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Bears

Bears

Bears

Text Josie Pyke    Photos Jan van Breda

 

Heavily set, rugged and fiercely hyper-masculine, these are males who convey strength, identity and are an ever-growing subculture of the lesbian, gay, bisexual and transgender (lgbt) population. Welcome to the “bear” community.

 

Evolving in the 1980’s, with a carefree effervescence, this social movement of homosexual males has increasingly become an influence and a symbol of many things, from self-expression to self-identity, from literature to fashion. Literally taken from the English noun “Bear”, these hairy, thick-set males gained this status due to their acceptance of their masculinity. How one defines a Bear is ambiguous. Some refer to it as a way of life, a social movement. Others see it as an image or a perception, more based around aesthetics.  Yes, bears have grown in society because of their image, but it’s an image of free-will. There is no rule book within the Bear community that says you have to look thin, well groomed and effeminate, to be classed as a homosexual male.

Even though the Bears on the surface seem a positively unpretentious community, there are several subcultures, sometimes known to be quite strict. There have been debates as to what actually constitutes these subcultures. Younger or aspiring bears are labelled cubs or otters. Otters are the slimmest type of Bear with finer hair, cubs can be as hairy as they like, but are typically younger looking: a baby bear. The wolves exhibit maturity and masculinity and are usually the older and more dominant males. Bearded, larger male covered with a blanket of hair? You’re a definite grizzly. Muscle Bears speak for themselves and have created a successful separate culture to the rest. Their muscular, body builder status has become a demand within gay culture and events such as Mr Muscle Bear pageants are a growing demand. These muscle Bears are known to shun the idea of cubs or the otters being part of the community. Adversely, the muscle Bears have the same idea of Bears with higher body fat, often referred to as “Chubs”. Muscle Bears and their culture have been known to exclude males who do not conform to their standards of a “real Bear”.

Whether you’re a cub, a grizzly, or simply just an admirer, BEAR Magazine caters for all varieties of Bear lovers. 1985 saw the beginning of the Magazine. Published by Richard Bulger in 1987, it was released as an alternative to the mainstream gay men’s mags. It featured erotic content including stories, photos and even  dating ads which allowed the readers to meet other likeminded males, making BEAR magazine a successful network. Men would also submit photos of themselves to be featured in the magazine. Although under new direction, BEAR Magazine is still growingly popular in the USA and gracing the top shelves, it’s also available digitally. Two years after Bear Magazine came the Lone Star Saloon, also known as “Bear Bar USA”. Set in San Francisco, the Saloon is known as a defining point in Bear history. 

It infamously provided Bears and bikers with a source of familiarity and welcoming. Now known as the world’s most famous bear bar, the Lone Star Saloon is still in full swing today. The bar holds an annual “International Bear Rendezvous” as well as monthly “Cubcake” parties for fans of the younger less masculine bears known as the Cubs. The late eighties became the rise of The Bear Hugs Group and private “play parties”. 

 

The diversity on Furball is immense. It doesn’t matter if you’re big, small, young or old. It’s a very fascinating scene.’

Described as inhibited and erotic, these private liaisons provided bears with a safe, intimate environment to meet, play and often result in orgies. Spreading the love of the bear community overseas, these groups and parties reached Great Britain and soon after, steamy hot tub parties known as “Bear Soups” were introduced. Flemish fashion designer and self proclaimed Bear, Walter Van Beirendonck, known for his powerful colour combinations and unconventional context, brought Bears to the catwalk. In preparation for his summer 2010 fashion show, bored of casting for regular male models, Beirendonck held an open casting call for “Muscle Bears”. Understanding the shock element he would be giving to the public, Beirendonck says for him, although there’s a sexual attraction, he simply likes to see different body types on the catwalk. He describes the Bear scene as a “nice vibe” not caught up in drugs or heavily focused things like SizeGenetics penis enlargement and have their minds on sex, they’re a “positive scene” and a welcomed contrast.

Continuing to excel Bears as symbols of vanity and fashion, International Mr Bear contests are now a global event. This wonderfully masculine beauty pageant, in which the winner becomes the symbol and representation for bears in their hometown, first started in Bear birthplace San Francisco 1992, but has now spread to Germany and the UK. The categories for Mr Bear are Grizzly, Cub, and Daddy, with one winning the overall title. There are various Bear comics by Jeff Jacklin, contributing to Bears recognition in the media. These fantasy bear worlds have been known to excite Bear readers with their stories of powerful muscle Bears teamed with fabulous comic book art.

Today, Bears are role models of self belief and confidence, a fierce display of all types of masculinity in this fabulous, rapidly expanding sub culture of the LGBT community. Bears are considered symbols of sex, fashion and lifestyle and have created a whole new category within the LGBT community. If that’s not impressive enough… . What I love most about the Bear community is their desire to break the enclosed stereotype of homosexuality. Right from the beginning, they said no to generalisation. In the 21st century, there are enough problems with generalising as it is, but the Bears questioned the fixed idea that a man had to be thin, hairless and young to be accepted as part of gay culture. What’s wrong with being homosexual but still loving yourself as a man? According to the Bears, absolutely nothing.

 

www.janvanbreda.com

 

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Woolfetish

Woolfetish

Woolfetish

Text JF. Pierets    Photo Geoffrey Tolaro & Thomas Van De Water

 

Let’s be honest here: the moment Johnny Depp draped the cutest, soft pink mohair sweater on his gorgeous body in the biopic on the American director, producer, writer and actor Ed Wood, many of us developed a delicious vision on wool fetish. Using the alias Daniel Davis, Wood both directed and played the titular character in ‘Glen or Glenda’, expressing his fetish for cross-dressing and angora jumpers. Although he regularly featured angora in his films, his wife recalls that Woods’ transvestism was not a sexual inclination, but rather a neo-maternal comfort derived mainly from angora fabric (Ann Gora also happened to be one of Wood’s pen names). 

 

But what is wool fetish all about? When turning to Wikipedia, information on this subject is very scarse. We do find plenty of articles on leather, spandex, latex and whatnot, but wool seems to mainly stay in the closet. Google however brings us closer to what we’re looking for. This is what we stumbled upon: “A wool fetish is not ‘weird’ to me, but just another expression of human sexuality. People get turned on by all sorts of things, from rubber to latex to fantasies of a dominant giantess or being covered in food. It may not fit the ‘classic’, almost clichéd picture of BD/SM gear and play, but ‘soft’ fetishes like this one are often equally about ideas of enclosure, bondage, control and the tactile/textural experiences of a particular material. We should celebrate this sort of stuff, instead of mindlessly reacting to its difference’.” Needless to say that we at Et Alors? were overjoyed to have found the perfect guy to lead us out of the dark! Some research tells us that he goes by the name of ‘Jumbuck’(this is Australian slang for a sheep). Besides running wool-related web forums and sites he is also a published author. We’re delighted about his willingness to talk to us about this uncommon fetish.

When did this fetish start?
My first conscious recognition of enjoying the look and feel of wool happened when I was four years old. It is very different from others like the transformation fetishes that are common. It soon turned into a fetish that still moves my thoughts and emotions now, at forty nine. The Australia of the mid-sixties was a time when many people – particularly women – frequently wore cardigans and jumpers.  Essentially they were fashion staples during the cooler months of the year, as they had been for a long time.  Anyway there I was playing with my sister and my cousin – who is a few years older – and they both wore cardigans.  They dressed me up as a girl and made me wear a soft, fluffy white one.  I loved it! That act alone may not have resonated so far inside me if it weren’t for a series of experiences over the next couple of years. Starting school when I was four, I found myself strongly attracted to the girls wearing their navy blue school cardigans. In fact I can still remember the full name of the first girl I had a “cardigan” crush on!  I couldn’t exactly articulate the reasons. I just had a feeling they looked delightful and beautiful wearing their lovely buttoned-up woolly vests. At the Catholic school I went to, all the teachers were women and any time one of them wore a cardigan I found myself  responding similarly. Seated in front of these ladies I was a very attentive pupil. I found myself loving the look of cardigans and sweaters on girls and women around me: my sister’s friends, an aunty and her fluffy mohair garments, et cetera. For some reason my mum never wore jumpers or cardigans so there’s no Oedipal element involved. Perhaps, if certain events hadn’t occurred then, my responses might have remained benign forever. But – when one day a new jumper found its way into my wardrobe – my love of wool developed a decidedly darker tone.  Even though I hated wearing it – it was so scratchy! – I obediently put it over my head whenever it was handed to me.  I can still vividly remember how dreadful it felt against my skin as it itched and tormented my neck, arms and chest. Being a “good little boy” I never rebelled, suffering the torment in misery and silence – a rather classic Catholic response of its times, masochistic for all intents and purposes. But in those days young Catholic boys (and girls) did what they were told and from that point on I began associating wearing wool on my body with pain and discomfort.  I didn’t see that women suffered wearing wool in the same way though – theirs seemed so soft and lovely! Age eight, year four. My masochistic associations with wool came to me in full blown colour! Red to be exact. That year my teacher, Mrs Maxwell, could only be described as a very firm, strict disciplinarian who freely administered the cane and strap to any pupil who failed to meet her exacting standards. And yes, she happened to have a penchant for cardigans. Actually just one and it was red. My crush on women and girls took on a completely different turn. From then on – and for many years to come – all I craved was to be “firmly disciplined” by women in cardigans, all the while imagining myself dressed in an itchy, scratchy, high necked jumper or cardigan. Puberty was hell to me! I felt different and all too aware that my responses to my budding sexuality were far from “normal”, so much so that all I could focus on were dreams and thoughts of wool-clad women dominating me while I suffered under the torment of wool bondage. I hated myself for it. But I’m perfectly well adjusted now.

Do you think you would have had this fetish if it hadn’t been triggered at an early age? 
That’s an impossible question to answer definitively. I suspect it  highly unlikely. In my opinion it’s all about associations, so if they didn’t exist from an early age I think they wouldn’t have emerged at all. My life might have been very different if I hadn’t developed this passion for wool when I was a child. Mind you, with a Catholic school upbringing like mine, I might still have developed some type of “appreciation” for firmly applied Femdom discipline.  But we can never know.

What is it that exactly arouses you?
Both the look and feel of wool… specific types and styles of wool and woollen garments. I adore the sight of soft wool such as lamb, angora and mohair on women. I think it enhances their femininity. The way the soft fabric and texture encloses their bodies is something that I truly love. Soft, fluffy cardigans and twin sets as well as turtle necks and bonnets are styles that appeal to me as well. A high, tight turtle neck can look fabulous on certain women, as can a ribbed black one (think “Kill Bill”). Some colours and colour combinations attract me more than others. Soft wool tantalises me as it brushes against my skin. The thousands of tiny claws in the scratchy kind bring my body to life and are a constant reminder of the darkish delights that thrill me so. A turtle neck – preferably one with a high and tight neck line – wraps me up and encloses me (bondage);  a weighty sweater reminds me of my predicament (bondage). Picture two, three or even four layers of jumpers on me: closest to my skin a scratchy, tight fitting crew neck mohair, then a high, tight turtle neck and – to top it all off – followed by a velvety, fluffy angora. Soft on the outside and a visual delight,  but enclosed and uncomfortable on the inside (hidden “delight” / “torment”). There’s yet another element of arousal: I sometimes enjoy cross-dressing in (adult) women’s jumpers and sweaters, but dressing as a “girl”, complete with a soft fluffy cardigan worn with a knitted skirt, matching woollen tights et cetera, is my favourite and definitely evokes memories and associations with those mid-to-late sixties girls I had crushes on.

Is there always a bondage association or is it personal? 
There’s a strong association with bondage but the fetish is not solely focused on that element.  Some of this association is overt – this includes sexual play and sexualised feelings and responses.  And some is covert, and simply focused on liking the look or feel of wool on my body. When I wear a sweater – a turtleneck in particular – I feel warm, snug and enclosed.  This is strongly bondage-related in the sense that I’m “locked in” to the object that encloses my body, especially when the neck line is tight and/or high.  But I don’t go to work, shopping or a concert wearing a turtle neck for overtly sexual pleasure.  I don’t necessarily consciously feel ‘in bondage’, I just enjoy the sensation of being snug and comfortable. Of course there are times when sexual feelings may emerge from a day spent at work whilst wearing a sweater, but certainly not as a matter of course, nor does it have to in my view.

On what level does this fetish have an influence on your daily life?
It’s been – and still is – a major influence on my life.  I can honestly say that it has shaped my life, my personality, my journey.  An early love of wool introduced me to B&D, Domination/submission before I reached puberty. While my teenage years were chaotic and often traumatic because of these associations, they pushed me into questioning the basis of socially-acceptable, “normal” sexuality and from there, a questioning of how society was and is constructed.  This in turn led me to a broad libertarian – leftist political/social perspective.

 

‘I like all types. My favourites are lambs wool, mohair and angora: the “soft and fluffy” ends of the wool spectrum.’

Am I wrong to think you could never live in a warm country? Doesn’t this fetish put limits to your whereabouts? 
I could never live in a warm or hot climate. It’s coolness I love, it makes me feel very much alive.  My face all rosy and flushed, wrapped in a sweater, a coat, perhaps a scarf and beanie, tights under my pants, armoured against the chill…feels wonderful. But this doesn’t mean I want to be cold – anything but! Besides, hypothermia isn’t very pleasant, haha!  It’s about feeling warm, snug, enclosed.  “Warm as toast” as one Australian / English aphorism puts it.  Hot weather doesn’t answer my needs, it just makes me enervated, drained, lifeless…and sweaty for the wrong reasons! I don’t feel any sense of being limited by my whereabouts, nor do I feel that I’m  missing out on something because I love living in cooler climes.  We all have to live somewhere, and with a preference for cooler climates, this is my choice. Thankfully my profession allows me to live in a few locations throughout the cooler, South-East parts of Australia. If I chose to do so I could live in warmer, drier, hotter parts of the country. But why would I want to? However, it doesn’t mean I don’t enjoy or appreciate the time when the weather warms up and the jumpers go in the closet. Longer days, lots of sunshine to enjoy…whatever!

Do you feel it with all sorts of wool? 
I like all types. My favourites are lambs wool, mohair and angora: the “soft and fluffy” ends of the wool spectrum. Possum “fur” or “wool” is starting to become more common in Australia and New Zealand. It’s as soft , fluffy and delightful as angora. I love it a lot and on my last trip to New Zealand I picked up a possum wool turtle neck sweater, it’s wonderfully salving against the skin. That said, I also appreciate and like “non-fluffy” varieties and styles of sweaters. Interestingly, many turtle necks are made of cotton and other non-wool materials, yet I still like these too. Probably because of the look, that “enclosure” element. Like I said before I also like scratchy wool on myself. The contrast between the external softness and internal torment really plays with my mind and body!

Can we conclude yours is a very sexual fetish?
Not in the normal course of a day. Not all my responses to wearing wool is overtly or necessarily fetishist. I love the style of a turtle neck and know it looks good on me when I wear it with the right clothes. However, I do like the feeling of being wrapped up, enclosed, armoured against the cold. No doubt that response does have bondage associations at some subconscious level. I have strong associations with wool and sex.  Wool bondage holds great appeal. I love being enclosed and wrapped in layers of wool. It puts a completely different slant on what balaclavas, thick knitted gloves and knitted stockings can offer as clothing items. Dom/sub fantasies as well:  the woman doesn’t necessarily have to be dressed in wool but it strongly enhances the experience, as it does when I’m dressed in some wool garment.

Do you have your clothes custom made? 
I don’t have any custom-made items of wool clothing.  It’s amazing what you – or a partner/lover – can do with layers of sweaters, balaclavas, knitted gloves, woollen tights and woollen blankets in the bedroom.  They are available from so many “vanilla” sources!  Among some other things, just add kink-standard cuffs, collars, belts, restraints and voilà! If I’m cross-dressing though, the emphasis is on looking more traditionally “femme”.  I’m largely into the “prim and proper”  look. Very conservative even. It’s quite a contrast to my “other” self! It includes a classic, soft and fluffy cardigan or sweater, perhaps a blouse, woollen tights and skirt, et cetera.

Does it make a difference to you if it’s a woman or a man who wears it? 
Men in wool are not interesting to me. The only times for me to have fetishist feelings is when women wear it, or when I do. I see women as inherently stronger and more sensible than men, especially when they are dressed in a nice turtle neck or cowl. My view on women formed at a very young age.

Does she have to be beautiful or is that of secondary importance?
No, the woman does not have to be beautiful. It doesn’t influence my initial responses towards her sweater or cardigan.  However, a beautiful, intriguing or interesting face or body shape may make the experience more enriching. This could keep my attention – or  memories! – for longer.  But I’m completely biased: I think women look adorable and more beautiful when dressed in a sweater or cardigan.

Do you have a partner? 
Yes I do and she is fully aware of my love for wool and wool-related kink. It’s been like that since the day we got serious with each other. She completely accepts it and knows it’s an integral part of my make-up, personality and sexuality. We regularly played sexual, wool-related games, but in recent years there have been health- and other issues, so we rarely play now. That’s okay, she at least recognises my fetishist interests and accepts them fully. We could be watching a movie and a lady comes on the screen wearing a nice, high turtle neck and she’ll playfully nudge me or make some amusing comment to me.  In other words: by her acknowledging it, she “normalises” it in our relationship so it ends up being just another part of the mix that comes with sharing a life together. Fortunately she enjoys wearing woolly garb and loves cool climates as much as I do. But one has to be realistic: there might be seven billion people on this planet but very, very few are into wool as a sexual object. I’ve never sought out a partner on the basis that they should love this fabric too. Instead, I’ve identified as a kinkster who has a particular bend towards wool and wool B&D, Domination / submission.  They can relate to the bondage and discipline elements. The associations I have with wool becomes easier for them to comprehend, accept and understand.  Over the years I’ve seen many men on wool-related web forums hankering for a woman who will love wool like they do.  I feel sorry for them. They need to think more broadly about the fetish. Seek a partner who is sexually open, loves kink games and fantasies. Inevitably, the wool games will flow as part of a mutually complementary sexual expression by two lovers.

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Welcome to the Dollhouse

Text JF. Pierets    Artwork Beatrice Morabito

 

What do Barbie’s friends do behind closed doors? Apparently, someone knows, and it’s pretty kinky. Beatrice Morabito is an Italian female artist, living and working in Genoa, Italy. She is known for creating sets for dolls she has styled to act as her current alter-ego.

 

Morabito considers her doll pictures being a secret diary, based on a language of images and not words. “They are a reflection of my feelings, dreams and my life events, I do freeze frame them in a picture but instead of locking them up, I expose them.

It’s a hard task to communicate feelings with a doll, but I love the challenge: A doll can not move by itself, cannot smile, cry, change the position of her body, the expression of the face and so on. What you capture in your picture is what you forced them to express.
It is you doing all these things in her place, so she can simply be an object depicting an extension of myself.”

 

The artist quotes Freud’s belief that if you scratch the surface of every virtue, you will find the vice and vice versa. 

“Away from concepts and away from perfection, I show a secret world where the subconscious lives and where every desire can become a reality.

 

‘Sometimes the dolls are my alter-ego and sometimes I am the alter-ego of the dolls.’

Sometimes the dolls are my alter-ego and sometimes I am the alter-ego of the dolls. Love, passion, sadism, masochism, sorrow, pleasure, hate, hunger, rage, regret, fetishism: they’re all part of being human.”

But it’s not just doll bondage over at Morabito’s. Some dolls look ready for the runway. Strutting their stuff in haute couture dresses. Feminine but creepy, Oyster Dreams is kind of like Cindy Sherman’s doll pieces, only way more glamorous and kinky.

 

www.tumblr.com/tagged/beatrice-morabito

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Bettie Page

Text Josie Pyke     Photos Jessica Evans

 

Nowadays the name “Bettie Page” is infamous. Some may relate her to coinciding pin-ups such as Marilyn Monroe or even present day icons such as Dita Von Teese, others may recall her more x-rated work, however despite all this, what Miss Page did have was something that the standard 50’s pin-up did not. Page was a highly educated, creative and innovative woman. A playful mistress of temptation, a taboo turned Monroe. Quite simply the queen of fetish pin-up.

 

On April 22nd 1923, Nashville Tennessee had its first glimpse of the jet-black hair and blue eyes that would soon make history. Bettie Mae Page was born the eldest of six children. Sadly the family circle she was born into was far from perfect. Page and her family were extremely poor, causing her and her two sisters to stay in an orphanage. Her father had been labelled a thief and a womaniser resulting in a divorce from her mother. Things worsened as shockingly Page claimed to have suffered molestation from her father at the mere age of thirteen. Although her traumatising childhood was a struggle, Page found refuge in her studies; she was a top student at school and graduated with a scholarship. She also spent a lot of time with her sisters dressing up and practicing hair and make-up to resemble their favourite movie stars. Page also learnt how to sew; little did she know that this talent would be an important part of her future.

Fundamentally, Page wanted to become an actress, she graduated from college with a Bachelor of Arts degree in 1944 then moved to New York to pursue it. However, things took a turn when she fortuitously met a police officer with a passion for photography: Page created her first portfolio, which made her think twice about her aspirations…Page entered the field of modelling; her lack of inhibition, daring poses and carefree ways made her a hit within the erotic photography industry. Bettie Page quickly became a recognised name, an underground sensation. In 1951 her fresh and alluring images began appearing in well-known men’s magazines. Page had a beautiful hourglass figure. She stood at 5ft 5” with well proportioned measurements of 36-23-36.5. This wonderfully slim but curvaceous form is often strived for nowadays and usually only acquired through plastic surgery.

Page excelled with bondage and sadomasochistic themes, the images she created were “out of the box” and seen as somewhat controversial. These themes helped create Page’s reputation as the first bondage model. Some of her most eminent work appeared in fetish photographer and filmmaker Irving Klaw’s short black and white movies, showing Page being spanked, tied and dominated. However the content wasn’t as explicit as it sounds. Quoted from Page herself, it was “gentle” during filming and photo shoots and the “ropes were never tied too tight”. Klaw was the only photographer Page would do bondage for, and although the themes may have been shocking and amatory, nudity or explicit content was never involved. That applied for all of Page’s work. Who said bondage had to be vulgar? 

 

‘Page was always proud of all her work “I never thought it was shameful. It was much better than pounding a typewriter eight hours a day which gets monotonous.’

Though not exploited through the majority of her work, casual nudist Page had no objection to being nude in everyday life. “I like to go cavorting in the nude in the forests. It is just another world. You’re free as a bird!” After the peak of bondage and fetish, Page took acting classes, which earned her role in 1953 burlesque film Striporama; it was during this role that Page’s voice, for the only time in her career, was ever captured on film. It featured exotic dance routines and vignettes, accompanied by a touch of humour.

The year of 1954, Bettie Page is New York’s top pin-up model. The celebrated “Jungle Bettie” photo’s are released, showing fearless Page, clad in her own handmade garments, posing with two fully grown cheetahs. It was thanks to the photographer, Bunny Yeager that Page landed a deal with notorious men’s magazine Playboy. Yeager sent several shots to founder Hugh Hefner, who then crowned her 1955’s Playmate of the Month. He chose a photo of Page sitting nude, with the exception of a Christmas hat, decorating a tree, playfully winking at the camera, entirely defining the phrase “naughty but nice”.

Page was always proud of all her work “I never thought it was shameful. It was much better than pounding a typewriter eight hours a day which gets monotonous”. Later in the year, Page won Miss Pin Up Girl of the World and acquired herself the titles The Queen of Curves, The Dark Angel and The Tease from Tennessee. It is quite obvious that 21st Century burlesque queen Dita Von Teese is a present day product of Page, channelling both themes of burlesque and fetish, however not fully grasping that innocent free spirit which Page so famously delivered. In her later years, after a one time encounter with Dita, Page actually branded her “attractive” but a “poor mimic” of herself!  

Accounts of her departure from modelling vary. Some rumours say Page was slated for inspiring members of the public to practice various acts of bondage as shown in her photos, causing one young man to lose his life. Others say it was her sudden and somewhat unexpected conversion to Christianity in 1959. Her later years grew more turbulent. Swamped by schizophrenia, divorces and insecurity about her once perfect figure, Page mysteriously disappeared from the public eye. She died aged 85 in Los Angeles, 2008.   

From Page’s life, we are left a motif of beauty, enticement and freewill that has inspired and influenced many. Yes she was sexy and erotic, but there was a freshness and innocence about Miss Page that seems to not exist in the 21st century, something that perhaps has become unattainable. She made sex appeal pure and approachable, something that we rarely see now. Her career will continue to inspire fashion, photography, modelling and art industries globally and will remain a symbol of 1950’s innovation and beauty.

Photos Jessica Evans
Styling Vivian Kramer Gezegd Freher
Models Dena Massque & Rachael V

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