Skin Care Was the Fastest Growing Beauty Category in Q4 – WWD

Estimated read time 2 min read

Skin care soared during the holidays.

The category was the fastest-grower in both prestige and mass beauty during the fourth quarter, seeing 15 percent and 10 percent sales growth in the channels, respectively.

Makeup, which held the spot as prestige beauty’s fastest-growing category by dollar sales through the third quarter of 2023, saw the least growth in dollar sales during the fourth quarter, posting an 11 percent increase. This trailed behind hair care and fragrance’s respective 13 percent and 12 percent growth for the period.

Hybrid hair care and styling products emerged as the greatest volume contributors to overall beauty sales during the holiday period, defined by Circana as Oct. 1 through Dec. 23.

In mass beauty, makeup posted 5 percent growth, making it the second-fastest growing category by dollar sales; hair grew 4 percent, and fragrance was the lone category to see a decline, dropping 1 percent, indicating “the [fragrance] consumer continued to indulge in prestige brands,” said Larissa Jensen, senior vice president and global beauty industry adviser at Circana. Fragrance drivers included juices, gift sets and body sprays.

Total retail dollar sales were “negative in the midsingle digits” for the period between Oct. 1 through Dec. 23 versus the year prior, reported Jensen, who anticipates continued growth for both the prestige and mass markets in 2024, though it’s likely prestige will continue to outpace mass beauty growth.

Skin care’s winning segments were serums and hand soaps, while makeup growth was driven mostly by lip oils and blush. Overall prestige beauty grew 12 percent during the fourth quarter.

Skin care products “topped the holiday lists of many young consumers in 2023,” said Jensen, who anticipates this excitement for skin care and, more broadly, prestige beauty, will continue into 2024 and beyond.


Bottega Veneta opens new store in Mumbai’s Jio World Plaza

Estimated read time 2 min read

Italian luxury brand Bottega Veneta has opened an exclusive brand outlet in Mumbai’s Jio World Plaza mall with its India retail partner Reliance Brands Limited. The store houses the label’s leather goods and accessories and is its third in India to date. 

Inside Bottega Veneta’s new Mumbai store – Reliance Brands Limited- Facebook

“Expanding more as we go,” announced Reliance Brands Limited on Facebook. “Our RBL brands continue to thrive as we expand through new stores at Jio World Plaza, Mumbai! The Bottega Veneta store showcases a vibrant collection and an inviting store space – one you just can’t miss!”
The store has a minimalist, refined interior with textured elements to add intrigue. The store’s seating echoes its woven leather bags with oversized stools and also features sofas arranged around an industrial style table. Pops of apple green stand out amongst a neutral colour palette and the store’s dim lighting draws focus to its backlit handbags. 

Bottega Veneta is run by international luxury fashion business Kering. In India, the label retails with Reliance Industries Limited’ retail business Reliance Brands Limited which is also responsible for retailing Kering’s brand Balenciaga in the country. Bottega Veneta’s other two India stores are located in DLF Emporio in New Delhi and in Palladium Mall in Mumbai, according to the brand’s official website. 

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Sportmax Pre-fall 2024 – WWD

Estimated read time 2 min read

Lean, graphic lines and an urban spirit exalted the sleek collection that the Sportmax design team delivered for pre-fall 2024.

In tune with the brand’s approach, different references converged in the lineup, encompassing the Mod movement inspiring the narrow proportions of tailored pieces; the 1967 iconic movie “Belle du Jour” evoked by the essential A-line of minidresses and sensual undertone of boudoir-inspired frocks, and the ‘90s minimalism that is ever-present in the label’s aesthetic.

As result, the focused and straightforward collection juxtaposed different shapes. Leather trenchcoats with matching pants slightly flared at the bottom displayed an elongated silhouette that contrasted with little boxy suits and miniskirts. Highlights in the latter category included looks lacquered with a heat-sensitive coating for a glossy finish or knitted alternatives treated post-ironing to get a sturdier effect.

The design team favored a generous dose of Lycra, which informed tight-fitting separates aimed at further accentuating the body and enhancing the less-is-more vibe of the lineup. But don’t be fooled by the understated approach: the Sportmax urban tribe still commanded attention via the charming color palette that swung from neutrals and chic caramel tones to pale pink and vivid shades of indigo and royal blue.

The most extrovert minimalist could also count on sheer mesh dresses and tops punctuated by rhinestones for extra time in the spotlight.


Khrisjoy Owner Alsara Names Andrea Fornasier PR Communication Director – WWD

Estimated read time 2 min read

MILAN – Alsara Investment Group has appointed Andrea Fornasier as Group PR and communication director. This is a new position at Alsara, founded by Rachid Mohamed Rachid, who also holds the position of chairman.

Fornasier reports to CEO Shahzad Akhtar, overseeing the PR network and press activities of the brands in the group’s portfolio.

These include brands Akoni, which produces eyewear for Valentino and Balmain; cool Italian label Khrisjoy; investor Bidayat; design venture Fromm; jewelry brand Azza Fahmy and Egypt-based handbags label Okhtein. Alsara is also gearing up to revive the Walter Albini brand, one of the founders of Italy’s ready-to-wear.

Fornasier, aged 42 and based in Milan, matured a significant knowledge in media relations and PR for lifestyle and fashion brands as PR Director at ES_PR, communications agency founded by Emanuela Schmeidler.

Akhtar was named group chief executive officer of Alsara Strategic Investments last July,  a new position at the company, pointing to an increased focus on brand building and merger and acquisition activities.

Alsara Investment Group is an international private investment company based in Switzerland. In 2021 it bought a majority stake in Italian brand Khrisjoy with a view to expanding its global reach, product offer and digital capabilities. Positioned in the luxury range of the market and made in Italy, the brand has garnered a cult following with its Khris cocooning hooded puffer jacket.

Rachid is also the chairman of Valentino and CEO of the brand’s parent company Mayhoola, which also owns Balmain and Italian men’s wear brand Pal Zileri. Earlier in his career, he served as Egypt’s minister of trade, industry and investment, and was an executive at Unilever.

As reported, Cairo-based jeweler Azza Fahmy is planning an upscaling and international expansion drive — including an eventual push into the U.S. — following an investment from Bidayat, a subsidiary of the Alsara Investment Group.

10 Corso Como founder Carla Sozzani is working on an exhibition dedicated to Albini, who died in 1983, and former Gucci creative director Alessandro Michele was rumored to be preparing to helm the brand, but this has never been confirmed or denied.


Huda Beauty launches on Myntra’s e-commerce platform to expand India reach

Estimated read time 2 min read

Flipkart’s fashion arm Myntra has launched global cosmetics brand Huda Beauty on its e-commerce platform. The online retailer now stocks over 100 products by the global brand.

Screenshot of Huda Beauty products on Myntra’s platform – Myntra

“In our endeavour to bring the best of fresh global fashion and beauty to our customers, we are thrilled to add the iconic Huda Beauty to our robust selection of international brands,” said Myntra’s chief business officer Sharon Pais, India Retailing reported. “On the back of Myntra’s cutting-edge tech, unmatched reach and a keen understanding of the needs of new age, trend-first India, we look forward to supercharging Huda Beauty’s vision of winning with India’s premium base of shoppers.”

A total of 110 Huda Beauty products are now available on Myntra’s e-commerce store, according to the business’ website. Four products by Huda Kattan’s sister Mona Kattan’s fragrance brand Kayali have also launched on Myntra’s e-commerce store, one being a collaborative set with Huda Beauty. A selection of products by skincare brand Wishful have also launched on the multi-brand platform. 

“We are so excited to join forces with Myntra Beauty,” said brand founder Huda Kattan. “We believe this collaboration will pave the way for much bigger opportunities with India’s growing base of premium beauty shoppers! This is such an important market for us, and we hope our products continue to be a success with our amazing Huda Beauty supporters in India.”

Content creator and entrepreneur Huda Kattan launched Huda Beauty in 2013 to offer a range of highly pigmented products with bold packaging. The brand retails cosmetics for eyes, lips, and face with products including lipsticks, eyeshadow palettes, concealers, mascaras, and pressed powder among others. 

Copyright © 2024 All rights reserved.…


Independent Designers and Archival Fashions at the Golden Globes – WWD

Estimated read time 4 min read

All eyes were on the Golden Globes Sunday night, where Hollywood’s biggest talents set the tone for awards season, introducing newer names and vintage style to a worldwide audience on the red carpet.

While six storied European houses — Dior, Armani, Louis Vuitton, Prada, Schiaparelli and Gucci — held court with the largest number of looks for the night, the emergence of independent and up-and-coming designers proved equally important.

Billie Eilish — winner of Best Original Song for her chart-topping “Barbie” hit “What Was I Made For” — confirmed this by pivoting from her signature Gucci to New York-based designer Willy Chavarria for her unconventional, intriguing take on red carpet dress. Chavarria recently won Latin American Fashion Awards’ Designer of the Year and CFDA American Menswear Designer of the Year for his namesake label, and also is senior vice president of design for Calvin Klein North American and Global Essentials apparel, men’s. 

Eilish embraced Chavarria’s trademark oversize tailoring — also a favorite look of hers — wearing a mélange of his spring 2024 looks (look 5’s button-down, look 42’s skirt and look 45’s large, mannish blazer) and paired it with futuristic makeup, hair and round Oliver Peoples’ Calidor glasses. “It’s a big moment for new designers who hopefully the rest of the world can discover through the red carpet,” WWD’s Alex Badia said during the Style Awards, when Eilish won the title of Most Daring. 

The same could be said for Sergio Hudson, who designed a custom look for Rachel Brosnahan. The sultry red wool crepe corseted column gown featured 65 functional hand-covered silk buttons and was custom-made in New York City on “The Marvelous Mrs. Maisel” actress’ body for the perfect fit. 

Lily Gladstone made history on Sunday night, becoming the first Indigenous best actress winner for her role in “Killers of the Flower Moon,” while continuing to use her platform — both acceptance speech and red carpet look to promote inclusion and representation, which she has been doing during her press tour with stylist Jason Rembert.

“I’m wearing Valentino because it went so well on the Cannes red carpet — I just had to do it again, and representing Blackfeet designer Lenise Omeasoo of Antelope Women Designs, complementing Bulgari,” Gladstone told WWD of her custom Valentino white column gown and black coat; framed glass bead Antelope Women Designs earrings and Bulgari high jewelry necklace. The actress was awarded Best Newcomer at WWD’s Style Awards. 

Others looked to fashion history to reintroduce vintage and archival looks to a new generation.

“This dress was pulled from Balmain’s archives for me, so it’s very special,” Elle Fanning told WWD on the red carpet. “You get nervous wearing something so fragile that’s like a museum art piece, but it’s made so beautifully it’s going to last forever. It’s the perfect dress for tonight.”

The brand opened its archives specially for Fanning and stylist Samantha McMillen, giving them access to the 1960 strapless ballgown made of ivory satin silk, with an on-trend bow at the bust.

Kylie Jenner also went with a vintage dress, speaking to her generation’s love of resale, thrifting and individual fashion, choosing a rare 1998 Hanae Mori black lace couture gown.

From the more recent past, Andra Day chose an archival 2004 Georges Chakra couture black tulle one-shoulder gown with polka dot detailing and pleated organza floral asymmetrical hem.

“Being able to create pieces that stand the test of time is a true sustainable effort. The craftsmanship of Andra’s gown is a testament to the Chakra Couture atelier and their ability to craft pieces that are relevant after 20 years,” the brand told WWD.

Celebrating a fleeting moment in time, Emily Blunt glistened in a soon-to-be-archived Alexander McQueen spring 2024 pre-collection ivory tulle dress with hammered gold metal sequin flower embroidery — one of the last designed by Sarah Burton before her departure from the house. A true homage.


Tommy Hilfiger joins forces with Redress Design Award 2024

Estimated read time 2 min read

Tommy Hilfiger has been named the lead partner for the Redress Design Award 2024, the world’s premier sustainable fashion design competition. 

Redress Design Award 2020-First Prize Womenswear Winner Collection – Juliana Garcia Bello. – Redress

The Redress Design Award invites emerging designers globally to showcase their circular and sustainable fashion collections. The competition is now open to emerging designers who can apply until March 15.

As part of the partnership, the first prize winner will collaborate with the Tommy Hilfiger design team on a sustainable retail project, gaining invaluable industry experience and building on their knowledge of sustainable fashion.

The move is aligned with Tommy Hilfiger’s commitment to sustainability, which is embedded in its DNA. The brand focuses on creating fashion that ‘Wastes Nothing and Welcomes All’ and is currently exploring new, circular materials and manufacturing methods, like creating quality pieces from textile waste.

The brand is also working to make the fashion industry more accessible and inclusive through programmes, partnerships, and product creation. 

“Fashion is one of the world’s most polluting industries. Left unabated, pollution and waste is set to worsen. We urgently need to accelerate circular fashion, which is the best way to let fashion thrive without costing the earth,” said Dr. Christina Dean, founder of Redress. 

“Working from our Hong Kong headquarters, and with our Asia focus, we want to redress — to remedy and set right — fashion, by collaborating with bold fashion brand businesses and brilliant designer talent to create the fashion industry of the future, right now.”

Coinciding with the launch, Redress is offering a free online Circular Fashion Design Course. The latest module, ‘Design for Recyclability,’ launching on January 23, provides insights from Jessica Wei, senior director of sustainability at Tommy Hilfiger Asia Pacific, and is exclusively available to Redress Design Award applicants. 

Copyright © 2024 All rights reserved.…


Chanel and What Goes Around Comes Around Start Trial – WWD

Estimated read time 8 min read

After more than five years of legal wranglings over trademark and infringement issues, Chanel’s and What Goes Around Comes Around’s trial is underway in New York federal court.

In its initial lawsuit in 2018, Chanel alleged the resale specialist was trying to deceive consumers that there was an affiliation between the two companies and that Chanel had authenticated the pre-owned goods. Attorneys for both camps debated those and other points during the first two days of the trial, such as whether or not WGACA ever sold counterfeit Chanel handbags and if consumers have been confused that the two companies have an affiliation.

The juried trial, which is expected to take at least two weeks, is being watched in relation to how resale retailers define the authenticity of their goods and how they market them. Justice Louis Stanton is overseeing the proceedings that will determine which, if any, of Chanel’s claims WAGACA is liable for, and then the award of damages and legal remedies.

During the first day of testimony Tuesday in the U.S. District Court in the Southern District of New York, Joyce Green, managing director of Chanel France, delivered key testimony, and she returned to the stand Wednesday. After the jury had been dismissed for a lunch break Wednesday, Stanton inquired if his direction that had been given to counsel had been shared with Green before testifying, and he was informed that it had.

WGACA’s legal team took issue with her claims that a counterfeit Chanel bag had been sold at WGACA – a point that one of the attorneys for the reseller said “has been disputed all along.” Stanton cautioned about flirting with a mistrial, and he later spoke with Green and lawyers from both sides privately before Wednesday’s afternoon session resumed.

One of Chanel’s attorneys claimed that WGACA sold a counterfeit Chanel handbag that had a serial number that Chanel had not used and that the New York-based resale retailer had been notified of in 2015. He said that a pile of authentication stickers that Chanel uses to track its merchandise had been stolen from the Renato Corti factory in Italy where they are made.

The bag in question was said to have been “a typo” and was said to have been sold the following year, despite WGACA having been informed of the situation via a cease-and-desist letter, according to a Chanel attorney with Sheppard Mullin. In addition, the secondhand specialist stopped listing serial numbers on its e-commerce site.

Chanel’s attorney argued that WGACA sold more than 51 handbags that infringed upon its trademark, as well as 779 products including a tissue box cover imprinted with the Chanel’s logo that was created as collateral for beauty counters that sell Chanel products.

At one point in Tuesday’s proceedings, Stanton advised the jury about the overuse of the term “counterfeit,” and how the definition is simple — “It’s a copy…and it’s very hard to tell it from the original.” In his preliminary remarks, Stanton told the jury that their decision should be based solely on evidence, as in sworn testimony of the witnesses and the exhibits.

WGACA sold $90 million worth of (pre-owned) Chanel products between 2016 and 2022, according to Chanel’s lawyer.

One of WGACA’s attorneys with Galenter Law presented a “David and Goliath” scenario, describing the retailer’s founders, Seth Weisser and Gerard Malone, as having been “born and bred in New York” and as having had the vision decades ago to start a company for the secondary market that had not yet been created (to the degree that it exists today) by first opening a SoHo store. They were seated in the courtroom Tuesday and are expected to testify.

WGACA’s legal team suggested the case was not about Chanel, its brand or its trademark, but more about giving consumers the choice to buy secondhand products from companies that sell such goods responsibly.

One matter of debate that surfaced repeatedly Tuesday and Wednesday was WGACA’s selling non-fashion Chanel display materials that are typically only used by Chanel’s retail partners for beauty counter displays. Green said multiple times that those counter display items are “props” not products, and they were never made to be sold. She also challenged WGACA’s use of WGACA branded dust covers on these plastic Chanel objects, suggesting the retailer was trying to elevate their value. In fact, the luxury brand is so protective of its image that should an authorized retail partner close or an alliance sever, as was the case when Lord & Taylor closed, Chanel retrieves those items. But during Wednesday’s hours-long cross-examination of Green, one of WGACA’s lawyers countered that one such item had been described as a container.

Both sides went back and forth over Chanel’s contention that consumers were confused by an alliance between the luxury house and the New York-based reseller that didn’t exist. During Wednesday’s cross examination, Green said that she was not aware of anyone having relayed to her directly their confusion about such an agreement. However, she said that clients had questioned “how this happens” with WGACA, implying that loyal clients, who take pride in the brand’s status and protecting it, do not want to see it downgraded.

WGACA’s attorney suggested that the reseller had helped to enhance the brand, since some of Chanel’s styles from the Nineties and Aughts are still in high demand but are no longer sold by Chanel. Both sides referred to Chanel’s business decision not to enter the secondary market, nor to sell handbags online.

After highlighting the connotations of the meaning of “What Goes Around Comes Around,” the attorney showed images of signage outside of WGACA’s store that cited “pre-owned.”  A promotional video of Helena Christensen wearing vintage pieces (including a Chanel handbag) and discussing the upsides of secondhand purchases was shown on Monday. Karl Lagerfeld-shot Chanel images featuring Christensen that were used in a WGACA in-store display brought up issues of the use of advertising images and Christensen’s view of the brand.

On day one, Green made the distinction that Chanel fashion, which includes handbags, ready-to-wear, eyewear and select other categories, has the most limited distribution of all its categories to emphasize its highly controlled distribution. She also spoke of the company’s founder Coco Chanel, an orphan who first opened a store in Deauville as a milliner at a time when women were not allowed to vote, meant to be looked at and not necessarily run a company.” Green also informed jurors how Chanel created the Little Black Dress even though black was only worn by women in mourning. She explained how Chanel’s designs had taken women out of corsets and into pants as well as jersey, which was typically used for men’s underwear at that point.

WGACA’s use of images of Chanel’s founder in advertising promoting a sale tied to the anniversary of her birthday was cited a few times by Green as an example of the secondhand store’s alleged infringement.

Chanel spends “tens of millions in the U.S. alone” on advertising for the Chanel brand, especially in relation to its significant fragrance and beauty business. Chanel generated about $17 billion in sales globally in 2023, and the brand’s image is said to be valued at between $30 billion and $50 billion, based on Kantar data.

Green also made the point that the company only has one license and that is for the manufacturing of eyewear that Chanel designs and distributes.

Speaking about the importance of branding, Green said that leading directors like Baz Luhrmann and Martin Scorsese had worked with the brand as well as leading talent like Nicole Kidman. A few in the jury appeared to perk up when a three-minute Chanel “film” featuring Gisele Bundchen surfing was shown. That video had received 200 million views on YouTube alone, Green said.

Late in the afternoon Tuesday, a WGACA attorney said that former Chanel North America president and chief executive officer John Galantic had taken issue when one of its beauty and fragrance retail partners Dillard’s started selling secondhand Chanel goods via a deal with WGACA and appealed to a senior executive at the retail chain. Dillard’s and WGACA later parted ways. He also claimed that a similar scenario played out between Galantic and former Gap CEO Art Peck, after Gap started selling Chanel secondhand goods via an alliance with WGACA.  Green said that at times Chanel would communicate if an entity was not an authorized retail partner, or there was potential for non-Chanel product to be sold. While it’s always up to the retailer to decide who they want to work with, Chanel’s objective is to protect the Chanel brand, trademark and image, Green said.


Magliano Men’s Fall 2024 – WWD

Estimated read time 3 min read

Luca Magliano is no doubt Italy’s fashion talent of his generation that there is the most eyes on — his languid, soulful and rustic clothing coming with a captivatingly emotional undercurrent that the audience has so far related to.

Returning to Pitti Uomo as guest designer with his fall show Wednesday, the Bologna native, who had debuted here in 2018, felt an urge to engage in the conversation around the traditional tailoring and menswear classics the fair spotlights.

Coming out of a fog-filled cavernous space, characters swathed in gray, mud and sage green tailoring or tailoring-derivative garb strode the perilously long staircase used as a runway at the Nelson Mandela Forum, a popular and common venue, even “humble” compared to the Renaissance palazzos that fill the city, according to Magliano.

Ordinary life fascinates the designer the most and enables him to use his intellectual fashion to make social commentary, and take political stances, on gender, acceptance and togetherness.

The emotional tug hinging on Magliano’s ability to portray characters was reinforced with street casting and everyday people, many from the designer’s inner circle, turning into a powerful tableau vivant as, fatigued, they climbed the stairs on their way out during the finale.

Fluid pants and blazers worn with stand-up collars, and jackets knotted at the waist or cropped as short as boleros continued to chart Magliano’s penchant for lived-in garb inspired by the ’80s, their deconstructed, almost leisurely feel the standouts of the show. They were counterpointed by bulky outerwear, as in elongated bombers, toggle jackets with misplaced fasteners and padded duffle coats, as well as vintage-y knits and sweater sets.

To mark his freewheeling take on traditional menswear, Magliano tossed in a “joyous sabotage” of Borsalino hats, repurposing the signature fedora to resemble paper party hats, and even managing to forge a link with Neapolitan tailor Kiton, resulting in Magliano’s first handmade garments — two suits in black and white.

He characterized the latter tie-up as a coming together of different universes based upon the common ground of ethical, high-quality, Made in Italy fashion.

The older guy in sequined pants and a cat-bearing fuzzy sweater and the girl with moustaches in leather pants, studded belt and off-shouldered zippered hoodie struck a chord more for their provocativeness than their clothing.  

“The [collection creation] process was much more intellectual than usual,” Magliano said backstage.

That’s perhaps why the powerful messages he typically conveys through fashion got somehow diluted along the way.


Andam celebrates its 35th edition with Saint Laurent’s creative director Anthony Vaccarello

Estimated read time 2 min read

Andam is launching its call for entries for 2024. For its 35th anniversary, the fashion competition for young designers has chosen Anthony Vaccarello, Saint Laurent‘s creative director, to head the jury. He will also mentor the winners for a year. As last year, the competition is offering 700,000 euros in prize money. 

Anthony Vaccarello – ph Gray Sorrenti – Andam

Choosing Anthony Vaccarello is a tribute to Pierre Bergé, who, with the Fondation Pierre Bergé – Yves Saint Laurent, helped to create the prize in 1989, and was its president until 2017, when the designer’s CEO Francesca Bellettini sponsored the competition. What’s more, the Belgian designer, who won the Andam prize in 2011, is the first designer to take on this role, usually reserved for the leaders of the houses that sponsor the competition.

“Andam has a special significance for Saint Laurent and myself as it has been chaired by Monsieur Pierre Bergé since its inception and for nearly 30 years, and I am fortunate to be one of Andam’s prizewinners. For these reasons, I am sincerely honoured to be joining the event as president of the jury for this special anniversary edition,” Anthony Vaccarello commented in a press release.

Vaccarello succeeds Riccardo Bellini, the former CEO of Chloé, who last year awarded Louis Gabriel Nouchi the 34th Andam Prize, while Ester Manas and Duran Lantink received the Special Prize, Avellano won the Pierre Bergé Prize (formerly the Creative Label Prize) and Ukrainian designer Ruslan Baginskiy the Fashion Accessories Prize.

To mark the 35th anniversary of Andam (the national association for the development of the fashion arts), a competition founded by Nathalie Dufour, a series of initiatives will take place throughout 2024, including collaborations, pop-ups and special projects.

The jury will be announced in February by Anthony Vaccarello. Candidates can apply online at until 31 March 2024. The shortlisted finalists will be announced at the end of May, while the jury will meet on Thursday, June 27 to announce its decision. The jury will award five prizes: the Andam Grand Prize (300,000 euros), the Special Grand Prize (100,000 euros), the Pierre Bergé Prize (100,000 euros), the Fashion Accessories Prize (100,000 euros) and the Innovation Prize (100,000 euros).

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