NYC’s sweetheart Annabelle Dexter Jones has collaborated with French label, FAITH CONNEXTION PARIS for her debut fashion foray. A part of the fashion/music crew of a family – she’s the daughter of Ann Dexter Jones and Foreigner guitarist Mick Jones, and sister to Mark and Charlotte Ronson, creativity runs in the family.
Her capsule collection for the French fashion house mixes the super cute retro, a hint of rock n roll with an o-so Parisen vibe. Lace tops with contrasting peter pan collars, vintage inspired leopard print fur coats, classic leather bombers and A-line skirts make up the line. Notice the scarfs featuring custom André Saraiva artwork, you can’t get any more Paris cool than that.
Who are you? Without getting too metaphysical, chances are that the things that define you are your interests, your career, being creative and your relationship with your loved ones. The challenge for generations of women who have children is to assert their identity over the act of being a mother.
While undeniably motherhood grows into the spaces of your time that you previously thought were wholly filled, there”s a tension between being a mum and being an individual. Photographers Jenny Lewis and Tara Darby have sought to show just that in their exhibition More than just a Mum – a collection of portraits of 22 creative mums in London.
Spawned from Jenny Scott”s parenting collective Mothers Meeting, it”s a celebration of modern motherhood embodied by the slot machines likes of make up artist Alex Box, set designer Anna Burns, photographer Clare Shilland and stylist Thais Mendes. Tara says: “It is easy for mothers to lose their sense of self and we wanted to celebrate these women and modern motherhood.”
More than Just a Mum is at Exposure Gallery until Nov 6th.
The Eyes in the Heat“s debut album Program Me was released this month on Kill The DJ records – an all-female, Paris based label. Already named album of the week on Juno, Twin caught up with vocalist Zizi Kanaan to talk music, women and representation…
Where did the name The Eyes in the Heat come from?
It came from a Jackson Pollock painting – but I think we choose it mainly because we liked the suggestive quality of the phrase. I remember when I was a kid I would get severely stricken, almost painfully so, by shyness, and what I remember most about the feeling was this extreme pressure and heat behind my eyes. I felt like I was being watched from all directions, and this sort of extreme projection had the effect of sort of freezing my gaze.
Who are The Eyes in the Heat?
We are Lebanese/American, Zizi Kanaan (artist/vocalist), British musician/DJ Oliver Ho (aka Raudive) (machines and guitar), and Marseille born Jerome Tcherneyan (percussion).
Is it important for you to identify as a female musician?
Yes – but only in the sense that the female musician is still under-represented and far too frequently categorized. I like exploring the point of view of both sexes. I believe firmly that both sexes can strongly identify with the idea of the other. Identity is a construction, there is no one-way to be or see – and this can be as difficult for men as it is for women, constantly feeling they have to uphold a certain accepted role.
What ideas inspire your music? I am really into the idea of the Freudian slip. I think sometimes that most of my lyrics are one long slip of the unconscious. I also love mistakes. Losing control is so healthy sometimes! I love it when you trip, on the street or someplace, and for that one, brief moment, you lose yourself, you lose your sense of control, the sense of ‘you’ becomes dislodged, and for one small second, you are free from all your self-demands…
Do you have any opinions on the difficulties of women building a career in the music industry and the difficulties in doing so?
I think things are still pretty backwards and reactionary. It’s always noteworthy for instance that whenever there is a new all-female rock-group it’s still seen as striking and out of the ordinary, in a way that an all-male band isn’t.
This is an issue that just keeps going in circles, without much progression. In the Seventies and Eighties we had a lot of all-female punk-rock bands, riot grrrl feminist movements, all female post-punk groups etc. whereas we seemed to have moved backwards from that position now.
Wouldn”t it be interesting if the majority of all industries was run by women. Wouldn”t that be strange? Can you imagine it? I often wonder how different things would be if society were run by a mostly female workforce. I think a lot of people still have a difficulty with entrusting the qualities of intelligence and competence to women, and the mere fact that we have to imagine what it would be like for women to be in the majority shows how behind we still are. Why are women still in the position of having to prove themselves…
That’s why it’s fascinating to work with the label we’re on, Kill the DJ. Not only are they the only surviving, truly independent label left in France, but it’s also founded and still run by two women. This gives them a very different take on the whole techno, DJ, post-rock culture, which can often be quite male dominated and very much into ideas of traditional masculine hero-worship. As a band we’re very much working to try and dismantle those sorts of ideas, and so it’s a perfect home for us.
Do you feel like you are part of a particular scene? If so, what is it? We are now part of the Kill The DJ family, which is very energizing. It’s very exciting considering their historical relevance in terms of the feminist/gay/lesbian scene in Paris, and what they have accomplished with an all women outfit. France still feels like a very politically driven place, so it’s great to be involved in that network, that history!
Twin asked Eyes in the Heat for their top nine tracks…
1/ B-52″s – Private Idaho
They have this post-punk meets 60″s garage style – amazing organs and grooves. The vocals are great in this too. This group really rocks!
2/ Talking Heads – Cross Eyed and Painless
The best line of all time “lost my shape, trying to act casual” which is pretty much how we feel a lot of the time.
3/ Frank Zappa – What”s the ugliest part of your body?
We absolutely love this track – short, sweet and desperately to the point. Identity as a social construction, physical beauty, ugliness – it”s all in the mind!
4/ Laurie Anderson – Language is a Virus
She has a huge talent for creating a free narrative that floats through the music, using words like musical notes. She has such an ironic, wry, sharp wit and an interesting take on gender identity.
5/ The Flying Lizards – Get up (Sex Machine)
This band is very unique, somewhere between avant-garde music and post-punk pop. Discordant sounds mixed with sparse beats. Her vocals are beautiful too, very English and satirical. I love this song, and the way they have managed to dismantle and anaesthetize such a “sexually – driven” song.
6/ Jean Shepard – The Root of All Evil is a Man
I love the whimsical melody of this song, it”s so floaty and sweet it almost passes you by how dry and vengeful the lyrics are.
7/ The Watts Prophets – Prostitute
This group were a forerunner to contemporary hip-hop. You can still feel the dark, dripping New York streets in this atmospheric social take on the city”s underbelly life.
8/ Planning to Rock – Doorway
What an excellent, unusual performer – exactly what the music industry needs more of…
9/ Lydia Lunch – Mechanical Flattery
She reminds me of a female Tom Waits – a very sinister, scary song…yikes! what a song to end on… I hope you”re not reading this in the morning. Definitely a song for sleazy, dark venues…
For better or worse, the Noughties belonged to New York. Whether it was the bands pumping out post punk cool across the Atlantic and beyond or the tragic events surrounding the 2001 terrorist attacks, the city on the edge of America held our attention in a vice like grip. Nest week sees the release of Shut Up and Play the Hits, a documentary about LCD Soundsystem, or more simply one man, James Murphy, whose tracks were responsible for reviving that party spirit that first kicked off the Seventies Downtown scene. As Murphy took their party on the road, the moments of champagne soaked revelry were faithfully recorded. Twin love a good party and as we’re set to hit New York at the end of the month, we thought these pics showed the kinda good time we like to have.
The new fashion term is in and who better to give a lesson than stylist Katie Grand, whose fashion film for DSquared shot by Mert & Marcus stars the most fash-tastic students ever spotted inside a classroom’s four walls. Languishing in DSquared’s fabulous Fifties reboot berets, cat’s eyes sunnies and badboy leathers, the models are saved by an impromptu catwalk class from blackboard boredom – leaving them drooling over jewelled stilettos rather than exercise books. Cher Horowitz eat your heart out.
This weekend, Twin’s art editor Francesca Gavin opened up her exhibit The Dark Cube at Palais de Tokyo in Paris. An experiment combining static art and UV light, the literally ‘glow in the dark’ experience applies neon colour and an innovative viewing experience of every artwork from Kasper Sonne’s Untitled (carpet) No. 3, which is given a colour kick thanks to luminescent paint, to Scott Treleaven’s painting The Body Electric, with five of the piece’s six floating bodies immersed in a neon orange glow for a further intensification of its dreamlike feeling. Like all good things subject to limited availability, the exhibit runs until next Monday.
Twin spoke to Gavin about modern-day psychedelia, electronic nature and teenage memories of Camden market’s Cyber Dog…
From disco to rave, UV lighting has had quite a history in it its own right. What made the time ripe to do this exhibition now?
I think it’s to do with our relationship with technology. Many of my exhibitions in the past have explored that relationship – how we look at screens, the psychedelic experience of going on the internet. This is actually my least high tech exhibition but I think that this now old fashioned technology feels very relevant in terms of contemporary feelings about the world of wires, electrics and Wifi around us.
How did you go about choosing which artists to display?
A few artists I know had worked with UV in the past – Jeremy Shaw, Jeremy Deller and Thomas Dozol. Many I had worked with before, others I had seen work that I felt would fit. It was very organic. A number of the artists – Oliver Laric, Anne de Vries, Juliette Bonneviot – were part of that Berlin post-internet scene which I felt really connected to the idea.
What was the process of putting it all together like, for example where there any changes in vision throughout the project?
In a way it was like putting on an exhibition in the dark! It was impossible to know the results until I turned on the black lights and saw the works glow. A lot of the artists were making things partly in normal light and at night with hand held small black lights. It felt quite risky compared to a normal exhibition when you just have to work with the hang and hope the screens work okay!
A large part of the exhibition aims at literally looking at things in a different light. Would you say that it is a reaction against the times of our short attention span digital generation or is it something else?
I think because we are so used to seeing the entire world through a screen that the process of looking at objects, at images, at things in real time is really important. Arguably something with political undertones. Thought it was fascinating see many of the hundreds of visitors who came during the opening on Nuit Blanche immediately want to engage with the work through their camera phones. UV also ends up being an interesting metaphor for the electronic nature we give to the world in our screen culture.
On a more personal note, what are your own fondest black light memories?
I grew up near Camden market and when I was at the end of my teens it was the early days of techno. My sister was going to free parties and was part of the whole Spiral Tribe scene. Very hardcore. She was obsessed with reflective materials and circuitry. We used to go to this T shirt stall in a sort of cave-cellar there by a label called Cyber Dog (which over the years turned into a crazy huge techno mecca) and I bought a shirt with a circuitry star on it that glowed in UV… For a brief moment it was the epitome of cool.
What future projects do you have lined up?
No shows lined up quite yet – I’ve done three this year which feels like a lot! Possibly an exhibition at a project space in Belleville in the spring. And of course the acres of writing for Dazed, Twin, AnOther, Sleek and the rest.
The Dark Cube is on display until October 15th at Palais de Tokyo.
Twin favourite Dan Martensen began taking road trips to the American Southwest in 2001, drawn to the beautiful decay of the desert environment. His new book Photographs from the American Southwest collects his photographs from 2001 to 2011, depicting a world of Jesus Christ billboards, foreclosure signs and big-box stores, pitched against the backdrop of the lonely desert landscape. Twin asked Dan for one of his best memories of the project…
“Once I was driving somewhere very remote, along the border of Arizona and California. It was getting dark, and when it gets dark in the desert it usually gets cold, very cold, very quickly. So as I drove along the road and the sun was setting, I hadn’t seen a soul along the road in at least an hour. I came around a bend as the sun was falling behind a mountain. It was beautiful, so I jumped out of the car and went to take a photograph.
“After about 10 minutes the sun was gone, and all of a sudden it was freezing… and I was wearing a t-shirt…. aaaand I realized I had locked myself out of my car….which was still running. I was fucked basically. After a minor freak out, I started thinking of ways to get into the car. With no rocks in sight, thoughts using my camera do break the window crossed my mind. With my phone staring back at me from inside the car I got fears of desert creatures, snakes, coyotes, meth addicts, would all be happy to find me there alone stranded in the cold.
“About 45 minutes went by pacing back and forth I remembered seeing an old barbed wire fence about 100 yards away. I hiked and sifted through the sand looking for a piece of barbed wire and eventually found a piece long enough to pry my way between the door and the window and jimmy the lock open leaving my hands bleeding and frozen I drove away shouting at the top of my lungs and laughing like a mad man.”
In Part I, we covered what the one and only C trio (Chanel, Christian Dior, Comme Des Garcons) churned out, but from Haider Ackermann’s dreamy midnight-coloured collection to Marc Jacob’s retro mania, Paris Fashion Week still had a wide array of other intriguing collections to take in. Read on for Twin’s final list of favourites this S/S 13 season…
Stella McCartney
Considering the fact that she has collaborated with the likes of Adidas, no one does sporty quite like Stella. Energetic bursts of neon orange peaked out underneath a sheer silk sweatshirt whilst black and white printed strapless jumpsuits and oversized shirt-dresses were given an easygoing slouch thanks to a dropped waistline, all topped off with surprisingly wearable Lucite platforms. McCartney described the collection as “a conversation between a man and a woman” and thanks to the relaxed and loose-fitting silhouettes, there was something there for the elegant tomboy in every one of us.
Haider Ackermann
This S/S 13 season, man of the moment Haider Ackermann gave us something to dream about. Sheer silk and lace were wrapped around the body with the designer’s trademark fluid draping, in nighttime sky colours of ivory, midnight blue, black and a shimmering dark grey. A first was the use of geometric prints and polka dots, but even these rather atypical elements were melded into the harmonious collection. It’s safe to say that there are countless more breathtakingly beautiful collections like this one to come on Ackermann’s horizon.
Balenciaga
After an eighties, sci-fi flashback, this season saw a more formal Balenciaga woman come to the forefront. Nicolas Ghesquière may have constrained his colour palette to mostly black, white, nude, and charcoal colours but thanks to ruffled thigh-high cuts and plenty of upper midriff exposure, the sex appeal was as much there as ever. From the first pair of front-pleated, high waisted trousers to the last coated guipure lace dress, it was a testament to the fact that even without the futuristic drama, Ghesquière is more than capable of getting, and keeping, our attention.
Louis Vuitton
Marc Jacobs has become the designer of Paris you can count on for a complete fashion 180, and this season was no exception. In an ode to Diane Arbus, Marc Jacobs sent his Sixties styled models in pairs of two down the escalator and runway, matched up in Vuitton’s signature damier print. The silhouettes were streamlined, the hemlines decade-appropriately short and the fit body skimming. The main inspiration of the collection may have been from another era, but Jacobs managed to successfully reincarnate the look for 2013.
The S/S 13 season was eventful to say the least: Twitter feuds between Hedi Slimane and NY Times fashion critic Cathy Horn, Ready To Wear debuts at the houses of Saint Laurent and Dior, and between it all, some wonderfully accomplished collections.
Twin looks back at which collections made us say je l’adore.
Chanel
Presented in a setting of solar panels and wind farms instead of a crystal landscape, Karl Lagerfeld went a bit more down to earth this S/S 13 season. A-lines, bolero jackets and rounded silhouettes with floral embroidery in every colour under the sun were topped off with oversized pearl necklaces. Like its staging, the collection was the perfect mix of technological linearity and natural materials and forms.
Christian Dior
Raf Simons may have already shown us his haute couture offerings for the house of Dior, but nonetheless there was still a great anticipation for what the Belgian designer would bring to the Ready To Wear table. The answer? Expert tailoring mixed with modern femininity. Pleated office attire was given metallic panels, sequined evening gowns a sheer overlay and nude shift dresses an exposed neon lining. With so much love for detail, it’s hard not to give Simons a congratulatory thumbs up for his efforts.
Comme des Garcons
In fabrics of toile and velvet, Rei Kawakubo crushed, sculpted and draped an intriguingly beautiful collection. Save for a flash of royal purple or fire red, the collection kept mostly to CDG signature colours of black and white. While the surrealist-style crowns designed in collaboration with artist Graham Hudson and linear white make-up may have given the models an otherworldly look, there was still something beautifully fragile about the body — and person — in these clothes. As with all things Kawakubo, this collection is definitely worth a second look.
If you’re stuck for something to do this weekend then check out the Barbican’s latest exhibition Everything Was Moving. Each image, hived off from the Sixties and Seventies is as exciting as the period it documents. All together it’s a picture of a time of political turbulence and bygone style the world over.
It’s also a celebration of the golden age of film photography before digital imagery mapped our world and everyone became a photographer. The result is a diorama of photos that delight in the moment and have a real sense of spirit and are sure in their sheer volume to overwhelm.
Everything Was Moving: Photography From the 60s and 70s is on until 13 January.
Dr Martens is shining a more polished shoe these days, thanks to the brand’s collaboration with menswear designer A. Sauvage.
The two-years-young label created a more elegant take on what is perched atop those famous, light air cushioned soles: colours of midnight blue, white and black, in fabrics ranging from patent leather to woven kente silk.
A very street venture for the Mayfair-based label and a rather high-end approach for the punkish footwear brand, this unisex range is a prime example of what happens when you think outside of the (shoe) box.
OK, admittedly we’ve kind of lost count of how many H&M designer collaborations there’s been. In the past eight years every type of fashionista has seen her and his needs met by a constant queue of high end designers offering to tame their prices for fashion-lovers on a budget.
Still, the Maison Margiela collaboration is perhaps the most intriguing of the lot and we can’t wait to see how the brand’s paired down cool wit will translate when crammed onto high street rails. But the prospect of the brands ID seeping into the common populace is pretty exciting. So with November 15th still a month away, our patience was a bit pushed when this glorious monochrome pic was leaked this week of the upcoming campaign shot my Sam Taylor Wood. Maison Margiela are most definitely in the house!
Over the years, the Chloe girl has taken on the nuances of the designers who have passed through the label, from Karl Lagerfeld to Stella McCartney, from Phoebe Philo to Claire Wright Keller. But always the essential DNA remains the domain of the young, carefree girl about town who embraces hippie chic while staying true to her socialite core.
To celebrate the label’s 60th anniversary exhibition Chloé Attitudes at the Palais de Tokyo, they’ve also launched a new digital platform The Alphabet – which allows fans of the brand to explore its rich heritage using A-Z themes.
Each letter tells an individual story about the label. Twin loves film-maker Kathryn Ferguson’s film for the letter H, which features wild horses driving through wild plains by twilight. Horses are a passion for both McCartney and Philo, the young maverick designers who were so much responsible for revitalising the brand with the youthful feel it has today.
The exhibition Chloé Attitudes is at the Palais de Tokyo in Paris until November 18. Check The Alphabethere.
As we march towards the end of the international S/S 13 Ready-to-wear shows, we thought we’d pick out a few highlights from Milan, the ever slick and chic capital of Italian fashion.
own curve, and fashion seems to duly chase after it. For S/S fashion’s haute feminist looked East, taking inspiration from Geisha girls, those archaic and uneasy figures of woman-hood. But there was nothing constricting about Prada’s take on the silk kimono, that was deconstructed with a street-style feel and a boyish twist. Single-flower motifs had the graphic feel of the Nineties, a decade that keeps urging a revival. Beauty-wise, it marked the return of the messy crop, that was perfectly punctuated with a slick of red, for that modern vamp look.
Jil Sander S/S 13
Now the designer herself is back at the helm, there’s an extra sense of excitement to see where the label that created modern wearable minimalism a global trend. Where in past seasons Raf Simons created the Jil Sander silhouette in acid array of colour, this collection was muted with just the odd mellow orange and pillar box red placed among the russets, greys and space age white. There were few suprises in the shape of the cut, which was uniformly loosely tailored and kept plain and unpatterned but for some jazzy appliqued discs, but it was undoubtably the Sander that we know and lust after.
Giorgio Armani S/S 13
For Spring Armani sent his elegant socialite into orbit. Starting with elegant loose tailoring, this was a collection of slick greys and dark blues that had an opulent mannish sportiness reminiscent of Jordan Baker in The Great Gatsby. As ever, Armani’s strengths lay in his evening wear, which can always be relied upong for some super luxe trousers. But it was his star gazing mesh cage and trippy trouser suit that blew our minds.
When Vivienne Westwood took to the catwalk last week in hotpants and a scribbled on monocle and moustache at the age of 71, she was carrying the flame for Punk. Despite the DBE, Dame Viv is a dependable irreverant. A sole fan pumping fresh air into the stultifying culture that pervades in the shape of One Direction, the X Factor. and Tory MPs calling us all Plebs.
For the rest of us, a little bit of anarchy could probably go a long way. So if you’re looking for some inspiration, the Hayward Gallery’s exhibition Some Day All The Adults Will Die! Punk Graphics is a good starting point. Accompanying the exhibition is Jon Savage and Johan Kugelberg’s new book Punk: An Aesthetic, the very title underlines what it was all about. If you’re going to start a riot, you’re best to do it in style.
As storms batter Britain, the mood has turned that little bit darker. So when these images of LN-CC’s new stock landed in Twin’s inbox, we were with the vibe already. Dark and dangerous has replaced Summer loving. And as those Cimmerian evenings close in, we’re thinking it won’t be so bad if we can weather it like at the Late Night Chameleon Club…
Don’t think the collaborations were just left to the fashion industry — collections between beauty brands and creative visionaries are now popping up left, right and centre. Twin rounds up our favourite new arrivals in the cosmetics world…
M.A.C Illustrated
These days, the exterior appearance of your bag is just as, if not more important, than what’s inside. So why resort to flinging your favourite lipstick, mascara and eyeshadow into a dingy, dirty and outdated old case? In a bid to rescue us from boring cosmetics carriers, M.A.C teamed up with illustrators Julie Verhoeven, Francois Berthoud and Nikki Farquharsson for a range of bags bearing each artist’s signature stylings, be it art deco, graphic or abstract. Mission accomplished.
In the past, Lagerfeld has been known to use Shu Uemura’s eyeshadows to colour in his fashion sketches. Now, unstoppable Karl teamed up with the Japanese brand for a 17-piece collection of make-up, false eylashes and of course, the brand’s trademark, an eyelash curler. All emblazoned with the Karl-ified mascot donning a Rei Kawakubo-esque haircut and the Uncle’s signature high collar and tie, its a kooky take on Uemura’s high-quality products.
NARS took Warhol’s love of glitz, glamour and decadence as a starting point for a Swinging Sixties bright cosmetics collection. The brand even extended their love for all things Andy to a recreation of his self-portraits and flower paintings in their eyeshadow palettes. Instead of simply slapping a name onto their products, NARS clearly made a genuine dedication to the artist with this project. The ode may solely consist of shimmer sparkles and neon brights, but Warhol wouldn’t have wanted it any other way.
narscosmetics.com
M.A.C X Carine Roitfeld
The former editor of Vogue always had her laid-in smokey eye makeup down to pat, so a collaboration between the stylish image maker and a company renowned for their high-quality eye shadows was only a stone’s throw away anyhow. Expect shadow and blush palettes to recreate smouldering Roitfeld eyes and defined cheekbones, vampy red nail varnishes and to top it all off with a seductive French pout, barely-there nude lipsticks.
Next season’s Meadham Kirchoff girl is pretty as a picture. Ringlets and cherubin rosy cheeks were the order of the day as Meadham Kirchoff went from the disco setting of their last collection, to what felt like a riot in a boudoir as reams of ribbon and petticoats burst onto the catwalk. Lace pantalettes under full, short skirts topped with delicious looking bows that looked good enough to eat created a feel that was two parts Eighteenth Century socialite and one part Mini Mouse.
As ever the duo presented so many ideas at once that it was only on later deconstruction that we could fully appreciate the brilliant separates on offer. From cute sweaters with ribbon slogans to white denim jackets, powder blue brocade trousers to cartoon courts, this was a sumptuous banquet of a collection that we can’t wait to be invited to.
If like us, you’re feeling a bit showed out right now and that your head is just a mash-up of glorious shapes, colours and fabrics with no sign of a let up for a good couple of weeks yet, then take a moment to stop and just consider Alexander McQueen’s new Cicada Jewel Knucklebox Clutch.
Pretty golorious isn’t it? It wouldn’t look out of place in the Tower of London nestling among all those Tudor jewels. With that lethal McQueen edge it almost looks like some exquisite torture contraption – we’re thinking death by gold wouldn’t be so bad…now if we can just get our hands on it, we’ll have that baroque gilt trend that’s weighing heavy for this autumn, all boxed up.
Fresh with a zing for Spring, when Topshop Unique sent quintessential London model Jourdan Dunn down the catwalk in a sheer panelled dress the tone was set for the show, and we totally got it.
The words pure and modern were cut to fit the collection perfectly. There was an almosty space age quality to the lines and silvery colours. And where last season Unique was boldly masculine, this was about a type of androgyny that was at heart unmistakeably feminine. Trouser suits, having their fashion moment right now, were tailored louche and sporty rather than stiffly masculine and the dresses were body conscious without needing to resort to actual figure hugging. Embellishment was also kept to a minimum, with the strappy heels conveying the same sense of clarity as the clothes.
Asymmetrical lines in the form of angled zips and jaunty panelling kept what was at one level a sophisticated collection affirming Unique as Topshop’s older, chicer sibling, on the right side of cool and young. And the colour palette of white and black was punctured almost solely by a slim daffodil yellow slice of a trouser suit, creating the perfect Gin ‘n Tonic look that has us already thirsting for Spring.
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