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Meet the new Lamborghini Countach LPI 800-4
Few cars are as legendary as the Lamborghini Countach, the original poster boy of supercars. Conceived in the 1970s to replace the aging Miura, the Countach broke tradition by being the only Lamborghini car to have a monicker not associated with bullfighting or bulls in general. When news broke of Lamborghini’s plan to revive the Countach, meanwhile, images of hybrid technology immediately came to mind, particularly given the automaker’s breathtaking Sian hypercar, the progenitor of new-age Lambos with its supercapacitor-powered hybrid technology.
And then it happened: in a festive event at The Quail: A Motorsports Gathering, Lamborghini unveiled what is perhaps its most ambitious production car to date. The 2023 Lamborghini Countach LPI 800-4, the second generation of the automaker’s wedge-shaped bad boy, is as real as it gets and is entering production soon. However, Lamborghini is only building 112 units of its newest Countach, making it a highly limited-edition hybrid supercar. As I let my gaze play over what I think is one of the prettiest production car shapes I’ve seen so far, I kept asking myself: “How could I not see this coming?”
You see, the first-gen Countach turned 50 this year. We all know how the Countach’s wedge styling elements became the trademarked Lamborghini shape, eventually filtering down to all its production cars like the Diablo, Gallardo, Aventador, Huracan, and the Sian. “One of the most important automotive icons, the Countach not only embodies the design and engineering tenet of Lamborghini but represents our philosophy of reinventing boundaries, achieving the unexpected and extraordinary and, most importantly, being the ‘stuff of dreams,'” said Stephan Winkelmann, Automobili Lamborghini President, and CEO.
I cannot think of a better way to celebrate the Countach’s golden jubilee than by unveiling an all-new, second-gen version of Lamborghini’s legendary supercar. “The Countach LPI 800-4 pays homage to this Lamborghini legacy, but it is not retrospective: it imagines how the iconic Countach of the 70s and 80s might have evolved into an elite super sports model of this decade,” added Winkelmann. “It upholds the Lamborghini tradition of looking forward, of exploring new design and technology avenues while celebrating the DNA of our brand.”
Right off the bat, there’s no mistaking the LPI 800-4 is a Countach. It has an instantly recognizable silhouette, all sharp angles and bold lines. Lamborghini claims the new car’s distinctive Countach façade drew inspiration from the LP5000 Quattrovalvole, with a low-set rectangular grille, an angular bonnet like the nose of a stealth fighter, and rectangular-shaped headlights. Also evident are the hexagonal wheel arches, the most explicit representation of Countach DNA.
But unlike the Countach Quattrovalvole, the newest LPI 800-4 has no rear wing to disrupt the wedge-tastic design purity. Still, it does bear the original car’s largish air scoops and slatted gills, much like how a child can inherit their parent’s nose, chin, or eyes. Also present are the dominant NACA air intakes on the side and doors, a feature that Lambo made more prominent in the production model to address the cooling issues of the initial Countach LP 112 prototype.
Other period-correct juicy details include unique Periscopio lines on the roof and rear of the car, a new “inverted wedge” rear bumper, three-unit taillight clusters, quad exhaust pipes, and of course, those luscious scissor doors.
The original Countach had more power than you can handle. Back in the early 70s, a 370-horsepower V12-powered supercar was outrageous. The 25th Anniversary Edition Countach unveiled in 1988 became the fastest Countach to be produced with its 5.2-liter 450-horsepower V12 engine from the LP5000 Quattrovalvole. But for the latest Countach LPI 800-4, Lamborghini is settling for nothing less than the hybridized powertrain from its latest Sian hypercar.
The 2023 Countach LPI 800-4 has a naturally-aspirated 6.5-liter V12 engine pumping out 770 horsepower. It also has a 48-volt electric motor mounted directly to the gearbox, contributing a further 33 horsepower. With a combined output of 803 horsepower, the new Countach is just as potent as the Sian. And since this innovative architecture is the only mild-hybrid to connect the electric motor and driving wheels directly, I presume the driving experience to be a lively mix of analog and digital.
What more can you expect from a roaring V12 engine behind your ears and a hybrid powertrain pushing you to the horizon silently and without delay? The electric motor draws juice from a supercapacitor that Lamborghini claims has three times more energy density than a lithium-ion battery of the same weight.
Unsurprisingly, then, the performance numbers are staggering. The Countach LPI 800-4 can sprint from zero to 60mph in under 2.8 seconds, go from zero to 124 mph in 8.6 seconds, and has a top speed in excess of 220 mph.
In case you’re wondering, that means the Sian accelerates just as briskly as the new Countach, but the latter has a higher top speed: proof, were it needed, of the new Countach’s place in Lamborghini’s supercar hierarchy. It also has a better power-to-weight ratio than Sian, tipping the scales at a dry weight of 1,595 kg (3,516 pounds), thanks to a carbon-fiber monocoque chassis and body panels. In addition, the new Countach has a photochromatic roof that changes from solid to transparent at your behest.
Outside, blending new tech with classic style, the Countach LPI 800-4 has 20-inch front and 21-inch rear “telephone style” wheels, wrapped in Pirelli P Zero Corsa tires. With such a propensity for speed, it has carbon-ceramic brakes to bring sanity to all this madness.
Inside, it has leather seats with geometric stitching and an 8.4-inch HDMI infotainment touchscreen with Apple CarPlay. And with aluminum double-wishbone suspension and active magnetic dampers, the new coupe could even be considered a proper grand-touring hypercar. Few will get to put that to the test, though: Lamborghini is only building 112 examples of Countach LPI 800-4, and the first deliveries will arrive at lucky customers in early 2023.
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The Lamborghini Urus demands your respect
Purity is a concept the Lamborghini Urus has little time for, and rightly so. On paper, SUV body aside, it checks off all the boxes fans of the automaker have come to expect: ridiculous power, fiendishly clever engineering, and performance as high as its price tag. If you’re getting hung up on the four doors and seating for up to five, you’re missing the point.
It’s fair to say that there’s some snobbery about the Urus. “It’s not a real Lamborghini” is the most common complaint, often followed by the more specific “Lamborghini shouldn’t make SUVs.” Running through it all is the idea that, by making a four-door utility vehicle, the Italians have “sold out” and prioritized profits over heritage.
Clearly, there’s an excellent business model for expanding into SUVs. Lamborghini can’t have missed just how well models like the Cayenne and Macan did for VW Group stablemate Porsche: they, too, were roundly criticized by purists upon their respective launches. They’ve also gone on to become Porsche’s best-selling vehicles, underwriting production of smaller volume models like the 911, and if the brand zealots haven’t quite been convinced then their complaints are at the very least drowned out by the sound of the cash registers ringing.
What Lamborghini could have done, frankly, would be to take something like the Audi Q7 or the Porsche Cayenne, drop some angular bodywork on top, slap on some raging bull logos, and call it a day. That it didn’t – that the Urus really does feel like a Lamborghini from behind the wheel – is a testament to just how good it is.
Styling is objective. Personally, I like the pumped-up-Aventador look, though I think it’s success is very color dependent. Lighter colors, like white and yellow, can leave it looking fussy and over-detailed; the weird bobble-ended whiskers in the lower fascia are a good example of that. Darker hues are more flattering.
Inside, meanwhile, it’s a mixture of classic Lamborghini, some bizarre detailing, and, yes, some parts-bin sharing with Audi. The center console is a reminder that Lamborghini has never met a surface it doesn’t deem worthy of extra creasing. The vents and switchgear are sculpted and embellished. Audi donates its twin-touchscreen infotainment system, tweaked a little up top with some custom graphics; yes, the critics may scoff, but if you’ve going to borrow software then this is at least a decent system to crib from.
That goes for the virtual cockpit-esque digital instrumentation, and the steering wheel buttons which are what you could expect to find in an Audi A4. Clearly Lamborghini spent more time on the paddle shifters, which are oversized slices of machined metal that could each double as a Batarang. Weirdest flourish of all is the cluster of transmission and drive mode controls, as though the levers from some luxury yacht have been repurposed as a robot’s codpiece.
It’s outlandish and in places over-embellished, sure, but there’s also room for a family and their luggage (though not, it’s reasonable to point out, a vast amount of that room). “Practical” and “Lamborghini” has typically meant a vehicle that elects not to strand you at the side of the road. Since being welcomed into the warm, teutonic embrace of VW Group, reliability is up, but don’t confuse that with a sacrifice of performance.
Yes, dig deep under the Urus and you’ll find a platform shared with the Audi Q7, Porsche Cayenne, and Bentley Bentayga. No, it doesn’t feel like any of them from behind the wheel.
There’s 4.0-liters of twin-turbocharged V8 to play with, good for 641 horsepower and 627 lb-ft of torque. No manual, just an excellent eight-speed automatic. All the better for the quoted 0-62 mph time of 3.6 seconds, and on to a top speed of 190 mph. All that, may I remind you, from an SUV.
In the default Strada mode, the Urus is tamed just enough for the street. Tug the lever and you notch through Sport and then Corsa modes, each ramping up the power, sharpening the handling and the suspension, and generally leaving the Urus more aggressive. Unlike in a Huracan, though, there are also Terra and Neve modes for off-road and snow, respectively. Not something I needed in San Francisco, true, but a reminder that – like its 7,000 pound towing rating – there’s more to this Lamborghini than most.
The soundtrack is, you’ll be reassured to hear, present and entirely correct. Growling and barking and crackling, building to a throbbing howl as you rocket toward the near-7k redline. Then there’s the grip (prodigious) and the ride (unflappably level), again belying the fact that this is not only an SUV, but one which tips the scales at 4,800 pounds.
The standard air suspension helps there, as does the huge Pirelli P-Zero rubber. Lamborghini throws in rear-wheel steering as well, counter-turning at lower speeds for a tighter radius and mimicking the front at higher speeds for more stable maneuvers. Combined with torque vectoring, the Urus pivots its meaty rump in ways no other truck can. In turn, it encourages you to push harder, to play more.
The flip side to that is a braking system fit for, well, a Lamborghini sports car. If you can put the $204k starting price out of your mind for long enough to leave slowing until the very last moment, the Urus rewards that pluck with the sort of shedding of pace that normally comes with parachutes flying out the back.
I’d be lying if I said that the Urus’ reception was universally positive. If there is A Certain Type of person who drives a Lamborghini, and Another Certain Type who drives a big, luxury SUV, then occupying the center of that exclusive Venn diagram doesn’t always win you approval. Perhaps the Italians need to borrow the Bentayga’s plug-in hybrid tech, just to be entirely sure of prompting Tesla drivers’ fury when they see you pulling into an EV-only space.
At least, though, that vitriol is somewhat deserved. The Urus is profligate, and unapologetic, and brash, just like a Lamborghini should be. You buy into that when you take the keys. What it’s not is anything less than a true Lamborghini. Silhouette be damned; there’s only one badge this SUV could wear.
Tom Eulenberg known to many as ‘Top Hat Tom’, is renowned for revolutionising the hospitality industry thanks to his ‘out of the box’ concept venues, featuring world class entertainment.
Having won numerous awards for his service to the hospitality industry, Eulenberg is without a doubt one of London’s leading nightlife entrepreneurs. Tom has had a hand in shaping some of London’s iconic, award-winning nightclubs over the past two decades, with the likes of Whisky Mist, Cirque Le Soir, Drama Park Lane and Wyld within his portfolio. In recent years, he has taken his creativity, wisdom, and knowledge to a whole new level, capturing the attention of key stakeholders setting up high-profile hospitality projects around the globe.
Let’s dig a little deeper to find out more about the ‘Ringmaster of Nightlife’.How has your career evolved in the hospitality industry?
My journey into the hospitality industry embarked when I enrolled in a 3-year hotel management degree. This gave me a strong foundation, as I gained access to some of the most prestigious five-star hotels all over the world, allowing me to connect with A-list celebrities, members of the royal family and people of influence. This was the beginning of my little black book.
Over the years, a lot of my work has been focussed on strategic marketing and public relations, but the reputation I have built, derives from my ability to design, and execute creative concepts that are aimed to disrupt the hospitality and entertainment industry. Over the years, my career has expanded from hotel hospitality and nightclub development to franchise development and movie production.How would you describe your main assets?
On a personal level, I am approachable with a generous nature, with a lot of passion and energy. I think I have that unique balance of grit and warmth that is hard to find, but ultimately makes me a leader in my field. And of course, I can’t forget my iconic Top hat, which has become synonymous with my name.In your eyes? What has led to your success? What do you love most about being in the industry?
The hospitality and the nightlife industry allow me to be ‘a people’s person’ every day of the week. I get to meet and befriend some truly extraordinary people and thrive in an environment where I get to deliver the highest expectations in service and client care. I find this is immensely rewarding.
To be successful in this industry, it takes a lot of grit and determination, but can lead to some incredible opportunities. In any career, we all have those moments of self-doubt, especially on those challenging days when we are pushed to our limit. I think it’s important to take stock of how far we’ve come, what we’ve learnt and the difference we’ve made in people’s lives, not only from a business point of view but from the friendships we have built.What are the ingredients to create a successful hospitality venue?
The core ingredients to create a successful hospitality venue is to create a powerful energy through the people, bringing in fun, vibrant, party people, movers, and shakers and of course celebrities, will ensure the party is flowing. Exceptional service and showstopping entertainment are the other key components that will create a memorable experience and leave people wanting to come back for more.Can you give us a sneak peek into the next chapter for you?
Today’s time is fully based on artificial intelligence with almost each and every country trying to move towards this technology. Talking about Europe, there are more than hundreds of promising companies pushing boundaries of AI and machine learning in the region. Companies like Apple and Intel are producing platforms and services which are recent acquisition of machine vision and AI companies in Europe. Revolution has come because computers have shifted in server halls and at desks to deliver the power of supercomputing to the device in your pockets. It has become so user-friendly that it can be assessed from your car, in your building, or on your wristwatch. Intelligent chatbots can help you with your finances or your business, make better drugs, build better products or find a diamond of truth in the coal. It helps in making sense of a large volume of data and turns technology from a request into a conversation. With these significant developments, we bring you a list of 10 fastest growing startups that have made a mark in the European market.
BenevolentAI is a London-based company which uses AI to transform the process of pharmaceutical R&D. BenevolentAI was founded in 2013 by Ken Mulvany following the sale of Proximagen, a successful biotech business that Ken founded.
It is the French start-up behind Data Science Studio (DSS). It provides predictive analytics software platform which is built for data scientists what Photoshop is to designers. The company is founded by Clement Stenac, Marc Batty, Thomas Cabrol and Florian Douetteau in 2013. Dataiku raised €3.2m seed funding in January 2024 and closed 2024 with a US$14m in series A round. DSS helps in getting insight without much of hassle. This software helps in shortening the steps from raw data to up-and-running data-driven applications and, with a visual and interactive workspace. Their aim is to become easily accessible for data scientists and business analysts alike.
It is a combination of Human and AI platform which integrates with existing CRM tools to give human operators chatbot assistance for more repetitive parts of customer service. Based in San Francisco, the company was co-founded by Dmitry Aksenov and Mikhail Naumov. The start-up secured US$4.1m in seed investment in April 2024, with salesforce ventures among its cohort of backers.
This start-up is Tel-Aviv-based which provides solutions regarding personal messaging using AI to increase productivity. It has raised US$3.5m in a funding round led by CE Ventures. It acts as a personal assistant helping people to communicate and collaborate more efficiently.
It is a London based start-up which uses AI and machine intelligence to help companies verify candidates for jobs. It has raised almost $30m in funding to date. The company was founded by Oxford graduates Husayn Kassai, Eamon Jubbawy and Ruhul Amin in 2012. Onfido has helped clients such as Morgan McKinley, JustGiving, and chúng tôi to run background checks.
It creates open source tools that help data scientists derive value from big data. The main focus of the company is to bring AI and machine learning capabilities into enterprises. The platform has an action-based recommendation on the data it has crunched and can also make predictions such as what products customers are likely to buy. Emerged from Barclay’s incubator in London, Seldon has raised two undisclosed funding rounds from TechStars.
Signal Media is a UK-based startup which has raised €5.8m from investors including MMC Ventures, Hearst Ventures, Frontline Ventures, Elsevier Ventures and Local Globe. It uses AI to scan and analyze over 2 million articles a day from 2.7 million websites, 67000 print feeds, and 300 broadcast channels to provide curated information for various sectors.
It is Berlin-based start-up which uses AI to help small business owners reduce paperwork. The company claims to save owner and managers with up to 10 hours of paperwork per week. It was founded in 2024 and employs a team of 20 people. The company recently closed a €4.2m seed round led by Holtzbrinck Ventures and Battery Ventures.
It is a Dublin-based AI Company with no shortage of global ambition. Its main focus is on developing text and image analysis API. It allows developers and data scientists to filter and make sense of massive amounts of textual data. The company is founded by Parsa Ghaffari and has thousands of customers worldwide.
It is a London-based start-up founded by Ali Parsa in 2013 and has raised US$2.5m in series A funding. It is a digital doctor’s app that enables GP video calling and AI diagnosis, revolutionizing the world of healthcare.Endnotes
Few things which can be observed from the analysis of the European based startups are: • About one-third of the companies raised a funding round in 2024 or later. • 75% of the European AI startups were founded in 2013 or later. • Technology focus includes-Computer Vision: 13%, Natural Language Processing: 9%, Virtual/ Augmented Reality: 2% • Industry focus includes-Finance: 7%, Security: 5%, Healthcare: 4%, Manufacturing: 1%
Meet the Designer behind Chemical X Fashion Company Paolo Moreno (CGS’18) has dreams of being a brand mogul
Paolo Moreno (CGS’18) assisted well-known fashion photographer Marco Glaviano last summer and accompanied him to Fashion Week in Milan. Photos courtesy of Moreno
Moreno (CGS’18) cofounded Chemical X, a clothing brand conspicuous for its massive “X” logo, two years ago with partners Pedro Monestier, a former Parsons School of Design student who designs the clothes along with Moreno, and Miami photographer Matias Vasquez, who helps with branding and promotion. Moreno came up with the name after hearing the term “chemical X” on TV.
“In math, the ‘X’ is unknown, it’s subtle,” he says, wearing a white hooded Chemical X sweatshirt and black joggers to an interview with BU Today. “I like how people question it and are not too sure what it is.”
The trio was initially inspired by the rapper A$AP Rocky and the brand Supreme. Today, they collaborate to create Chemical X’s signature hooded sweatshirts, nylon jackets, turtlenecks, tote bags, and beanies. As for why they’ve opted to design streetwear and not high fashion: “That’s what we wear,” Moreno says, “and it’s affordable. I hate how some clothing is priced so high.” The brand’s sweatshirts, for instance, typically run $60. The company also sells “mystery boxes” with several pieces of surprise clothing for various prices.
In the two years since its launch, Chemical X has achieved a certain level of notoriety. The company signed with influential celebrity promoter Phil the Mayor to showcase the collection in a pop-up store at the Miami venue Appt Only in March 2023. Moreno sheepishly shows a video someone sent him of a teenager outside his Miami home shouting, “We found the makers of Chemical X!”
To make the clothes, Moreno and Monestier first sketch the designs by hand, then redraw them using Photoshop. The designs are then sent to local manufacturers Xtreme Silkscreen and Tully Ink for screen printing. Items are normally sold online, but Chemical X has had a lot of luck with pop-up shops, like the one held in October at local art gallery space Market at Casablanc alongside fellow designers StayCoolNYC and DDrey Design.
In addition to the brand’s artsy promotional shots, Moreno peppers the campus with “Chemical X” stickers, similar to artist Shepard Fairey. His biggest inspirations for the clothing line at the moment are Cav Empt and the designer Raf Simons, the chief creative officer at Calvin Klein.
While Moreno was vacationing with family in St. Barts around New Year’s Eve 2024, a family friend introduced him to famous fashion photographer and architect Marco Glaviano at an art gallery, which led to a summer gig with Glaviano. “This guy shot all the models of the 1980s and 1990s, like Cindy Crawford, and his work appeared in Vogue,” says Moreno, who assisted the photographer for a month in Milan and accompanied him to Fashion Week there. It was a chance to see up close another side of the fashion industry. “I helped out with lighting a shoot and setting up, and got to meet people in the business,” he says.
This summer Moreno hopes to intern at a magazine in Los Angeles, and eventually turn Chemical X into a bigger brand with its own magazine or modeling agency.
“The clothing is a lot more meaningful than the person wearing it may realize,” he says. “It has to do with real life. There are brands out there that put anything on their clothes that crosses their mind. Every time we design something we have a theme, and there’s a story behind it.”
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When someone sends me a petri dish invitation to Fashion Week, I’m in.
That’s how I ended up at the Mathieu Mirano show at the Mercedes-Benz Fashion Week in New York City recently. His fall 2013 collection, which he described to the Wall Street Journal as being “about creating life on the way to another planet when we run out of resources on Earth” was quite otherwordly–a black, nude and metallic gathering with some chiffon, leather, neoprene, galactic sparkle, and a skirt studded with ACTUAL METEORITES. Other natural elements included fox and beaver fur, stingray skin separates (not for trypophobes), and a veiny looking sweater and skirt.
Mirano is a geek designer. “Science is a huge part of my inspiration,” he told me. “My dad got his masters in astrophysics and my uncle in botany… and I’m happy that I have that background.” One of his previous collections used Archaeopteryx fossil motifs and real beetle wings as embellishments.
It was all very cool, but I couldn’t help wondering if the inspiration was science, or just nature? And what’s the difference? So, I’ve mulled over it, and this is my proposition: Beetle wings, fur, and stingray skin–they are the stuff of nature. You don’t need any scientific knowledge to grasp them. But a meteorite without science is just a rock. And an Archaeopteryx fossil without science isn’t a species that links dinosaurs to today’s birds, it’s just a bunch of old bones. So, Mirano is definitely putting some science in his work.
Plenty of fashion goes for nature (flowers, animals skins, gems, and Alexander McQueen’s fashion-world famous razor-clam shell dress), but is mostly stuck in a pre-science, pre-microscope, pre-relativity world. It’s shocking to me now that I’ve never questioned why the only science clothes I usually see are dinosaur T-shirts sold on the internet.
Science is effing inspiring! Antibiotics, anyone? Brain scans? Generating power by smashing particles together? Hello! The internet has been techifying our culture at large (note: Diane von Furstenberg’s models who wore Google’s augmented-reality glasses down the runway last fall). Hopefully, with the human genome sequenced and the Higgs boson found, science isn’t far behind.
So, Mathieu Mirano, thanks for reaching across the aisle and dipping into the inspiring gobs of awesomeness on this side. Tell your friends that there’s tons of cool stuff over here. Please, everyone, make lots of prohibitively expensive, science-inspired clothes! And maybe, someday, science fashion will trickle down to the rest of us.
Susannah Locke is a senior associate editor at Popular Science.
This is the perfect way to get a Popular Science editor to visit your fashion show.
The Model and the Meteorites
“We embroidered meteorites onto a skirt, just to make it really cool and different,” Mathieu Mirano told me. His Fall 2013 collection includes many science- and nature-inspired elements. Yes, the meteorites are real.
They Came From Outer Space
How do you come by a few thousand meteorites? “We got them from South America, Argentina specifically,” Mirano said. “This guy goes into the desert and picks up the meteorites and just collects them. And we were like, we need all of your meteorites. We need like 7,000 of them.” In an interview with Elle, he said that the meteorites were shipped in oil so that they wouldn’t rust. To use them, they had to burn the oil off.
A nude tulle gown with cubes of neoprene, a material that DuPont invented in 1930 and is now commonly used in wetsuits.
Dressed and Ready for the Generation Ship
There’s something about the future and geometric patterns, right?
“We’re taking kind of far-off things from nature and bringing them into fashion,” Mirano told me. Here’s a veiny top and bottom, second from right.
Cropped pants embroidered with stingray skin.
This Fossil Has Been Striking a Pose Since the Jurassic
Many of Mirano’s previous designs also have scientific themes. Here’s a silk organza gown featuring the species that links dinosaurs to our current birds, the a(r)chaeopteryx, which lived approximately 150 million years ago. The dress is embroidered with real red beetle wings (!), gold sequins and gold bullion. It will set you back about $9,000. (Mathieu Mirano Spring/Summer 2013 collection.)
Beetle Wings Bodice
“Last season we covered the bodice of one of our gowns in beetle wings, so that was a really cool element, taking all those natural things and . . . bringing something that’s inaccessible and making it more accessible,” Mirano told me. Here’s detail of the silk chiffon gown embroidered with real beetle wings. Its gold halter strap is vertebrae-shaped. (Mathieu Mirano Spring/Summer 2013.)
Detail from a fossil-print leather t-shirt. (Mathieu Mirano Spring/Summer 2013.)
The Early Bird . . .
(Mathieu Mirano Spring/Summer 2013.)
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