Sandra‘s Closet

A Return to Time: Notes from Watches and Wonders Geneva

There are few places where time feels as tangible as at Watches and Wonders Geneva. For one day, everything revolves around it, interpreted through craftsmanship, design, and an almost obsessive attention to detail.

This year, the fair revealed more than technical innovation. It signaled a shift in mood, subtle, but unmistakable.

Patek Philippe New Models 2026

BVLGARI celebrates old-school glamour with its newest Serpenti watches.

There is a clear return to old-school glamour and with it, a strong retro influence. Not nostalgia in its simplest form, but a deliberate reinterpretation of the past. Vintage codes are everywhere: softened silhouettes, intricate bracelets, and, most notably, the reappearance of the secret watch.

These pieces conceal their dials beneath decorative covers, blurring the line between jewelry and timekeeping. They are intimate, almost private objects, designed to be discovered rather than displayed. It is a language that echoes the elegance of earlier decades, yet feels entirely contemporary in its execution.

At the same time, craftsmanship is moving back to the center of the conversation. Not just as a technical necessity, but as a form of artistic expression. The level of detail, the patience, and the human touch behind these pieces feels more important than ever.

One example that stayed with me came from CHANEL. A chess set, already sold and therefore no longer on display in its final form, was presented through prototypes. Each figure was meticulously crafted, with the Gabrielle Chanel silhouette wearing a tweed jacket, entirely set with diamonds, that emphasized the effect of the material. It was less an object and more a demonstration of what true craftsmanship can achieve: intricate, precise, and deeply intentional.

Audemars Piguet Etablisseurs Galets

At the same time, a structural shift within the industry is becoming increasingly visible. The market is stretching apart.

Van Cleef & Arpels is expanding its Jour Nuit collection with a new timepiece in honor of the Moon. Within the Midnight case, the watch features two overlapping complications: the first one animates the Jour/Nuit display, while the second one illustrates the actual Moon phase. 

BVLGARI

On one end, brands are leaning heavily into haute horlogerie, producing exceptional, highly complicated, and often extremely limited pieces. These watches are not simply products; they are statements of craftsmanship, created for collectors who value rarity as much as technical mastery. Prices reflect this shift, reaching levels that position these timepieces firmly within the realm of art and investment.

Celebrating 100 years of the Rolex Oyster with this beautiful and affordable Rolex Oyster Perpetual 36 «Jubilee Edition».

On the other end, the more accessible segment remains present, but quieter, almost overshadowed by the spectacle of high-end innovation. The middle ground is thinning, and the contrast between the two extremes is becoming more pronounced.

A Testament to Métiers d’Art: Van Cleef & Arpels, with its latest Perlée Extraordinaire Fruits Enchantés collection, is capturing the ruby-red intensity of perfectly ripened raspberries.

Yet within this high-end focus, creativity is flourishing. Freed from the need to appeal to a broad audience, brands are allowing themselves to be more expressive, more daring, and more niche. Watchmaking, in this sense, is becoming increasingly cultural. These are no longer just instruments or even luxury goods, they are narratives, identities, and statements.

Collectors today are not simply buying watches; they are engaging with meaning.

Walking through the fair, it quickly becomes clear that the experience goes far beyond the watches themselves. Some booths are consistently extraordinary, fully immersive environments that tell their own story. Officine Panerai, known for its diving heritage, brought that world to life with a stand that felt like stepping into the depths.

Van Cleef & Arpels created something entirely different, a poetic garden, complete with a swing, where time seemed to slow down.

And Audemars Piguet offered a more introspective atmosphere, with a library-like setting that invited you to pause, reflect, and look closer.

I leaned into the spirit of the fair with a Moschino look, complete with a watch-shaped bag and a hat featuring a clock detail. A subtle nod to the theme of time, and one that, quite unexpectedly, drew a lot of attention throughout the day. I was frequently stopped, photographed, and even interviewed, an unusual but fitting part of the experience.

Yves Piaget with me (click here for a previous post from 2012).

Amidst all of this, it is often the quieter, more personal moments that stay the longest. Seeing Yves Piaget again was one of them. Having been for many years an ambassador for Piaget, it made the encounter feel all the more meaningful.

Relaunch of the Piaget cocktail ring collection, for which I hosted an private garden party in my house in 2013.

There was something genuinely special in being recognized, in that brief moment of familiarity within such a fast-moving environment. A small exchange, a shared memory, and somehow, it stays. I still have the Piaget rose.

Ulysse Nardin

And perhaps that is what defines the fair as much as the watches themselves. It is not just an industry event, it is a cultural moment, where craftsmanship meets storytelling, and where timepieces become part of a larger narrative.

I predict a huge success for the BVLGARI Octo Finissimo Watch in satin-polished 18 kt yellow gold case.

What remains after a full day is not simply a memory of products, but a clear impression:

The future of watchmaking may well lie in its past.

In craftsmanship over scale.
In rarity over ubiquity.
In intimacy over display.

And in the enduring desire to make time feel, once again, timeless.

Trying on Cartier‘s latest Bagnoire collection, that I am completely obsessed about.

Some of the most remarkable pieces deserve a closer look, and I’ll be returning to a few of them in more detail over the coming weeks.

LoL, Sandra

Photos: © Sandra Bauknecht
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When Time Meets McDreamy: A TAG Heuer Moment in Geneva

Surrounded by some of the most extraordinary watches in the world… and yet, meeting McDreamy might have been the real highlight.

At Watches & Wonders in Geneva, where every brand competes to redefine time through design and innovation, it’s easy to get lost in the details, movements, materials, complications.

But some moments cut through all of that.

Meeting Patrick Dempsey, forever McDreamy from Grey’s Anatomy, was exactly that kind of moment. Effortless, charismatic, and completely at ease, he represents the spirit of TAG Heuer in a way that feels natural rather than staged.

And fittingly, the brand itself delivered one of the most compelling statements of this year’s fair. In a year dedicated to the chronograph, TAG Heuer revisited its most iconic model: the Monaco.

The new Monaco Evergraph feels bold and forward-looking, built around a completely reimagined movement that replaces traditional components with flexible structures, pushing precision and performance into new territory. It’s technical, architectural, almost futuristic. Co-developed with Vaucher Manufacture Fleurier, it brings a distinctly experimental edge to contemporary watchmaking.

Operating at 5 Hz with a 70-hour power reserve and COSC certification, it reflects a clear focus on precision and long-term reliability. Co-developed with Vaucher Manufacture Fleurier, the movement adds a layer of serious watchmaking credibility to its experimental edge, while the open-worked architecture reinforces its technical character.

Alongside it, the Monaco Chronograph takes a more restrained approach. Rooted in the original 1969 design, it refines the icon with sharper lines and improved ergonomics, now housed in a 39mm Grade 5 titanium case that feels both modern and wearable. Inside, the in-house Calibre TH20-11 delivers an 80-hour power reserve and a bi-compax layout inspired by the historic Calibre 11, while signature elements like the left-side crown remain intact.

Together, they capture what TAG Heuer does best: balancing heritage with innovation, without ever losing its identity.

And maybe that’s what made the moment with Dempsey feel so aligned. In a space defined by exceptional watches, it was presence, not just precision, that made it memorable.

LoL, Sandra

Photos: © Sandra Bauknecht
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One of the most important exhibitions ever dedicated to Alexander Calder, «Calder. Rêver en Équilibre» has been conceived in close collaboration with the Calder Foundation, its principal lender. The display also features loans from international institutions and leading private collectors, bringing together nearly 300 works: stabiles and mobiles – to use the Calderian terminology for static and kinetic abstractions – as well as wire portraits, carved wooden figures, paintings, drawings, and even jewelry, designed as unique sculptures.

Apple Monster, 1938. Wood, wire, and paint, 66″ x 55 1/2″ x 32 1/2″. Calder Foundation, New York; Gift of Alexander S. C. Rower in memory of Mary Calder Rower, 2015. Photograph by Tom Powel Imaging © Calder Foundation, New York.

Throughout the chronological journey spanning more than 3,000 m2, the exhibition at Fondation Louis Vuitton will highlight Calder’s fundamental artistic concerns: movement above all, but also light, reflection, humble materials, sound, the ephemeral, gravity, performance, and the interplay of positive and negative space.

Devil Fish, 1937. Sheet metal, bolts, and paint. 68″ x 64″ x 47″. Photograph by David Heald © Calder Foundation, New York.

The anniversary exhibition is enriched by contributions from Calder’s contemporaries. Works by the artist’s friends Jean Arp, Barbara Hepworth, Jean Hélion, and Piet Mondrian, as well as Paul Klee and Pablo Picasso, will situate Calder’s radical inventiveness within the avant- garde movement. 34 photographs taken by some of the most important photographers of the 20th century – Henri Cartier-Bresson, André Kertész, Gordon Parks, Man Ray, Irving Penn, and Agnès Varda, among others – will show an artist walking a tightrope between art and life. «Calder. Rêver en Équilibre» will also feature focused presentations dedicated to key bodies of Calder’s work, including his beloved Constellation series and his dynamic jewelry.

Calder with Mobile (1941) in his Roxbury studio, 1941. Photograph by Herbert Matter © Calder Foundation, New York.

In line with previous monographic exhibitions dedicated to major 20th and 21st century figures – such as Jean-Michel Basquiat, Joan Mitchell, Charlotte Perriand, Mark Rothko, David Hockney, Gerhard Richter – the Fondation Louis Vuitton is dedicating all of its exhibition spaces, and for the first time its adjoining lawn, to Calder’s work. In doing so, the exhibition initiates a dialogue between Calder’s volumes, planes and movements and those of Frank Gehry’s architecture.

Fondation Louis Vuitton in Paris – from April 15th to August 18th – Calder. Rêver En Equilibre.

LoL, Sandra

La Grande vitesse (1:5 intermediate maquette). 1969. Sheet metal, bolts, and paint, 102″ x 135″ x 93″ (259.1 x 342.9 x 236.2 cm).

The Brass Family. 1929. Brass wire and painted wood. Overall: 67 × 41 1/8 × 8 7/8in. (170.2 × 104.5 × 22.5 cm). Gift of the artist. Inv. N.: 69.255 – Artwork Location: Whitney Museum of American Art, New York, USA – Permission for usage must be provided in writing from Scala.

Harps and Heart, c. 1937. Brass wire, loop: 40″; element: 6 1/4″ x 4″. Photograph by Maria Robledo © Calder Foundation, New York.

Photos: © Louis Vuitton
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«Schiaparelli: Fashion Becomes Art» – an exhibition that sets out to explore the rare moment when clothing transcends function and becomes pure expression – opened at the Victoria and Albert Museum with a quiet sense of occasion that felt entirely fitting.

The evening began, as such evenings should, with a sense of anticipation. London suspended between history and spectacle, the museum preparing to open its doors to a world that has always lived slightly beyond the real.

With my dear friend Pernilla Bennet of House of Bennet at the opening.

I had flown in for the occasion, drawn not only by the promise of the exhibition but by something more personal, a long-standing admiration for Elsa Schiaparelli and the singular universe she created. Dressing for the night felt less like choosing an outfit and more like stepping into a dialogue with her legacy.

I wore Schiaparelli, of course, an ensemble rich in detail, anchored by those unmistakable buttons that are never merely functional but small sculptures in their own right. There is something transformative about wearing Schiaparelli: you don’t simply dress, you participate.

Beautiful opening speech by Tristram Hunt, Director of the Victoria and Albert Museum.

With actress and singer Minnie Driver at the opening reception.

Almost as if the spirit of Elsa Schiaparelli was still quietly moving through the room.

With one of the UK’s first hijab-wearing models, Ikram Abdi Omar, both in Schiaparelli.

The Opening: A Living Surrealist Moment

The reception unfolded with a kind of cinematic elegance. Guests moved through the museum like characters in a dream Elsa herself might have approved of, where fashion, art, and personality dissolve into one another. It felt fitting, because Schiaparelli never believed in boundaries.

Elsa was not simply a designer; she was an instigator of ideas. She introduced shocking pink as a cultural statement, elevated the ordinary into the extraordinary, and treated garments as canvases for wit and subversion. Her fascination with the surreal, lobster dresses, skeleton gowns, tears rendered in silk, was never decorative. It was a way of seeing.

She brought so many extraordinary ideas into fashion. Her eye for surrealism, her collaborations with artists like Salvador Dalí and Jean Cocteau, her instinct for symbolism and illusion, and her fascination with remarkable details, especially her extraordinary buttons, helped redefine what couture could be.

On display is the Schiaparelli Harlequin Coat from the S/S 1939 Haute Couture collection entitled «Commedia dell’ Arte» inspired from Man Ray’s 1939 painting entitled «Les Beaux Temps».

Elsa did not merely create beauty; she created conversation. Her work had humor, elegance, and often an intentional sense of disturbance. That was part of her brilliance. She understood that fashion becomes unforgettable when it surprises the eye and unsettles expectation just enough to make people look again.

A Morning with the Past and Present

The following morning offered something rarer: stillness, and the privilege of understanding.

I was guided through the exhibition by Sonnet Stanfill, Senior Curator of Fashion at the Victoria and Albert Museum (V&A), whose clarity and sensitivity brought the entire curation into focus. It was a deeply impressive experience and one that stayed with me on a very personal level.

One room is dedicated to Elsa Schiaparelli’s amazing jackets with incredible details.

What makes this exhibition remarkable is its rhythm. Rather than isolating history, it stages a conversation, one room dedicated to Elsa’s original creations, the next to the contemporary vision of Daniel Roseberry.

Daniel Roseberry’s dreamy designs.

This alternation is more than curatorial, it is philosophical. It allows you to see, almost viscerally, how a house survives time without becoming static.

Three rare pieces from Elsa Schiaparelli’s iconic 1938 Circus Collection.

From Elsa to Daniel Roseberry – a legacy reimagined, the inspiration found within the exhibition itself.

Elsa’s pieces remain astonishing: technically daring, intellectually mischievous, and deeply emotional. But what I just love as much is how seamlessly Roseberry’s work stands beside them. He has achieved something exceedingly rare. His designs do not imitate; they translate. The codes, bold symbolism, sculptural silhouettes, that slightly disquieting elegance, remain intact, yet they are sharpened for a contemporary eye.

Daniel Roseberry with me

For me, he is one of the most compelling designers working today. There is precision in his work, but also courage. He understands that Schiaparelli must provoke, not just please.

Walking through the exhibition, I felt something unexpectedly personal: a renewed conviction in the beauty of collecting fashion. To preserve, to curate, to believe that garments carry memory and meaning. And, quietly, the thought emerged, perhaps one day, my own collection Sandra’s Closet will live in a space like this.

Conversations at Annabel’s

From the museum, I hurried to Annabel’s, where another layer of the story unfolded in conversation.

On stage, Daniel Slater, Director of Exhibitions at the V&A, spoke alongside Francesco Pastore, Head of Heritage and Culture at Schiaparelli, about the making of the exhibition. What appears effortless to the visitor is, in truth, the result of years, seven, as it turns out, of discussion, negotiation, research, and patience. To gather these pieces, to shape them into a coherent narrative, required not only expertise but devotion.

Toward the end, Delphine Bellini, CEO of Schiaparelli, joined the discussion, and I found myself asking a question that had lingered with me: why choose Daniel Roseberry, at the time a relatively unknown name outside industry circles, despite his important work with Thom Browne?

Her answer was as precise as it was revealing. Roseberry had submitted a portfolio so extraordinary, so clear in its vision, that the decision became inevitable. What he offered was not just skill, but perspective: an ability to bridge heritage and modernity through what she described, beautifully, as a «quite disturbing view.»

It is exactly that tension, between beauty and unease, elegance and provocation, that defines Schiaparelli at its best.

Daniel Roseberry’s now-iconic look worn by Gigi Hadid in Cannes with its sculptural lung necklace born from an unexpected production accident, turned into one of Schiaparelli’s most striking modern signatures.

A House That Refuses to Sleep

What this exhibition ultimately makes clear is that Schiaparelli is not a house anchored in nostalgia. It is alive, restless, intelligent, and unwilling to settle.

Elsa once stood at the intersection of fashion and art, reshaping both. Today, under Daniel Roseberry, that spirit continues, not as imitation, but as evolution.

And as I left, still carrying the echo of the night before and the clarity of the morning after, one thought remained: some maisons dress the body, others shape identity. Schiaparelli does something rarer, it changes the way you see.

And that, perhaps, is the real triumph of «Schiaparelli: Fashion Becomes Art»: it shows that the most powerful fashion does not simply dress the body. It leaves a mark on the mind.

Schiaparelli: Fashion Becomes Art runs until 8 November 2026 at V&A South Kensington.

LoL, Sandra

Photos: © Sandra Bauknecht
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Easter as Edible Art: Luxury Hotels Present Their 2026 Chocolate Creations

Every spring, some of Europe’s most prestigious grand hotels transform Easter into a celebration of craftsmanship and creativity. In 2026, renowned pastry chefs once again unveil limited-edition chocolate creations that blur the line between fine pâtisserie and edible sculpture. From Paris to Zurich and Brussels, these exclusive Easter pieces combine tradition, artistry, and exceptional ingredients.

At Le Bristol Paris, pastry chef Maxence Barbot and chocolate chef Johan Giacchetti reinterpret the classic French Saint-Honoré dessert as a sculptural chocolate egg. The elegant design features flowing Chantilly-like waves crafted in dark Venezuelan chocolate. Inside, layers of caramel infused with tonka bean, Piedmont hazelnuts, and cocoa praline create a rich flavor profile, balanced with a touch of fleur de sel. The limited creation is available from March 18 to April 5.

In Zurich, the legendary Baur au Lac presents a delicate chocolate egg created by head pâtissier David Potier. Limited to just 25 pieces, the piece stands out with its intricate lattice shell made of dark chocolate. Inside sits a white chocolate egg filled with pistachio ganache, while pecan ganache at the base adds an unexpected final layer of flavor. Crafted with fine Ecuadorian Arriba chocolate and Madagascar vanilla, the creation reflects the hotel’s long-standing chocolate tradition under the «1844 Chocolat Baur au Lac» label.

Back in Paris, La Réserve Paris introduces an elegant Easter creation inspired by the classic Paris-Brest pastry. Chef pâtissier Jordan Talbot crafts a sculptural egg made from dark Peruvian chocolate, filled with vanilla marshmallows, almond praline, caramelized cocoa nibs, and salted caramel. Available exclusively by pre-order in March, the creation reflects the hotel’s refined and understated approach to gastronomy.

Meanwhile in Brussels, Hotel Amigo hosts the fourth edition of Bel’Œuf, an exhibition celebrating the creativity of Belgian chocolatiers. From April 2 to 8, around 40 chocolatiers present imaginative chocolate eggs inspired by this year’s theme, Pleasure in Motion. The exhibition, organized with chocolatier Marc Ducobu, showcases elaborate chocolate artworks, some of which are available for purchase, while proceeds from the event support cancer research.

Together, these limited Easter creations show how luxury hospitality continues to elevate seasonal traditions, turning chocolate into a form of culinary art.

LoL, Sandra

Photos: Courtesy of the respective hotels
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On October 25, 2025, in Monaco, the inaugural Grand Prix de la Haute Joaillerie celebrated creativity, excellence, and exceptional craftsmanship in High Jewelry.

CHANEL Haute Joaillerie received the prestigious «Best Piece of the Year» award for its stunning Sweater Prestige Necklace from the Haute Joaillerie Sport Collection.

Crafted in white gold, platinum, diamonds, onyx, and 11 emerald-cut emeralds totaling 37.18 carats, the necklace blends sportswear inspiration with timeless CHANEL elegance. Inspired by sweatshirt drawstrings, it redefines luxury with a touch of casual sophistication. The design represents a dialogue between elegance and excellence, echoing CHANEL’s sports-style heritage since the 1920s.

This recognition reaffirms CHANEL’s position as a leader in Haute Joaillerie, where artistry, innovation, and elegance meet in perfect harmony.

LoL, Sandra

Photos: © CHANEL 
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After landing from Istanbul, I went directly to the opening reception of «Hermès in the Making». This outstanding event offers the possibility to meet the artisans behind Hermès’ sustainable craftsmanship. Until November 14, 2024 , you can discover how the French Maison craft objects designed to last and be repaired, to be used and passed down through generations.

Since its founding in 1837, six generations of artisans have safeguarded and nurtured their historic know-how in the Hermès workshops. This heritage is a living, flourishing and constantly evolving treasure trove of artisanal skills. Hermès in the Making brings craftspeople from nearly ten of the house’s métiers to offer a sneak-peek into their expert techniques and exclusive know-how. Their work echoes the heart of Hermès: preserving and developing savoir-faire – expertise which is often linked to a historical tradition or region – a quest for quality, durability and innovation, and respect for the surrounding environments.

With lovely Yvonne Leuthard, Press & Influence Manager Hermès Switzerland 

This 8-day public event features live demonstrations, workshops, interactive activities, and films spread throughout the space. You can customize your visit according to your curiosity and interests.

Lichthalle Maag, Hardbrücke
Zahnradstrasse 22
8005 ZURICH / Switzerland

Until November 14th
(Closed on Monday 11th)
10am – 7pm
Free admission

With my dear friends, Alexandra Kruse, my favorite unicorn and astrologist to the right, and photographer Elena Steness, who captures the best moments as you can see below: 

It was a beautiful evening where we spotted the most amazing bags among the visitors. I can absolutely recommend visiting the exhibition, especially as it has free admission. You just need to book a slot in advance here.

LoL, Sandra

Photos: © Sandra Bauknecht / Elena Steness
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#HermesInTheMaking

Alaïa is participating to Homo Faber 2024: The Journey of Life, taking place from September 1st to September 30th, at the Fondazione Giorgio Cini, in Venice.

This renowned event, curated by Michelangelo Foundation (a non-profit institution based in Switzerland, which champions craftspeople worldwide with the aim of promoting a more human, inclusive and sustainable future) under the art direction of Luca Guadagnino and Nicolò Rosmarini, showcases the finest in contemporary craftsmanship. In immersive exhibitions staged across the magnificent spaces of Fondazione Giorgio Cini, you can discover hundreds of handcrafted objects made by talented craftspeople from all over the world. Meaningful milestones will be celebrated with special objects handcrafted by skilled artisans according to specific techniques. From childhood to travel, romance to dreams, Homo Faber 2024 will showcase the craftsmanship behind the objects that accompany life’s most precious moments. Enjoy exceptional scenography, live artisan demonstrations and unique experiences from culinary ones to special tours. This year, Alaïa will present 30 knitted dresses that embody the Maison’s devotion to femininity.

Knitting is one of the essences of the House of Alaïa. Born from the savoir-faire of its ateliers, developed with its historical suppliers, Alaïa’s meticulous craftsmanship transforms knitted fabric is transformed into a prestigious source of pure beauty.

To book your private visit, click here please.

LoL, Sandra

Photos: © Sandra Bauknecht / Alaïa / Homo Faber 2024
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Last week, I attended the V&A Summer Party that celebrated the opening of the «Naomi: In Fashion» exhibition at the Victoria and Albert Museum in London. The exhibition is the first major museum show dedicated to a supermodel, honoring Naomi Campbell’s 40-year career in fashion.

The party drew a star-studded crowd, including fashion designers, celebrities, and industry insiders. Elizabeth Hurley, Tessa Thompson, Letitia Wright, Rina Lipa and more joined Campbell on the event’s red carpet.

«[It feels] overwhelming, but I just wanted everyone to get to know that side of me that they might not have known,» said Campbell.

She wore a custom dress from Boss, which sponsored her exhibition and the event. Top stylist Law Roach worked with the model on the design of the dress, which was accessorized with two diamond Bulgari snake necklaces.

The exhibition, titled «Naomi: In Fashion» spans four decades of her influential career and will run from June 22, 2024, to April 6, 2025.
Enjoy the impressions of the night!

LoL, Sandra

With interior designer Pernilla Bennet of House of Bennet

The performance of Boy George was really outstanding.

Wearing Christopher John Rogers at the opening party.

With Naomi’s mum Valerie Morris Campbell

With Imran Amed of Business of Fashion

Photos: © Sandra Bauknecht 
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In the Spring of 2024, Fondation Louis Vuitton is reaffirming its mission: promoting the art of our time to the widest possible audience.. Committed to the presentation of ‘landmark works of modernity,’ the Fondation also undertakes to celebrate artists who, while having a connection with the history of modernity, have proposed new models and disrupted perceptions. At the same time, the Fondation supports contemporary creators who boldly set out to reinvent their times, while the Open Space program continues to support and disseminate emerging talent.

From May 4 to September 9, 2024, a landmark exhibition dedicated to The Red Studio (1911) by Henri Matisse (1869-1954) is being presented at the same time as a new retrospective of the work of Ellsworth Kelly (1923-2015) featuring paintings, sculptures, photographs and drawings.

In addition, in the context of the Olympic Games in Paris, the Fondation presents a selection of works from the Collection which relate to sports, offering an alternative and poetic vision of this international event.

LoL, Sandra

Photos: © Louis Vuitton
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