During sleep, the muscles in the tongue, throat and roof of the mouth relax, causing the loose tissue in the throat to sag. Breathing flaps this soft tissue about, leading to a narrowing or obstructing of the airways. The narrower the airways become, the greater the vibration, and the louder the snoring. Most snorers’ partners suffer as a result. So it’s not surprising that any new treatment that claims to cure or at least reduce this problem is regarded as a beacon of hope in the dark of the night.

The latest non-invasive treatment of snoring involves a laser. The new treatment utilises a specialised non-ablative fractional erbium yag laser (Er: YAG as it’s known colloquially) to heat up the uvula – the little pink dangling tissue of the palate at the back of your throat. The procedure stimulates the soft palate and uvula shrinkage and neocollagenesis in the mucosal area as well. This results in the tightening and toning of the palatal tissue in the centre part of the throat and helps to widen the airways allowing patients to breathe easier.

When patients are receiving the treatment, they experience a feeling of warmth on the targeted area. If they are uncomfortable with the intensity of the laser light applied, the dermatologist simply reduces the intensity of the power. The procedure is claimed to be pain free. There is no down time and normal activities may be resumed immediately after the procedure without any restrictions. It requires no anesthesia and is an outpatient procedure that takes about 15 to 30 minutes per session. The course of treatment requires 3-5 sessions, spread over two months. Results may be seen from the first day itself and are enhanced over the period of the entire course. The results last for about a year.

In conclusion, this treatment minimises snoring to a great extent or can stop it completely in some patients depending upon the extent of snoring to begin with, and its causes. Studies have suggested that up to 80 per cent of patients gain benefit from this treatment.

THANISORN THAMLIKITKUL MD is a member of the American Society of Cosmetic Dermatology and Aesthetic Surgery and certified in dermatological laser surgery. Send your questions for her to info@romrawin.com

The jubilant ritual consists of setting the counter of the watch to the time of the eagerly awaited event that will take place in less than 12 hours. An hour before it occurs, the mechanical hourglass is set in motion and its progress can be followed at 6 o’clock on the dial.

The striking mechanism has been designed to ensure a lasting, velvetysmooth sound that is also delightfully modulated for the wearer’s ears only. The playful and quirky “Impatient Hour” complication is based on this companionable rapport.

Adorned with 193 components and 28 jewels, the effervescence is entirely summed up in a module measuring just 2.2 mm thick, powered by the mechanical selfwinding Manufacture Hermes H1912 movement. This compact calibre is housed in a spacious sapphire crystal case and the 1mm black dial resonates with the vibration of the striking mechanism.

Find out more at http://www.Press.HermesHorloger.com.

Injecting your own filler into the face to restore facial volume and fill lines could be the solution.

People today are always looking for less unnatural treatments with little to no risk of an allergic reaction. They prefer the idea of using their own fat or blood rather than synthetic filler to rejuvenate their faces. This has lead to a medical procedure that enhances a person’s appearance much like the way popular fillers but in a purely natural way

Filler taken from one’s body is key to the new treatment. The treatment involves the use of a special technology to produce a platelet-rich fibrin matrix from a patient’s own blood. Studies have shown that platelets enable the release of growth factors and cytokines that are so beneficial to skin rejuvenation and volumisation. What’s achieved is a fibrin matrix that acts as “scaffolding” to support tissue regeneration and collagen production.

According to Anthony P Sclafani, MD, co-author of a study on platelet-rich fibrin matrix published in the Archives of Facial Plastic Surgery in April 2012, dermatologists performing this procedure need to select the right patients and the right facial areas to treat. Then a small amount of blood is drawn from a patient’s arm, similar to having routine blood tests at the hospital. Technology is then used to separate the elements of blood in a specific way. This process permits the isolation of much larger, denser and richer-in-growth-factor fibrin matrix. The resulting fibrin matrix, which restores volume like a filler, is derived from patient’s own body, hence it is natural. It can be injected to augment the cheeks, to fill naso-labial folds and to correct the hollows under the eyes. When injected in the face, the fibrin matrix has a volumising effect and at the same time acts as a controlled-release carrier of growth factors that stimulate collagen production under the skin over a period of time.

Dermatologists who decide to offer the natural filler should be prepared to spend time spent educating patients that while synthetic fillers offer an immediate result after one treatment, results from platelet-rich fibrin matrix may take one to three treatments.

Dr Sclafani makes the point that this is an important option for patients because the fibrin matrix is their own derived filler and induces a natural healing process for a sustained effect.

THANISORN THAMLIKITKUL MD is a member of the American Society of Cosmetic Dermatology and Aesthetic Surgery and certified in dermatological laser surgery. Send your questions for her to info@romrawin.com

SPRZ NY – it stands for “Surprise New York” – is a global project where art and fashion meet, creating something magical. SPRZ NY items are inspired by famed and influential artists of our time, and include specially designed products like T-shirts, outerwear, innerwear and more.

Among the most influential designers of the 20th century, the Eames transformed how people experienced and observed the world through furniture, architecture, public spaces and films. Sharing the same principles as Uniqlo, Charles and Ray believed that good design and quality objects should be available to all. This belief underpinned their work with innovative materials to celebrate the uncommon beauty of common things and to uplift people in their everyday lives.

Their signature Eames chairs are enduring global best sellers because they so attractively combine sophistication and simplicity. The collection will showcase their timeless designs through graphic T-shirts and other items that fuse fashion and art. The items are available now at Uniqlo stores nationwide and online store at http://www.Uniqlo.com/th.

PHOTOGRAPHERS HAVE risen up in revolt at the way fashion labels and influencers are using their street style images without crediting them, highlighting discontent about the “work for free” culture in the multi-billion dollar industry.

More than 40 photographers who follow the fashion circuit and snap its top celebrities and bloggers as they arrive for shows in New York, Paris and Milan have formed an unofficial union, and have threatened to shame brands and influencers who use their images without permission.

Influencers and bloggers are often paid by labels to wear their clothes and promote their lines in social media posts, mostly on Instagram.

And the photographers claim that some influencers with hundreds of thousands of social media followers are making money from their photos while they get nothing in return.

The row raises questions about how the fashion industry works in the digital age, with many people prepared to work for little or nothing to get a foothold in such an outwardly glamorous world.

Most models, particularly young ones climbing the catwalk ladder, are paid “peanuts”, with one 17-year-old model at Paris Fashion Week telling AFP: “It is pocket money for doing something that I love.”

A woman poses for photographers during the Paris women’s 2018 Spring/Summer ready-to-wear collection fashion week in Paris.  / AFP 

The protesting photographers have begun adding the hashtag #NoFreePhotos to images uploaded to their Instagram accounts, which have more than three million followers.

And they have threatened to refuse to tag rogue influencers and instead call them out with the #NoFreePhotos hashtag.

One of the group’s leaders, Nabile Quenum, said the protest was “not about shaming anyone. We are in this together. We are just asking for respect.

“Girls get famous because of the photographers. We take pictures of the people we judge cool. When we shoot someone it says they are cool and people look for inspiration from cool people.

“Brands can see (from what we do) who is hot, who is marketable… and who they can pay to lead them to the consumer. Somehow (the influencers) have forgotten that we make them.”

Quenum, who has been on the circuit for eight years, said most brands and influencers respected “copyright-protected photos”.

But a “growing minority” did not, using their images for commercial gain without paying.

A Japanese photographer called Koji outside the Issey Miyake Paris Fashion Week show said he had stopped uploading his images to Instagram because of rampant piracy.

“Why should I so people can steal my work and not even credit me. I have had enough,” he added.

But the claims that influencers were making a “disproportionate gain” from cheerleading for brands drew a sharp response on Instagram from some bloggers.

“The notion that many influencers are being ‘disproportionately’ paid to wear clothes is quite laughable,” said top blogger Bryan Grey Yambao, aka Bryanboy, who has more than 640,000 Instagram followers.

“Do these photographers know how absolutely cheap many of the brands are? A lot of the girls I know are not being paid to wear clothes. Many spend money to go back and forth for ‘fittings’… and are often dressed by brands to be on their ‘good graces’. All for free!

“Influencers are happy to do all that to develop a (usually disposable) relationship with brands who are more than happy to move on to the next girl with even more followers,” the Filipino style guru insisted.

Yambao said he understood that photographers had to be paid. “But then again, when was the last time an influencer demanded a model release form from photographers who sell their images to magazines, retailer websites or the brands directly?

“Imagine if every influencer or editor or fashion person started complaining that their images are being taken and sold without authorisation?” he added.

But American photographer Jennifer Graylock said the relationship was “lopsided in favour of the influencer or celebrity. If a photo runs of you wearing designer X you get exposure. Which leads to more followers which leads to more interest in your favour.

“However (if the photographer has been credited) they only get the 10 cents and never benefit further.”

The new range stems from a drive to make clothing an ideal expression of its wearer, taking its LifeWear line towards the future through design, pattern, fabric development, and stitching innovations as part of a commitment to reinventing wardrobe basics.

The line comprises 46 women’s and 27 men’s items in sizes S through XXL sizes, as well as 11 accessories. XL through XXL pieces will be available only online.

The new collection features items created with 3D U-Knit, a three-dimensional knitting technique that employs wholegarment technology to enhance fit and comfort. 3D U-Knit is developed at Innovation Factory, a joint venture that Uniqlo’s parent company, Fast Retailing, established in 2016 with Shima Seiki Mfg, a leading Japanese manufacturer of knitting machines. Wholegarment uses special machines to produce knitwear three-dimensionally in one entire piece, eliminating seams. Another advantage of this technology is that it is flexible, empowering designers to perfectly materialise their visions.

For this season, three dresses, one women’s sweater, and one skirt have been created with this technique. A highlight of that range is a 3D Merino Ribbed Mock Neck Dress. The ribbing of this A-line piece accentuates natural femininity by following body contours. The skirt offers delightfully pleated drapes for a sophisticated and elegant look.

Noteworthy additions to the Uniqlo U line-up this season are a women’s Blocktech trench coat, men’s coat, and a men’s mods coat. This stylish town wear combines a matte cotton surface with advanced Blocktech technology that has become so popular with Uniqlo sportswear for outstanding wind proofing, waterproofing, and breathability.

Also debuting this season are men’s and women’s seamless down track jackets that incorporate new technology developed with Toray. The outer fabric employs double-weave polyester, reducing the number of stitches to increase heat retention. The lightness and streamlined fit of this outerwear enables it to double as innerwear. Women’s items can also serve as vests by unzipping the sleeves.

The collection is now available at Uniqlo branches at CentralWorld, Siam Paragon, the EmQuartier and online at http://www.Uniqlo.com/th.

Stella McCartney proved at Paris Fashion Week on Monday that eco-friendly fashion can turn a buck, with her label’s profits shooting up as she unveiled her new collection.

The British designer and daughter of the former Beatle Paul McCartney whose upscale brand prides itself on its environmental and cruelty-free credentials saw pre-tax profits rise by almost half to 9.5 million pounds (Bt422 million).

McCartney told reporters the brand was working towards a goal of zero emissions and had managed to “significantly reduce” its environmental impact despite rising sales.

The vegetarian designer, who does not use leather, fur, skins or feathers, sent out invitations to her Paris show – held in the gilded glory of the city’s Opera Garnier – on a roll of bio-plastic, compostable “Trashion Bags”.

The label, whose $1,200 (Bt40,000) duffel bags are lined with recycled plastic bottles, is also moving to using recycled cashmere and pesticide-free wool.

McCartney said her spring-summer collection was a “joyful exploration of British style” with magenta and bubblegum-pink taffeta debutante dresses matched with oversize white jersey T-shirts.

Jumpsuits were followed by African wax-print dresses and a line of pre-washed denim that brought back memories of 1980s school discos.

But there were plenty of McCartney’s reliably classic pieces to please her many fans featuring her exaggerated sleeves and puffed shoulders.

One nifty innovation was a crop-top back vent on a few of her summer suits and dress combinations, all the better to catch a cooling summer breeze.

There were frills too – one of the trends of the season – big ones on the diagonal of one-shoulder dresses and clever little unexpected ones trailing from the collar.

Earlier this year McCartney declared that her new luxury synthetic leathers were as good as the real thing, and in Paris she sent out a pair of high-waist, pecan-coloured Skin-Free-Skin trousers and a tight black top over a black organza dress appliqued with leopard patterns.

Absurdly early on Thursday morning, the fans were flocking to Chloe’s headquarters on the Right Bank, warned to be there by 8.45 for the 9am show in a nod to traffic snarls and heavy security. The show, they’d been told, would start promptly.

The faithful did as they were told, because this was to be no ordinary Chloe show – it was the debut of new designer Natacha Ramsay-Levi.

In a season when many houses are welcoming new creative directors, this one was particularly anticipated, since Ramsay-Levi worked at both Louis Vuitton and Balenciaga, a very nice pedigree.

Unfortunately, by 9am, the doors still hadn’t opened and then it began to rain – on their vintage Chloe frocks, their impractical shoes and their very expensive sneakers. People tried hard not to be grumpy, yet there was still a mild sense of aggravation as everyone filed in and found their seats.

The first couple of models came racing down the runway, which wound from one salon into another, and the rain was forgotten. They moved with confident energy in their flouncy dresses with bold shoulders and patterns that recalled a crazy psychedelic rendition of peacock feathers.

The dresses were short and sometimes paired with a leather jacket. There were wide culottes that were cut away at the sides, turning them into sort of a skirt but not really. Dresses that vaguely recalled prairie style were subtly embellished. And the clothes were paired with cowboy-gladiator boots.

Describing the collection requires a lot of hedging and much “sort of”, “some kind of” and “almost”. There were so many things that looked familiar and yet were different.

Consider something as simple as a cropped skinny jean. The pants were cut and cuffed just below the knee and worn with high boots. The result is a pair of jeans with the sleek, smooth lines that result from tucking them into boots, but without all the effort.

Because, yes, getting a pair |of jeans neatly tucked into a pair of boots does require a bit of work.

The clothes were understandable and accessible, but they also looked new. The ability to walk that fine line is no easy feat.

And when Ramsay-Levi walked out to take her bows, she did so to sustained applause. It was well deserved. She had just offered women interesting ideas, a strong point of view and plenty of things to wear.

The Givenchy insignia was mounted on rather elegant metal scaffolding in front of the Palais de Justice. A crane-operated camera swooped high and low, causing the assembled crowd to cheer. The building’s central hallway, with its domed and coffered ceiling, was the definition of majestic. It was the setting for Givenchy’s spring 2018 collection and the debut of new creative director Clare Waight Keller; and the monumental architecture served as a silent declaration of the importance of the occasion.

Indeed, on Sunday morning, the city was accidentally given over to fashion. Personal cars were banned from Paris streets for the day with the aim of reducing pollution. So aside from the bus or tourist shuttle, the only vehicles snaking through the misty streets were chauffeured cars and taxis, most filled with editors and retailers. And fashion created its own little traffic jam in front of Givenchy, which only heightened the sense that this industry exists in its own little world.

And yet, when it’s at its firing-on-all-cylinders best, fashion does reflect the world back at us. It magnifies those details that might be easily missed but which define a particular moment in time. It turns an emotion or a mood into something visual.

So when fashion shifts, particularly at brands that are so ingrained in the culture – Givenchy, Balenciaga – take notice. For better or worse, the winds of change are blowing.

In a season, Givenchy has transformed from former designer Riccardo Tisci’s gothic passion to Keller’s dispassionate populism.

The first model down Keller’s runway wore what appeared to be a midnight blue coat dress with metallic buttons. It called to mind the history of the house and suggested that, perhaps, Keller would find kinship with its classic past. But no. Soon the rhythms of rock ’n’ roll style – more Rolling Stones than break-out indie band – appeared on her runway, with leather mini-skirts and trim striped pullovers.

Keller showed menswear alongside the women’s clothes on beanpole young men whose backs seemed curved into permanent slouch, with looks of studied boredom etched on their faces. They wore fitted blazers with sharp, exaggerated shoulders, trousers so skinny they might as well be leggings and the occasional motorcycle jacket.

The women’s clothes included lace tanks with a long skirt, and dresses with a modest slit that revealed a burst of contrasting pleats. It was the kind of collection in which any fashion lover could probably find a thing or two to buy. And appealing to a customer’s desires is a designer’s duty. But where is Keller in all of this?

The collection had a hint of this designer and that designer. Ideas and inspiration are always floating in the air, but who, exactly is Keller? What is her point of view? What is her take on the culture at this moment?

For a lot of people, despite the decades that have passed, Givenchy still calls to mind perfect little black dresses, Parisian chic, Audrey Hepburn in “Breakfast at Tiffany’s” and “Sabrina”. It hasn’t been those things in a generation or two, but it takes a heck of a long time for fashion to worm its way into the popular imagination and once it does, it takes a lot of dynamite to dislodge it.

Designer Riccardo Tisci spent a dozen years at Givenchy blowing thing up. He built its reputation as a house with a dark romanticism. And he attracted his share of 21st-century celebrity clients, notably Kim Kardashian.

Tisci gave Givenchy a renewed sensibility, focused on a bold visual language. He stumbled through false starts and a good bit of criticism. (Would anyone want to be forever judged on their very first attempt at, well, anything?) His aesthetic was a far cry from what Givenchy was at its inception. But it was right for the times, with its diverse range of influences, its openness to street culture and its flair for the visual provocation.

Whether one ever purchased a single Givenchy garment, Tisci’s work still told us something about who we are and how we see ourselves in this moment.

The show notes left on guests’ seats included a personal greeting from Clare to your-name-goes-here. It was a lovely touch and an intimation that her goal was to speak directly to the individual not to a faceless crowd. That is a fine starting point for a collection and one hopes that she ultimately translates that sentiment in silk and cotton. Because at a time when so much of our lives exist in a virtual reality, being treated like a living, breathing individual is no small thing.

That sense of individuality is what has propelled Demna Gvasalia to Balenciaga. His collections exude a quirky exceptionalism. His models are both the traditional beauties as well as women who might be described as: striking, eccentric or jolie laide. His runway was diverse in both ethnicity and age. And his clothes are studiously unattractive, with their garish colours, oversize shapes and embrace of such aesthetically maligned brands such as Crocs.

Gvasalia embraces the oddball and the outsider and declares each an every one of them welcome on one of fashion’s most rarefied runways.

His collection for spring was filled with pencil skirts in colourful boucle, oversized striped shirts left half-untucked, trousers in a collage of fabrics or photo-printed in the searing orange and red of a sunset.

Coats were attached to coats like front-to-back conjoined twins. Handbags had their own little rain ponchos, and he collaborated with Crocs to create platform versions of the aesthetically challenged rubber clog.

Gvasalia relishes in elevating the banal and the poor into the realm of desirability and luxury. He believes there is an inherent beauty in the misbegotten. He not only remembered the forgotten, he celebrated them.

But now, have we moved beyond recognition and admiration into fetishising? Is his self-conscious, pointed fascination with the most maligned products still moving the cultural conversation forward – or is it just giving people permission to not care, and to walk into brunch in grubby old slippers?

Perhaps we have a responsibility to try putting aside individuality to participate in the social contract of aesthetic civility. I wear shoes to brunch; you wear shoes to brunch. Fair?

For spring, Gvasalia has put a polish on Balenciaga. It’s not so aggressively un-charming. And in return, he has given you Crocs.

Celine may be just the right collection for this moment. It exudes calm and strength without chest-thumping or bragging. Phoebe Philo’s collection of oversized double coats that seem to fold up and onto themselves look tricky but intriguing. The roomy blazers and pleated skirts that wrap around the body in shades of pink and yellow have an ease and joy that is inviting. The clothes are big but not unwieldy. Philo never loses control of her silhouettes, and her models never look overwhelmed.

They are women owning their share of space in the world. They are not cinched and compressed. In this moment, they are expansive. They are grounded. And they are present.

Yves Saint Laurent was one of greatest yet most private fashion designers of the 20th century.

Now only weeks after the death of his partner and lover Pierre Berge, the hardnosed business brain behind the legend and the keeper of the flame, some of the creator’s innermost secrets are coming to light.

The first of two new museums dedicated to his memory opens in Paris today as a raft of new books and documentaries – including one on his erotic drawings – attempt to decode the mysteries of the painfully shy man who revolutionised women’s fashion.

The Paris mansion where Saint Laurent shook up the dress codes for more than three decades has been turned into a museum for his haute couture creations.

This 2015 file photo shows a gallery assistant adjusting a cocktail dress designed by French fashion designer Yves Saint Laurent in homage to Piet Mondrian at the Bowes Museum in Barnard Castle, in northeast England. / AFP

A much larger museum, also paid for by the foundation set up by Berge to safeguard his partner’s legacy, opens next month in Marrakesh, the Moroccan city the couple loved and where Saint Laurent would often first sketch out his collections.

“Coco Chanel liberated women, but Yves Saint Laurent gave them power,” Berge once said, by appropriating the symbols of power from the male wardrobe – dinner jackets, safari suits and jumpsuits – and remaking them for women.

“I had noticed men were much more confident in their clothes,” Saint Laurent once said in a rare interview. “So I sought through trouser suits, trenchcoats, tuxedos and pea coats to give women the same confidence.”

His black tuxedo for women, known as “Le Smoking” – often worn over bare flesh – caused a scandal in 1966, with the New York socialite Nan Kempner dropping her pants when she was told by a Manhattan restaurant that women in trousers would not be admitted.

Saint Laurent would later design a jacket as a thigh-skimming mini dress just as Kempner, one of his best customers, had worn it.

The heart of the new Paris museum is Saint Laurent’s studio, the inner sanctum where he would work night and day in the runup to his shows.

French designer Yves Saint-Laurent poses for photographers in Paris, before the presentation of his Spring/Summer 1997 ready-to-wear collection. /AFP

It remains just as he left it in 2002, his desk festooned with photos of his inner circle of glamorous female friends which included Catherine Deneuve, Bianca Jagger and Paloma Picasso.

Pride of place, however, goes to a New Year’s card he made from a painting his friend Andy Warhol did of his French bulldog Moujik.

One wall of the room is completely mirrored, which allowed Saint Laurent to work directly on his live models so he could see his creation from all angles as it progressed.

The museum also gives revealing insight into Saint Laurent’s creative process, developing his clothes from very basic sketches into complex designs that, in the case of some of his haute couture creations, could take thousands of hours to make.

“Unlike many other designers Saint Laurent began systematically archiving his work in the early 1960s –  encouraged by Berge – and so we can follow the evolution of each item,” says a spokesman for the museum, which holds a treasury of 5,000 prototypes for his creations.

French Minister of Culture Jack Lang, seventh left, with fashion designers, from left, Kenzo, Anne-Marie Beretta, Jean-Charles de Castelbajac, Chantal Thomass, Alix Gres, Yves Saint-Laurent, Sonia Rykiel, Issey Miyake, Pierre Berge and Emanuel Ungaro in March 1984./AFP

Other rooms in the museum are given over to Saint Laurent’s inspiration and the “imaginary voyages” his collections often took to Asia, Africa and most famously Russia.

But other than his sojourns in Morocco – which reminded him of his native Algeria where he was born in 1936 while it was still French – the designer was not much of a traveller.

With Berge he built up a considerable art collection and he borrowed liberally from artists like Picasso, Matisse and Van Gogh, most famously with his Mondrian dress, which became an instant pop icon when it hit the catwalk in 1965.

Berge always believed that Saint Laurent – who had begun his career by stepping into the shoes of Christian Dior when he was just 21 – was nothing less than an exceptional artist, calling him “the greatest designer of the second half of the 20th century”.

Having “spent all my life helping Yves Saint Laurent build his work, which I want to last”, Berge died earlier this month, just weeks before the museums opened.

His husband, the American landscape artist Madison Cox – whom he married this summer – said. “10 days before he died he told me that ‘I am going to die totally at peace’, and I think that was true. He was a very determined man and he had put everything in place.”

Cox says the museums were also a tribute to Berge’s work supporting and protecting the fragile Saint Laurent, who was haunted by drug and drink addictions.

“Of course I and the whole team are profoundly sad that he will not be here,” adds Cox, who now heads the pair’s charitable foundation. “But he would have wanted that we go on.”

Created by Henri d’Origny in 1978, it boasts a paradoxical blend of classicism and fanciful design. Its font takes inspiration from the elegance of a galloping mount along with its asymmetrical lugs, while the dial is available in two new shades of blue lacquered or hazelnut brown. Straps are matt alligator equipped with a 17 mm pin buckle in 316L stainless steel.

The watch beats with a Manufacture Hermès Calibre H1837 movement, a mechanism intended to impart a specific cadence to each and every moment. The models are very large, water-resistant to three bars and covered with anti-reflective sapphire crystal.

Decorated with circular-grained and snailed mainplate and satin-brushed bridges, the cases are made of 316L stainless steel and come in a round shape of 40mm diameter and 20mm inter-horn width. The watches are shaped by skillful artisans to make them true companions for those who wear them. Practical, functional and stemming from uncompromising expertise, they radiate the lightness of the unexpected to make everyday life their playground, and each instant a uniquely special moment.

Find out more at www.press.hermes-horloger.com.