin de Briey. The label says that the Australian model was chosen for her ‘glamorous freshness, and her bohemian-chic allure.’
   The designers, Barbara and Sharon, said in a release, ‘We were completely seduced by Bambi, her charisma, energy and boldness.’
   The collection contrasts between ‘intensity and lightness, nobility and bestality,’ says Ba&Sh, and is meant to convey pluralism.
   The campaign’s idea centres around femininity, ‘a woman wildly in love, deliberately free and outgoing, with multiple facets,’ or what it dubs ‘ultra-femininity’.
   The campaign breaks in France and internationally from August 2014, on displays, in print and web media. Ba&Sh’s web site can be found at www.ba-sh.com.

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July 23, 2014

News round-up: Dilmah hosts high teas in New Zealand; Trish Peng searches for new face

Lucire staff/22.50

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Dilmah Tea New Zealand

Dilmah Tea hosted a series of high teas around New Zealand, promoting its socially responsible message along with the rising interest in tea mixology.
   Its Wellington stop on Tuesday, hosted by Dilmah founder Merrill J. Fernando and his son, Dilhan C. Fernando, the company’s chief marketing officer, and in the presence of Her Excellency Zodwa Lallie, South African High Commissioner, was a particular treat, with a menu designed by Dilmah Real High Tea Gold Medallist Laurent Loudeac, executive chef of the Museum Art Hotel.
   Held at the hotel’s famed Hippopotamus restaurant, guests were treated to everything from ora king salmon sashimi—which we would label as our favourite of the afternoon—to lap sang souchong yoghurt panna cotta and a lychee-infused jasmine tea and rosewater caviar, complemented by various Dilmah teas.
   The selection included Dilmah’s Ran Watte Single Region Ceylon tea, its green tea with jasmine flowers, and its rose tea with French vanilla.
   The highlight was the address given my Merrill J. Fernando, after a video looking back through the history of Dilmah and how his famed catchphrase, ‘Do try it,’ was created by a New Zealand agency.
   He spoke of how Dilmah goes beyond the requirements of Fair Trade with its ethically made tea, because those who grow the tea share in the equity. The value-added components of Dilmah are not done by international traders, but by Sri Lankans, and the company constantly puts money back into the community, funding education, health care, cultural and even business activities.
   Some rivals force down the prices that tea farmers can sell at, keeping them poor, while profiting from the value-added components in the marketing and production chain.
   Mr Fernando also stressed that Ceylon tea is the finest, and that Dilmah, to preserve that integrity, does not mix its teas with those from other countries.
   Through a Trade Me auction, the Merrill J. Fernando Charitable Foundation is also raising money for a culinary centre in Sri Lanka which will train people living with disabilities or have been disadvantaged, so that they can find employment to support themselves.
   They can be found on Trade Me, with the auctions closing on July 27. Items include Parawa Estate Ingalalla Grand Reserve 2007 wine, valued at over NZ$1,250; an individually numbered caddy of a very rare tea, FBOP 1, from the Dilmah Opapa Estate in Sri Lanka; a night for two at the Langham Hotel in Auckland; and two nights for two at the Museum Art Hotel in Wellington.
   In other New Zealand news, new label Trish Peng is running a Fresh Face modelling competition as part of her New Zealand Fashion Week dĂ©but next month, with the help of L’OrĂ©al Professionnel and Vanity Walk.
   New Zealand women are invited to enter via the Trish Peng Facebook page. Peng and Vanity Walk, a modelling agency, will judge from the uploaded photo and details.
   Entries close August 2. The winner becomes the face of the next Trish Peng campaign, opens Peng’s fashion week show, receives a modelling contract with Vanity Walk, and wins a year’s supply of L’OrĂ©al Professionnel products.—Jack Yan, Publisher, with Lucire staff


Felicity Anderson/Trio Communications



Dilmah

Top Dilmah founder Merrill J. Fernando with Lucire publisher Jack Yan. Centre Dilmah chief marketing officer Dilhan C. Fernando and South African High Commissioner, HE Zodwa Lallie. Above Museum Art Hotel proprietor Chris Parkin with HE Zodwa Lallie.

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July 17, 2014

A number of ïŹrsts for Lucire, with issue 33 on sale today

Jack Yan/10.00

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Lucire issue 33, on sale today, marks a number of firsts and is one of the best we’ve had.
   We’ve always been very fair on who makes the cover. Sopheak Seng, our fashion and beauty editor, and I choose from all the images we have, and these include ones that he has produced as creative director or stylist. And in the years we’ve worked together, he’s opted not to put his ones ahead of others’. We’ve both gone for what is best for Lucire. Some shoots that have appeared on the cover he has worked on in a supervisory role, but others have come from our brilliant network of creatives worldwide.
   Issue 33 sees his first cover that he has directed, and it’s one we’re both exceptionally proud of. Photographed by Dave Richards, and with the A-team of Michael Beel on hair and Hil Cook on make-up, assisted by Jaye Morgan, Natalie Henderson and Andy Alsop, and modelled by ChloĂ© Graham, it’s the first time in 17 years that we’ve cropped the Lucire logo behind the model’s head.
   We realize this technique is commonplace and it’s probably a surprise to anyone reading the above that that hasn’t happened before. And we’ve had many great images—only the best get selected for the coveted spot. But for some reason, when it came to the crunch, we opted to keep the logo complete, as have always done on the website. This time, the image was so striking that we felt it was time to take the scalpel to the logo, thanks to head designer Tanya Sooksombatisatian.
   It is Dave’s first shoot with us, so to score a cover on your first go is very impressive, though it has happened a few other times—Courtney Dailey with Laura Vandervoort in issue 29, for instance.
   I have a feeling, too, that ChloĂ© is the first Scot to be on our cover. While a New Zealander, she hails from Glasgow, and this is rather timely with the Commonwealth Games about to commence.
   I congratulate my good friend and colleague, Sopheak, and I think this is going to be one of those memorable Lucire covers that will be cited in years to come.
   There’s plenty more inside, and you can get a taste of the articles in our issue 33 preview.
   I’m very proud of one shoot by Jon Moe in there, with our California A-team of Jamie Dorman (now in New York, but who was our pointwoman on the shoot), Lei Phillips and Carina Tafalu, and starring two former Miss Universe New Zealands, Laural Barrett and Samantha Lochhead, each in their second appearances in Lucire. Jon lovingly shot this at Riviera 31 at the Sofitel Los Angeles, and I acknowledge our US west coast editor, Elyse Glickman, for her connections with Pivotal Public Relations in getting us the location.
   It’s not the only cover that we can talk about: some of you will have seen Dorit Thies’s and Olga Fonda’s announcement of their cover for Lucire Arabia. (The story is in issue 33, too, but it was strongly felt that Dorit’s shot was the best to dĂ©but our title there. When you see the pages, you’ll also notice why this is an incredible shoot with the Vampire Diaries star.) We’ll have more on that officially soon, but, for now, you can get your issue 33 through the Lucire website, in print, for tablets (Ipad and Android), and as a downloadable PDF.—Jack Yan, Publisher

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July 13, 2014

Riley Keough’s de Grisogono shoot images from Cannes released

Lucire staff/14.25

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Emanuele Scorcelletti

Photographs of actress Riley Keough modelling for de Grisogono at the Grand Hyatt HĂŽtel Martinez, where she was based during the Festival de Cannes in May 2014, have been released.
   Using one of the suites, Keough modelled wearing various de Grisogono jewellery items, including the latest Allegra line (in Lucire issue 33), as well as designs from the Gocce and Gypsy collections.
   Paris-based Italian photographer Emanuele Scorcelletti, well known for his portraits and his work with luxury brands, photographed Keough.
   The Allegra collection is ‘Dedicated to a new generation of women, who dare to express their radiance, and explore different shapes and jewelled expressions of their individuality,’ says de Grisogono.
   Keough, who is the granddaughter of Elvis Presley and Priscilla Presley, began her modelling career in her teens, and first appeared on an international runway for Dolce & Gabbana.
   Her acting dĂ©but was in The Runaways (2010), and she soon landed the female lead in The Good Doctor (2011) opposite Orlando Bloom. She has recently completed filming on Mad Max: Fury Road, alongside Charlize Theron, Tom Hardy, and Rosie Huntington-Whiteley.



Emanuele Scorcelletti

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