0REPORT

HOMMEF/W 14

FALL/WINTER

ISSUE

| 7K W

THE SANDRO MARZO COLLECTION

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THE KW REPORT: FASHION FIGHTS POVERTY CAMPAIGN DECREASES POVERTY THROUGH THE OFFICE OF SPECIAL PROGRAMS-COLLEGE PREP AT THE UNIVERSITY OF CHICAGO:

A MODEL PROGRAM OF CIVIC ENGAGEMENT.

DONATE AT HTTP://OSP-CP.UCHICAGO.EDU/PAGE/GIVING

FASHION FIGHTS POVERTY

AS ONE OF THE AMERICAN SOUTHS LEADING FASHION PUBLICATIONS, THE KW REPORT IS A COLLABORATIVE APPROACH TO FASHION: AN ATTITUDE, A MOVE-MENT THAT INSPIRES SOCIOCULTURAL AND ECOLOGICAL TRANSFORMATION AND INFORMS THOSE WITH WHOM IT COMES IN CONTACT. IT COLLABORATES WITHIN ALL ASPECTS OF INTERNATIONAL SARTORIAL PERSPECTIVES - FROM ITS TEAM OF FASHION CONSULTANTS, MODELS, PHOTOGRAPHERS AND OTHER

ARTISTS, TO EDUCATIONAL RESOURCES AND BUSINESS PARTNERS.

MISSION

IN THIS ISSUE

WERTS & EPPS OF WILHELMINAA CLOSER LOOK INTO THE CAREER OF RONALD EPPS - ONE OF THE COMPANYS TOP PROSPECTS - AND

WHAT HIS LIFE EXPERIENCES HAVE TAUGHT HIM ABOUT SUCCESS, HIS VALUES AND THE FUTURE. ALSO,

HIS BOOKINGAGENT BRINGS IN AN ADDITIONAL PERSPECTVE THAT ONLY HE COULD TELL | PAGE 18

FALL/WINTER 14

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Q&A: GIOVANNI MARTINSPAGE 36

Q&A: ANDRE LANDEROSPAGE 66

A Message From The Editor

Simply Thankful

-Kerry Woodard

As the year comes to a close, the K|W Report is concluding it with our last Issue of the year - K|W Report Homme, Issue 7. I would like to thank all of our contributors and supporters from our most recent issue of the K|W Report (Femme, Issue 6), as well as this upcoming men's issue for their patience; having you, the reader, to experience our growth and improved quality along with us was a unique situation! However, our new team has created a strong sense of cohesion, which will be reflected in the pages you are about to enjoy. The relationships that we have established since we launched in April, 2012 have been phenomenal; without you all, there wouldn't be a K|W Report. To all of our amazing collaborators that have been a part of this developing brand, lets remember to be thankful of the connections we have established. With this strong network, the K|W Report will strive to continue to build globally, in hopes of upholding our mission of being A Collabora-tive Approach To Fashion! Happy Holidays, and we look forward to meeting you again next year!

E LE l l i o t t & L o r e n s o n

produced by

elcreat i vegroup.com

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UPON HARVESTKENDALL WERTS ON WILHELMINA & RONALD EPPS

by TADHI COULTERMODEL RONALD EPPS | WILHELMINASTYLING ANTHONY PEDRAZAPHOTOGRAPHY GEOFF BERRENGER

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Deconstructed ruched tulle top | "New Romantic" double stacked wool crepe trousers in Black | Leather Restraint X-long belts in Black

(Above & On Next Page)

Aside from their race, they are two different people. You cant compare them, Kendall responds emphatically, as if not to get caught up in superficial, arbitrary, TMZ-tabloid type comparisons between his blue chip, F/W and S/S 2014 Calvin Klein model Ronald Epps and iconic Ralph Lauren Polo model-turned-actor Tyson Beckford. However, one comparison is for sure, the elite brands each of these models have become associated with reflect the kind of culture of friendship that make it possible for each of them to experience a life of unity. Ronald, too, sees himself connected to the kind of Ameri-can iconic spirit of Ralph Lauren. In an interview in May 2013, Ronald states, I would love to do a major campaign for Ralph Lauren (http://models.com/newfaces/modeloft-heweek/28647), a reminder of the caliber of friendship defined by the iconicity of Ralph Lauren. Says Ralph Lauren, reflective of the spirit of friendship that mirrors things that he sees himself wearing, My philosophy was that I never had focus groups. I did what I wear, and when I went looking for things and I couldnt get them, Id said Theres something Im looking for and I know its right (Dirk Standen, Editor-in-Chief, Style.com. inter-view with Ralph Lauren, 09/2014).A little over a year now Ronald has orbited around the Sun of the fashion world. If on the one hand, the concept of friendship can be described in terms of a metaphorical orbit whereby the noble qualities of friendship and kinship are brought into tension with material things. The moment I met [Ronald], I knew he was a star, recalls Kendall. I got the impression from this statement and one that came in another interview with him weeks earlier that Ronalds noble character is what separates him from other elite, class-based fashion suitors. His physical beauty could be seen as mirroring the light of his inner-self, something akin to the statement made earlier by Ralph Lauren. Ronald and Kendall seem to know who they are. An echo of this sentiment was when I asked Kendall just how important it is for him to develop the careers of his talent. Passionate about his work, Kendall replied:Very, very important. That is the most important thing about what I do. With each hurdle, with everything that comes your way. Even though Ive seen and helped you to facilitate it, you did not get in your way because of people close to you along the way fear that they are not going to

be good enough. When I told my family I was going to come to New York, I actually did. When I came back years later, each person in my family told me we were so happy you left. It was the best thing to get out of my way. They all wanted to go somewhere, but they got in their own way. Once I got out of my own way it has been nothing but success. Thats the best advice I can give anyone. Its no ones fault, unless you are 5, 10, 15, you cant point. You are pointing at yourself. You can take responsibility for setbacks. You cant blame dad or mom, you can only blame yourself. His statement echoes those made by casting directors, scouts, and talent agents whose intuitive judg-ments are not exclusively based on physiological portraits of models but on conceptions of beauty that come from a range of historical references and futuristic ideasOne way to describe this intuitive judgment is to look at subject/ob-ject relations in the side profile image of Ronald Epps body on the fall 2013 ID magazine cover. The palm of his right hand covers the right eye of top model Joan Smalls, the intended subject of the image. His circular extension of right arm wrapped around Joan from behind her signifies a vortex movement, him coming full-circle around one of the most beautiful objects of Puerto Rico. At 3.5 million in earnings, according to Forbes The Worlds Highest Paid Models of 2013, Joan Smalls is ranked 8th, the first ambassador female model for Este Lauder (http://www.forbes.com/pictures/eimi45mdj/-no-8-joan-smalls/). Ronalds placement with this iconic fashion figure of Puerto Rican descent requires an intui-tive sense of knowing how to take center stage without appearing to do so. Oxymoronic, this sense of knowing ones self in relation to others is something I dont think can be taught. His aptitude to pull forward and regress the implied movement around Joans body, emblematic of the radiant gaze of when the Moon comes into apparent contact with the Sun is definitely a star quality that motions toward different kinds of relationships and degrees of proximity and knowledge that make it possible for each of us imagine ourselves a part of something greater than ourselves. . As if he is aware of a Freudian 3-part structure of the psyche (i.e. id, ego, superego), Ronald recognizes not only how he imagines himself but how others perceive him in the world of fashion subjects/

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objects. The star quality that Kendall sees in Ronald attests to the terms Kendall used to describe his muse, hard-working, humble, and paying it forward. Upon Harvest, the title of the editorial featuring Ronald Epps for this issue 07 of K|W Report, reflects the spirit of friendship. More of an approach to friendship as opposed to an attempt to establish and reach clear, identi-fiable characteristics and terms that describe this kind of intimate relationship, the words of Laelius, the one beseeched to reflect on the nature of friendship based upon his close proximity of war and friendship with Africanus hints at eternal qualities of friendship that finds expression in the closeness of regional boundaries shared histories. Says Laelius, Now this truth seems clear to me, that nature has so formed us that a certain tie unites us all, but that this tie becomes stronger from proximity. So it is that fellow-citi-zens are preferred in our affections to foreigners, relations to strangers; for in their case Nature herself has caused a kind of friendship to exist, though it is one which lacks some of the elements of permanence. Friendship excels relationship in this, that whereas you may eliminate affection from relationship, you cannot do so from friend-ship These timeless truth statements suggest the importance of friendship intricately tied to ideas of kinship and family that has more to do with the philoso-phies, attitudes, and ethical values that transcend kinship ties of blood alone. Those things in our natural environ-ment that have become common knowledge predicated on regional differences can unite us. This aspect of friend-ship sheds light on the regional and sociopolitical dimen-sions that forge our experiences and encounters of the world, things around which we gravitate and pull toward one another, as if mirroring the cosmic dimensions of the universe. For example, though I have not had the opportu-nity to meet Ronald or Kendall in person, I am of the impression that the three of us share similar takes on the meaning of friendship and kinship ties based upon things like sociocultural dispositions of race, class, and capability that unction the democratic spirit that drives each of us to want more than the material circumstances (or lack thereof) that determines much of our lives. Selling a dress for $25,000.00, states Kendall, was a moment of inspiration that connected him to the power that a dress could afford him to think about other things that could lend themselves to greater opportunities for himself. He realized that if he could sell that item it wouldnt be long for him to sale other things. Without much effort at all while working for a retail company in New York, he could sale anything. In this watershed moment he could see himself in the future doing much more, picturing himself doing bigger and better things. One expression of friendship, a highlight of his career thus far, has been Kendall working for one of the most illustrious talent agencies the world has known, Wilhelmina, managing the modeling career of Ronald Epps as if Ronald were his younger brother left in his care to make sure that Ronalds vision of self is realized. I use the term kinship here instead of friendship because of the emotional attachment that the term connotes. Both Kendall and Ronald are from inner-city neighborhoods, the former from Detroit, MI and the other from his hometown of Philadelphia, PA, each of humble begin-nings. The medium of television and reality-based fashion programming enabled Kendall to connect with a world he

already imagined himself a part as a teenager from the Eastside of Detroit. We didnt have districts then. When someone asked you where you were from it was either East or West, he clarifies in my attempt to identify a particular region or territory of Detroit, MI that has had a particular influence on his sense of self and fashion. The spirit of friendship, not necessarily the kind that has the potential to ruin strict boundaries between managers and their clients, take Kendall and Ronald respectively, but the kind that evolves out of a kinship of family that welcomes and appreciates the different cultural, political, and socioeco-nomic aspects that factor into the development of human behavior and business relationships, is welcomed by Wilhelmina agency. People gravitate toward who they want. It is such a natural occurrence. You cant pick. No ones going to tell you. You have to gravitate toward the person, states Kendall in appreciation of the familial bonds encouraged by Wilhelmina. With so much more to experience out of the industry intertwined with the motion picture and televi-sion industries, Ronald, too, is attached to a friendship that speaks to the longing of how we envision ourselves with each crossroad of our lives. Thus the power of friendship is more than the things that have materialized and what we have come to know of particular moments that define each of our friendships. The collaborative force of friendship precedes what any of us could possibly imagine or take credit for. My primary reason for including moments of the dialogue between Laelius, Fannius, and Scaevola, has more to do with the sentiments expressed of old texts, not necessarily but inclusive of classic texts of Greco-Roman origins. Sentiments expressed reveal a timeless and inventiveness that bridges the gap of different groups of people from different backgrounds, places, time periods, and geopolitical boundaries. A unity of time is also reflective in the sense of what I imagine friendship to be. More importantly, of what I imagine the power of friend-ship to be within the fashion world and the power it has had in unifying people. Upon Harvest reflects the germi-nating and timeless unifying force of agriculture and agrarian forms of life that make it possible for each of us to sustain ourselves, despite the illusions of various technologies that appear to stratify and disconnect us from the experience of the land, as a product of Modernity.A sense of harvest, an expectant hope that something beautiful can come out of a faithfulness and truthfulness to self against competing odds and interest is part of the fabric of both Kendall and Ronalds story. The beautiful editorial invokes the idea of biopotential, an anticipatory hope of harvest and what it means to human civilization in relation to the Earth and its contingencies. possibility of the Earth being capable of sustaining human and other forms of life due to a lack of environmental, ecological, cosmological, or Love, that life-force of aesthetic dimen-sion that create bonds of hope and harvest as depicted recently in the Christopher Nolan film Interstellar, starring Matthew McConaughey, Anne Hathaway, Jessica Chastain, Michael Caine, and Casey Affleck. The bond of friendship in my expose of the relationship between Ronald Epps and his manager illicits taken for granted knowledge that has more to do with affective dimensions and desires that motivate each of us to express ourselves in a number of ways that often seem contradictory and conflicting. The world of fashion objects has the potency to kindle (a literary pun on Kendalls name as a source of unity) friendships through the image and world of fashion.

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BEHIND THE LENSGIOVANNI MARTINS VIEW FROM LONDON TO NYC

by SARAH KEY

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How did you originally become interested in photography?I was born in Rotterdam and did the Willem de Kooning Arts Academy there. I studied Lifestyle and Design, which is a combination of trend forecasting and fashion styling. That is where I discovered my love for photography under the guidance of my teacher at the time, the famous photographer Ari Versluis.

What did working with Ari Versluis mean to you? Do you think Aris guidance has helped to shape your photography?Ari has most definitely had an impact on my work. He was one of the teachers who inspired me and also told me to develop and excel as much as I can, which I have taken to heart.

After your study at the Willem de Kooning Arts Academy, you attended the London College of Fashion. What was that experience like?When I got into the London College of Fashion, I did the MA in Fashion Photography. In the meantime, in Holland, I had my own creative agency, and I was working for brands, such as LOreal, and producing catwalk shows and brand events. I also did this style of work in London as a creative director for Supperclub. My final master project at the London College of Fashion was a film, unique in its kind, that used an array of fifty cameras. I shot, most probably, the worlds first 360 degree fashion editorial. The technique is the same as what was used in the Matrix movies.

What has your career been like since graduating from the London College of Fashion?After graduating, I set up my own studio in London, called Thisisgio Studios, and have been working from there until now even with my recent commute living between London and New York. I have been published in Vogue UK, Vogue Junior, Vogue.it, Glamour, Cosmo, Wonderland, Client, Adon, and a large array of editorial publications. Some of my latest projects have been the Mawi Jewellery Campaign 2014, Lodovico Zordanazzo Shoes Campaign SS15, Members of Society NYC Campaign and their lookbook, editorials for Adon, and more coming up soon.

What made you feel drawn to fashion photography?I did my first shoot at Willem de Kooning and immediately felt that it was a medium where I could express my ideas, concepts, and inspirations in a very hands-on way.

How did the London College of Fashion enhance your understanding of photography?We learned about an exhibition called Mirrors and Windows, which was a curated show at the Guggenheim in the 1980s. The curator divided photographers into Windows photographers and Mirror photographers. Windows being photographers who shoot the world as it is, as if through a window, such as journalists, war photography, documentary, et cetera. The Mirror photographers have a certain vision, concept, idea in their minds and want to mirror that into the world by creating a set, a feeling, or an emotion. With this exhibition, I was able to place myself in the context of photog-raphy. It has taught me who I am, what I am, and what I would like to create.

That is a beautifully apt description. Is there any distinct practice, like a creative routine, that you employ to prepare yourself before a photo shoot?The only routine I have before a shoot is research, research, research. I research about light, composition, inspiration, and how to implement those in what is coming up. Research and preparation are key in fashion photography as the shoot itself is easy when the whole team comes together and is prepared. The work is already all done.

Is there anything that you are particularly attuned to during the research process?One thing I am very particular about is the models. Concept and preparation is only a certain level of the shoot. Its the models that make the concept come alive. If you look at my work, you will see a variety of non-standard models. I believe that fashion is more than looking just pretty or hot; it needs a voice. The voice can only be done by the model, not the rest of the team.

What made you desire to relocate to New York from your residence in London?Different mindset, different industry, expanding.

Do you think you will still be living in New York five years from now?I will actually be moving full-time to New York City in summer 2015, so yes. In five years, I will most probably be living there.

Has sustaining your relationships with people in both New York and London been difficult for you?Well, it is hard to maintain all relationships with 6,000 kilometers of sea in between us, but I have, until now, managed to find a good balance between shooting in New York and shooting in London.

The aesthetic in your photography seems highly people-oriented. Do you have any dream photography projects? Or any models who you would particularly like to work with?I would love to work with Naomi Campbell. She is such an epic entity in the fashion industry, and I would love to capture her.

What are some of the sources of your inspiration?My work is very fantasy, very graphic. I get my inspiration a lot from shapes, colors, objects, but also from the models I work with and those I wish to work with. I like intriguing faces, bone structure hair, et cetera. These are all elements for me that I can be inspired from, one by one, to create a whole story around.

How does your interest in filmmaking compare to your passion as a fashion photographer? Do the two mediums complement each other for you?Yes, they complement each other in a great way. Some ideas or concepts are more alive because of the moving image and can only be executed in film. Film is a variety of techniques, lighting, et cetera which makes the two mediums comple-ment each other. I can also draw inspiration and create new narratives by cross-implementing the techniques.

How do you imagine your relationship with the KW Report to be in the future?I think the KW Report is a magazine with a great soul, and it has a voice. I am most definitely open to develop ongoing and deeper relationships with the magazine and hopefully grow together.

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http://www.bencopperwheat.com/

http://www.emilekirsch.comEMILE KIRSCH FASHION PHOTOGRAPHY

KEVIN PINEDABACKSTAGE OUTTAKES FROM MILAN F/W 14

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THE HOUSE OFANDRE LANDEROS MICHEL

by SARAH KEY

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Did you ever find yourself drawn to the fashion industry at an early age?Fashion has always been in my blood. My grandmother had been a seamstress in the Garment District for many years, and both my parents take great pride in dressing. As a child, I thoroughly enjoyed flipping through fashion magazines and knew one day I would become a part of that industry.

How did you get started in the industry as a designer?Initially, I started out in advertising. I soon became a creative director handling advertising for numerous fashion, beauty, and luxury brands. At the same time, I was DJing at fashion events and clubs around Europe. I guess, it was only natural for me to make the jump to the other side and begin designing clothes. I made the decision back in 2007 to do it properly. I attended Parsons The New School for Design in New York and began interning for Thom Browne. It was a rewarding, hands-on experience. My time there affirmed my belief that producing locally in New York would be possible. Shortly after, Landeros New York was born. It seems fair to suggest or infer that your development as a designer happened very candidly. Do you think your aesthetic has changed since you first began designing?Its ever-changing. In the beginning, my silhouettes were quite strong with hard, unforgiving edges. I pushed concept over wearability. As I developed my Landeros New York debut collection last fall, I began experimenting with a much softer approach, a relaxed silhouette still with my signature dark-edged aesthetic. If you had to summarize your signature aesthetic, how would you describe your work to our readers?Strong, dark-edged, musically inspired wardrobe for a confident individual.

What are some of the materials that you used in your debut collection?Leather, fur, cashmere, mohair, neoprene, wool crepe, and silk.

Are there are any designers whose contributions to the industry particularly inspire you?Thats a hard question to answer as I have loved many designers contributions over the years. Designers like Rei Kawakubo of Comme des Garcons, Junya Watanabe, Jean Paul Gaultier, Helmut Lang, Martin Margiela, and as of late, J.W. Anderson. This is an exciting time in fashion, and I am grateful to be a part of my generations expression. Where do you typically seek inspiration for your designs?I continually draw my inspiration from my love of early 1980s new wave music, goth and punk movements as well as postmodern and contemporary art and dance. Individuals like David Sylvian, Nick Rhodes, Green Gartside, William Forsythe, Michael Clark, Peter Murphy, and Prince are forever on my mood boards. The worlds they've created respec-tively are a constant source of both admiration and inspiration.

Do you enjoy listening to contemporary styles and cultures of music?I enjoy hearing new music and continually push myself to listen to new material from bands all over the globethank God for Spotify! I love discovering a new band or revisiting a band from my past that I may have missed which, for me, is rare.

Outside of your history as a DJ for fashion events and clubs in Europe, do you currently have musical interests?I have a new music project on the horizon, but youll have to follow me and stay tuned! How does music play a role in your creative process? Do you have a specific research or creative method that you manage when you begin to design a new collection?More often than not my creative process begins with music. I start by listening to bands whose music I have identified with over the years. Bands like: Bauhaus, Siouxsie and the Banshees, Gary Numan, Sisters of Mercy, Love & Rockets, Nitzer Ebb, Arcadia, and Scritti Politti. Revisiting that era of music sets the tone. From there, I begin my researchmy favorite part in the design process. Its a culmination of past months activities: travel, contemporary dance performances at the Brooklyn Academy of Music, gallery walks, artist documentaries, live bands, books, film, and web searches.

As a designer, what have your experiences with fashion photographers been like?Ive been fortunate to work with my dream team, Photographer Eric White and Stylist Bo Magnus. Together, we have collaborated on numerous projects and most recently on my AW 14/15 lookbook. They have a great understanding of my brand and are able to interpret it with precision.

Are you still working with your debut collection, or have you moved onward to fostering new projects?Last February was actually my debut AW 14/15 collection, so I am currently working on my next show this coming February during New York Fashion Week, which will be even bigger!

In addition to your passion for design, would you ever consider opening up your own flagship or boutique one day?I would love, in the near future, to open my own free-standing retail concept store both here in New York City and in London.

How do you see foresee your relationship with the KW Report as far as future projects or opportunities are concerned?I admire Kerry Woodard for putting together and maintaining a publication, which is a huge accomplishment. I am sure well continue our dialog for a long time to come. Everything from special features, backstage coverage on my upcoming show, to guest curating a KW Report issueI am open to it all.

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PHOTOSYNTHESISMODEL MIKE TEN HOEDT | ALPHA MALE MODEL MANAGEMENTPHOTOGRAPHY AABEL KA

PHOTOSYNTHESIS

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DISCOVERINGTHE ART & FASHION OF BEN COPPERWHEAT

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HERES JOHNNY!MAKE UP NEIL GOGOI STYLING LISA SMITH CRAIG (ASSISTED BY LAKIESHA KEARNEY & MERON BEKELE)HAIR NEIL GOGOIPHOTOGRAPHY GIOVANNI MARTIN

MODEL BARRETT PALL | Q MODELS

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GIACOMO REBECCHITHE MEN: MILAN FASHION WEEK, F/W 14PHOTOGRAPHED BY GIACOMO REBECCHI FOR FUCKING YOUNG! ONLINE

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LONGING FOR THE SEAA COLLECTION BY CRISTINA SCHEPISIPHOTOGRAPHER DONALD GJIOKA MODEL GIUSEPPE LECCISOTTI | YOUR WAY MANAGEMENTHAIR LOUI FERRY

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GEOFF BARRENGER WWW.GEOFFBARRENGER.COMGIOVANNI MARTINS WWW.THISISGIO.COM

LORENZO HOLDER WWW.LORENZOHOLDERPHOTOGRAPHY.COMGIACOMO REBECCHI WWW.GIOCOMOREBECCHI.TUMBLR.COM

EMILE KIRSCH WWW.EMILEKIRSCH.COMKEVIN PINEDA WWW.KEVINPINEDAPHOTOGRAPHY.TUMBLR.COM

PETE DOMINKOVITS WWW.DOMINKOVITS.CH

Contributing Photographers

Editor In ChiefKERRY WOODARD

ProductionE|L CREATIVE GROUP

Contributing WritersTADHI COULTER

SARAH KEY

GIGI D AMICO WWW.GIGIDAMICO.COMANDERNE WWW.ANDERNE.COM

SANDRO MARZO WWW.SANDROMARZO.COMTABO BOUTIQUE WWW.TABOSTORE.IT

BEN COPPERWHEAT WWW.BENCOPPERWHEAT.COMLANDEROS WWW.ANDRELANDEROSMICHEL.COM

LODOVICO ZORDANAZZO WWW.LODOVICOZORDANAZZO.COM

Marketing & Advertising

KENDALL WERTS BOOKER, WILHELMINA OF NEW YORK CITY WWW.WILHELMINA.COMYANNICK KRAUNSTERBER & ELLEN TEN HOEDT-STEENHAGEN BOOKERS, ALPHA MALE MODEL

MANAGEMENT, AMSTERDAM OFFICE WWW.ALPHAMALEMM.COMANTHONY PEDRAZA FASHION STYLIST & FASHION JOURNALIST NEW YORK, NY WWW.ANTHONYPEDRAZA.COM

ANDRE LANDEROS MICHEL DESIGNER, NEW YORK, NEW YORKW. ALEXANDER ELLIOTT E|L CREATIVE GROUP WWW.ELCREATIVEGROUP.COM

TADHI COULTER PR CHICAGO, ILLINOISLIRE DE SALES ANDERNE & BYWP & WOLFGANG PROKSCH, PR, NEW YORK, NEW YORK

Special Thanks

MODEL RONALD EPPSFASHION PHOTOGRAPHER GEOFF BARRENGER

STYLIST & FASHION JOURNALIST ANTHONY PEDRAZADESIGNER ANDRE LANDEROS MICHEL

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