關於 famous women today ，我們在網路上蒐集到這些相關的討論、資訊與評價

In this final extract from her journey of the goddesses around Greece while researching for the Cruise 2022 collection, Maria Grazia Chiuri tours the temples at Delphi. This famous site, whose name derives from the Greek word for womb, was a center of divination whose high priestesses with their divinatory abilities wielded enormous influence as women in the ancient world. A special thanks to IF Experience. Stay tuned for the show being held in Athens today at 8.30pm CET, and see it live on Facebook and on.dior.com/cruise-22.

EMPRESS47 源自於台灣的手工銀式品牌。A handmade silver brand from Taiwan.
其以歌德風格詮釋對於女性的神秘與性感而聞名，商品主要以銀、金等貴金屬以及水晶、皮革等輔料為主要素材。
今天帶給各位的是iPhone12/12max手機殼，使用的材質為植鞣牛皮，並手工磨砂處理，賦予其強烈的斑駁感，中間鑲嵌了三顆紋理獨特的黃鐵礦，成分主要為FeS₂，普遍形成於火成岩或沈積岩中的一種硫化礦物，結晶體俐落乾淨，成立方、八面或五角十二面體。 別於素面手機殼，頗具畫龍點睛之效果。
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EMPRESS47
It is famous for its Goethe-style interpretation of the mystery and sexy for women.
The products are mainly made of precious metals such as silver and gold, as well as accessories such as crystal and leather.
Today we present you iPhone12/12max phone case.
Using vegetable tanned cowhide, and by hand-sanding gives it a strong mottled character. Inlaid with three unique textured pyrites, main ingredient is FeS₂. A sulfide mineral generally formed in igneous or sedimentary rocks.
The crystals are neat and clean, often forming in square, octagonal or pentagonal dodecahedron.
Different from the plain phone case, it has a really outstanding finishing.
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Visit our site to see more about it.

Shop online:
www.immense.tw
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#archive #techwear #darkstyle #blackfashion #highend #avantgarde #guidi #julius7 #theviridianne #borisbidjansaberi #rickowens #yohjiyamamoto #anndemeulemeester #juunj #rigardseyewear #rigards #joechia #11bybbs #11byborisbidjansaberi #professor_e #guerrillagroup #werkstattmunchen #4dimension #empress47 #immensetw #taiwan #taipei

【水世界】的前製設定與現場劇照

WATERWORLD (1995)
In celebration of today’s anniversary of this wet mess/epic. Let’s celebrate the hard work this crew put into bringing this world to life. Water movies are never easy but when it comes to this movie anytime you bring it up and a crew member from it is in earshot, the stories pour out. Not always bad, I know a AC that said he had a blast, he loved the boat rides out and all the camaraderie the crew had to have to get thru it. To all the crew that helped bring WATERWORLD to life, We salute you and thanks for the memories. I personally enjoy this hot mess of a movie, it’s one of the last ones of its kind...done practically...in a way.
let’s take a deepest of dives into WATERWORLD

The director, Kevin Reynolds, knew there would be problems before production had even started, “During pre-production. Because having never shot on water to that extent before, I didn’t really realise what I was in for. I talked to Spielberg about it because he’d gone to do Jaws, and I remember, he said to me, “Oh, I would never shoot another picture on water”.
“When we were doing the budget for the picture, and the head of the studio, Sid Sheinberg, we were talking about it and I said, “Steven told me that on Jaws the schedule for the picture was 55 days, and they ended up shooting a 155 days”. Because of the water. And he sat there for a moment and he said, “You know, I’m not sure about the days, but I do know they went a hundred percent over budget”. And so, Universal knew the potential problems of shooting on water. It’s monstrous.”
The film began with a projected budget of $100 million which had reportedly increased to $175 million by the end of production. The principle photography had overrun for at least thirty days more than originally planned due to one major decision.

Whereas today they would film in water tanks with partially built sets, employing green screens to fake the locations, back in 1995 they decided to build everything full size and shoot out on the ocean.

This causes extra logistical problems on top of those that already come with making a major action blockbuster. Cast and crew have to be transported to sets. The camera boats and sets float out of position and will have to be reset between takes taking up valuable production time.

The first draft of Waterworld was written by Peter Radar, a Harvard graduate who wanted to break into the film business. His contact in the film industry was Brad Kevoy, an assistant to the legendary director Roger Corman.

Roger Corman is best known for making films very quickly on a small budget. He also liked to give young talent a chance to direct and write their own films. Brad informed Peter that if he could write a Mad Max rip off, he would arrange to finance and let him direct the picture.

Radar came back and pitched the idea for what would become Waterworld. Kevoy took one look at him and said,

“Are you out of your mind? This would cost us three million dollars to make this movie!”
So Radar kept hold of the idea and decided to re-write the script but, this time, going wild. He wrote what he wanted to see on-screen, limited only by his imagination, not a real world production budget.

He managed to get the newly written script shown to a pair of producers with whom he had made contact with. They loved it and ironically they passed it onto Larry Gordon. He shared the enthusiasm saying it had the kind of cinematic possibilities he was looking for. A deal was signed on Christmas Eve of 1989.

As further script rewrites progressed, it became clear that Waterworld was too big for the Larry Gordon’s production company to undertake by themselves. In February 1992, a deal was signed with Universal Pictures to co-produce and co-finance the film. This was now six years after the first draft had been written.

Universal had signed director Kevin Reynolds to Waterworld. Whilst he was finishing his latest film, Rapa Nui, pre-production for Waterworld was already underway.

The decision was taken that the largest set for the film, known as the atoll, would be built full size. The atoll was the primary location for film and in the story served as the location for a small population of survivors.

The logic behind this decision was due to the high percentage of live action filming required in this location, as well as a huge action set piece. No sound stage would be big enough to incorporate this number of scenes and it was crucial that we see the mariner sail his boat into the atoll, turn around and set out again. A full-size construction was the only way to go as the use of miniature and special effects would be impractical.

The next problem was deciding where to build this huge set. After much research, Kawaihae Harbour in Hawaii was chosen as the location. The atoll could be constructed in the harbour and rotated when needed thus allowing for open sea in the background. Later towards the end of principle photography, the atoll could be towed out into the open sea for the filming of the big action sequences which would be impractical to shoot in an enclosed harbour.

Director Kevin Reynolds also discussed the possibility of using the same water tank as James Cameron’s The Abyss, which had filmed there around five years ago,

“We had even entertained the notion of shooting at that big nuclear reactor facility where they had shot The Abyss, to use it for our underwater tank. But we found it in such a state of disrepair that economically it just wasn’t feasible. We didn’t have as much underwater work as they did. Most of The Abyss is interiors and underwater and model work, ours is mostly surface exterior.”

The production company had originally envisioned building the atoll by linking approximately one hundred boats together and building upon this foundation, just like the characters in the film. The production crew set out to search Hawaii and get hold of as many boats as possible.

During this search, a unique boat in Honolulu caught their attention. Upon further investigation, they discovered it was built by Navitech, a subsidiary of the famous aircraft production company, Lockheed.

They approached Lockheed with the strange request of figuring out how they could build the foundations of the atoll. Lockheed found the request unusual but didn’t shy away from the challenging. They agreed to design the atoll foundation and Navitech would construct it.

Meanwhile, an 11ft miniature model of the atoll was sent out to a model ship testing facility in San Diego. Scaled wave tanks are used to determine the effects of the open sea on large scale miniature models of new untested ship designs. This would help determine what would happen with the unusual design of the atoll when it was out of the harbour.

The atoll, when finished, was approximately ¼ mile in circumference. It took three months to construct and is rumoured to cost around $22 million. As the atoll would be used out on the open sea, it required a seafaring license. Nothing like this had been done before and after much deliberation, it was eventually classed as an unmanned vessel. This meant that all cast and crew would have to vacate the set whilst it was towed into position. By the end of production, the atoll was towed out to sea a total of five times.

Shooting out on the open sea presented a series of logistical problem as Reynolds describes,

“We had an entire navy, basically – I mean, this atoll was positioned about a mile off-shore in Hawaii, it was anchored to the bottom of the ocean so it could rotate. What you don’t think about are things like, you’re shooting on this atoll to maintain this notion that there’s no dry land, you always have to shoot out to sea. Away from the land. So we chose a location where we had about a 180 degree view of open water. Nevertheless, any time when you’re shooting, there could be a ship appear in the background, or something like that, and you had to make a choice. Do I hold up the shot, wait for the ship to move out, or do we shoot and say we’re going to incur this additional cost in post-production of trying to remove the ship from the background.

And at that time, CGI was not at the point it is now, it was a bigger deal. And so, even though if you’re shooting across the atoll and you’re shooting out onto open water, when you turn around and do the reverses, for the action, you had to rotate the entire atoll, so that you’re still shooting out to open water. Those are the kinds of things that people don’t realise.

Or something as simple as – if you’re shooting a scene between two boats, and you’re trying to shoot The Mariner on his craft, another boat or whatever, you’ve got a camera boat shooting his boat, and then the other boat in the background. Well, when you’re on open water things tend to drift apart. So you have to send lines down from each of those boats to the bottom, to anchor them so that they somewhat stay in frame. When you’ve got a simple shot on land, you set up the camera position, you put people in front of the camera and then you put background in there. But when you’re on water, everything’s constantly moving apart, drifting apart, so you have to try to hold things down somewhat.

And these are simple things that you don’t really realise when you’re looking at it on film. But logistically, it’s crazy. And each day you shoot on the atoll with all those extras, we had to transport those people from dry land out to the location and so you’re getting hundreds of people through wardrobe and everything, and you’re putting them on boats, transporting them out to the atoll, and trying to get everybody in position to do a shot. And then when you break for lunch, you have to put everybody on boats and take them back in to feed them.”

The final size of the atoll was determined by the size of the Mariners boat, the trimaran. The dimensions for the trimaran were finalised very early on in pre-production, allowing all other vehicles and sets to be sized accordingly.

Production required two trimarans boats which are so called because they have three hulls. The first was based on the standard trimaran blueprint and built for speed but also had to accommodate a secret crew below decks.

During wide and aerial shots it would have to look like Costner himself was piloting the boat. In reality, a trained crew could monitor and perform the real sailing of the boat utilising specially built controls and television monitors below deck.

The second trimaran was the trawler boat which could transform into the racer through the use of special practical effects rigs. Both of these boats were constructed in France by Jeanneau. Normally this type of vessel requires a year to construct but production needed two boats in five months!

Normally once the boat had been constructed, Jeammeau would deliver it on the deck of a freighter, requiring a delivery time of around a month. This delay was unacceptable and so the trimarans were dismantled into sections and taken by a 747 air freighter to the dock Hawaii. Upon arrival, a further month was required to reassemble the boat and get them prepared for filming.

sets recreating the inside of the tanker were built using forced perspective in a huge 1000ft long warehouse which had an adjoining 2000ft field. In this field, they built the set of the oil tankers deck, again constructed using forced perspective. Using the forced perspective trick, the 500ft long set could be constructed to give the impression that it was really twice as long.

There’s more to a film than just it’s sets and filming locations. Over two thousand costumes had to be created with many of the lead actors costumes being replicated many times over due to wear and tear.

This is not an uncommon practice for film production, but due to the unique look of the people and the world they inhabit, it did create some headaches. One costume was created with so many fish scales the wardrobe department had to search the entire island of Hawaii looking for anyone who could supply in the huge quantity required.

Makeup had to use waterproof cosmetics, especially on the stunt players. As everyone had a sun burnt look, a three-sided tanning booth was setup. The extras numbering in their hundreds, with ages ranging from six to sixty-five, passed through the booth like a production line to receive their spray tan. The extras then moved onto costume before finally having their hair fixed and becoming ready for the day.

In some scenes, extras were actually painted plywood cutouts to help enhance the number of extras on the set. This can easily be seen in one particular shot on board the Deez super tanker.

Filming on the water is not only a difficult and time-consuming process but also very dangerous. It’s been reported that Jeanne Tripplehorn and Tina Majorino nearly drowned on their first day of filming.

Waterworld’s star Kevin Costner reported having a near-death experience when filming a scene in which the mariner ties himself to his catamaran to survive a storm. The pounding water caused him to black out and nearly drown.

Unbeknownst to most of the crew, Kevin Costner’s stunt double was riding his jet ski across 40 miles of open ocean between his home on Maui and the film’s set on the Big Island. When he didn’t show up for work one day, the production team phoned his wife, who informed them he had already left for work. The stunt double’s jet ski had run out of gas halfway through his “commute” and a storm had swept him farther out to sea. It took a helicopter most of the day to find him. The stunt doubles name was Laird Hamilton.

As well as the logistical problems of creating a film of this scale and on water, they also had to deal with the press who seemed intent on wanting the film to fail. Director Kevin Reynolds discusses the situation,

“It was huge, we were constantly fighting – people wanted to have bad press. That was more exciting to them than the good news. I guess the most egregious example of that that I recall was that the publicist told me that one day…we’d been out the day before and we were doing a shot where we sent two cameras up on a mast of the trimaran and we wanted to do a shot where they tilled down from the horizon down to the deck below. We’re out there, we’re anchored, we’re setting the shot up and a swell comes in, and I look over and the mast is sort of bending.

And I turned to the boatmaster and I said, “Bruno, is this safe?”. And he looks up the mast and he goes, “No”. So I said, “Okay, well, we have to get out as I can’t have two guys fall off from 40 feet up”. So, we had to break out of the set-up, and go back in a shoot something else and we lost another half-day.

Anyway, the next day the publicist is sitting in his office and he gets this call from some journalist in the States and he goes, “Okay. Don’t lie to me – I’ve had this confirmed from two different people. I want the facts, and I want to hear about the accident yesterday, we had two cameramen fall off the mast and were killed”.

And, he goes, “What are you talking about?”. And he goes, “Don’t lie to me, don’t cover this up, we know this has happened”. It didn’t happen! People were so hungry for bad news because it was much more exciting than…they just said it, and you know, it hurt us.”
Upon release, the press seemed to be disappointed that the film wasn’t the massive failure they were hoping it to be. Universal Studios told Kevin Reynolds that one critic came out of an early screening in New York and in a disappointed tone said,

“Well, it didn’t suck.”

It is true that during principle photography the slave colony set sank and had to be retrieved. However due to bad press, the rumour became much bigger and to this day when you mention the sinking set, most people assume it was the huge atoll.

During production, press nicknamed the film “Kevin’s Gate” and “Fishtar”, referring to 1980’s box office failures Heaven’s Gate and Ishtar. Heaven’s Gate failed so badly it led to the sale of United Artists Studio and has become synonymous with failure in Hollywood.

As well as the exaggerated set problems and other various production rumours, there were also difficulties with the script. In a risky move, the film was green lit and moved into production without a finalised script.

The final total is a reportedly thirty-six rewrites. One of the writers involved was Joss Whedon. Joss had worked on many scripts before becoming a director having being at the helm of both The Avengers and the sequel Avengers: Age Of Ultron. He described his experience on Waterworld as,

“Seven weeks of hell”
Everything came to a head just three weeks before the end of principle photography. Kevin Reynolds who was an old friend of Kevin Costner allegedly walked off set or was fired. There was no official statement on what happened.

When Reynolds left the production this event caused many changes to be made. Composer Mark Isham had already composed approximately two-thirds of the film’s score by the time Reynolds left and that event ultimately caused him to leave production. As Mark describes in this interview excerpt,

“Kevin Reynolds quit the film, which left me working for Kevin Costner, who listened to what I had written and wanted a completely different point of view. He basically made a completely different film — he re-cut the entire film, and in his meeting with me he expressed that he wanted a completely different approach to the score. And I said, “oh let me demonstrate that I can give that to you”, so I presented him with a demo of my approach to his approach, and he rejected that and fired me. What I find a lot in these big films, because the production schedules are so insane, that the directors have very little time to actually concentrate on the music.”
Rumours report that Costner took control of production. He directed the last few weeks of principle photography and edited the final cut of the film that was released in cinemas.

Reynolds discusses his surprise at discovering that one of the most famous scenes from what is known as the extended version, was left on the cutting room floor,

“…it would have differed from what you saw on the screen to some extent, and one of the things I’ve always been perplexed by in the version that was released, theatrically, although subsequently the longer version included it, and the reason that I did the film, was that at the very end of the picture, at the very end of the script, there’s a scene when they finally reach dry land and The Mariner’s sailing off and he leaves the two women behind, and in the script they’re standing up on this high point and they’re watching him sail away, and the little girl stumbles on something.
And they look down and clear the grass away and that’s this plaque. And it says, “Here, near this spot, 1953, Tenzing Norgay and Edmund Hillary first set foot on the summit of Everest”. And that was in script and I was like, “Oh, of course! Wow, the highest point on the planet! That would have been dry land!”. And we got it! We shot that. And they left it out of the picture. And I’m like, “Whaaat?!”. It’s like the Statue of Liberty moment in Planet of the Apes. And I was like, “Why would you leave that out?”

Written by John Abbitt | Follow John on twitter @UKFilmNerd

If any the crew cares to share any of their experiences on it please comment.
Thanks for reading
If you want more deep dives visit
https://www.facebook.com/groups/crewstories/?ref=share

I made this choreography 3 years ago on a famous traditional Taiwanese song.

The song is about wives in the Taiwanese culture. Supporting and taking care of their family is the most important thing for them. What makes them happy is to be with their husband and no matter how hard life can be, they will still hold each other hands.

It may sound old fashioned. Today, women are independent but the core idea is the same. We are strong for the ones we love, having mutual respect and supporting each other definitely bring happiness. In that way, the lyrics are still touching.

I wanted to get a deeper connection with this subject so I used a dress that my grandmother used to wear in the 60's/70's! 👗🥰
Hope you'll enjoy it 🧡

🎶 ：#家後
🎤 ：#江蕙
#tapdance #踢踏舞
如果你喜歡今天的影片的話請幫我按讚訂閱加分享喔！！！ 對我們的演出或踢踏舞或是對我有興趣（？！🤣）的話也歡迎追蹤我的IG，會有更多演出資訊唷！！
我們下支影片見囉！謝謝～～～🧡

Thank you for watching my video and hope you enjoy it :)
Plz thumb up, share to your friends and subscribe to my channel if you like and wanna support me! Thanks!!
Oh! And follow me on instagram :)
See you in next video! xoxo
Also check my other videos! Thank you!!
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About Me 🙋🏻‍♀️: ：

Cindy Huang
踢踏/街舞舞者
曾隨舞工廠舞團赴LA.紐約.香港演出，並參與舞工廠舞團年度製作以及各年台北踢踏節的編舞及演出，並於2015年赴L.A、紐約半年，進修街舞及踢踏舞。
所屬街舞團體TSC曾獲得 Adidas 大專盃街舞大賽冠軍、亞洲捷運盃街舞大賽冠軍、Adidas 女子創意街舞大賽冠軍⋯等。並擔任SHE、MP魔幻力量、丁噹、周湯豪、王心凌、蕭秉治⋯等藝人舞者,參與巡迴演唱會、電視錄影、跨年、頒獎典禮等各大演出。

SUBSCRIBE: https://www.youtube.com/channel/UCaSTA427diQdA4JvEdaJ0ww/

INSTAGRAM: https://www.instagram.com/cindy_huang15/

📧: cindy1152002@gmail.com

成為這個頻道的會員並獲得獎勵：
https://www.youtube.com/channel/UCIuNPxqDGG08p3EqCwY0XIg/join

#WEGOJapaneseStore #日本潮店 #日本旅行 #osakamustbuy #日本wego必買 #大阪必買 #大阪心齋橋 #wego分店 #日本潮牌

Hello大家好, 我叫阿Tsar Hello, everyone.

今日帶大家去到大阪心齋橋一間潮店shopping Today I will take you to shopping in Shinsaibashi, Osaka

去日本旅行對這個品牌一點都不陌生WEGO Japanese Store U will find this brand WEGO familiar in Japan

如果講日本街頭潮流文化, 大家都會想起Supreme If u talk about Japanese street fashion, everyone will think of Supreme

Supreme在1994年出於倫敦的設計師James Jebbia在紐約SOHO創立出來的 Supreme was founded in 1994 in SOHO of New York by British designer James Jebbia

Supreme買得那麼貴的原因, 就是因為本身設計師好有性格, 設計好多限量版的時裝 The reason Supreme bought so expensive is because the designer has designed a lot of limited-edition fashions.

懂得利用Hunger Marketing飢餓行銷, 即是好多限量版, He made use of Hunger Marketing which has a lot of limited editions,

製造供不應求的．的「假象」, Manufacturing in short supply for making a scence of shortage

加上又講得跟名牌好像Louis Vuitton還有好多名牌玩crossover Plus crossover with the famous brands like Louis Vuitton n many other famous brands

所以買到普通一件T恤都要過千元HKD, So that a simple T-shirt is selling more than a thousand HKD,

而我今日介紹的WEGO Japanese Store, 它是日本一個好出色的街頭文化品牌 The WEGO Japanese Store that I introduce today, it is a famous street culture brand in Japan

但是它的價錢就便宜好多好多,價格非常親民,而且男女裝都有 But its price is a lot cheaper n affordable for men and women.

在日本的年青人由15歲至到25歲, 最少擁有一件WEGO Young people in Japan from 15 to 25 years old, own at least one WEGO

WEGO比 Supreme更平價, 但是比起平價的UNIQLO色彩款式更豐富 WEGO is more affordable than Supreme, but more details n colorful than the cheap UNIQLO

你可能認為WEGO, 只會適合年青人啦?! You might think that WEGO is only suitable for young people ?!
我不同意這個講法! 因為年齡只是一個數字 I disagree with this! Because age is just a number

而穿衣只會顯示你當時的心情, 好像現在的社會氣氛 Dressing will only show your mood at that moment, specially for the current social atmosphere

我認為, 大家應該可以用色彩對你的生命注入一點繽紛元素 I think that everyone should be able to erich your life with colors

片尾我會介紹幾句日文的潮語給大家, 如果你對這方面有興趣 At the end of the video, I will introduce a few Japanese slangs to u. If u are interested in this,

記得看到片尾, 看完記得给我表情符號以示支持 Remember to watch till the end, also give me an emoji to show support

事不宜遲, 快點看看今日的十大必買, are you ready? Let's move on to take a look at today's top 10 best-buy, are you ready?

第一必買, 如果大家以為腰包是的士司機、小販的專利 1st best buy is belt bag. ........
今日的分享大致上是這樣, 還記得我跟大家有個約會嗎 This is about what I am sharing for today. Remember we have a date?
我應承過大家寫一份5日4夜大阪行程規劃, I promise everyone to write a 5-nites 4 days Osaka itinerary plan,

這個行程規劃將會在我五月尾放完大假之前寫好給大家 This itinerary plan will be written for everyone before the end of May.

希望可以令到大家planing, 怎樣去大阪可以玩得輕鬆easy I hope that everyone can plan easily n have fun going to Osaka next time

還可以分享給你們的團友, 不用自己煩 U can also share it with your friends travel together, save a lot of trouble by watching my videos!

當中會有好多資訊分享, 我的大阪播放清單超過100條影片 There will be a lot of information to share, my Osaka playlist has more than 100 videos

將會放在google map的行程規劃, 所以大家一定會看得清楚 It will be placed on the google map itinerary plan, so everyone will see it clearly

另一個同大家的約會, 就會在我五月放完大假之前開live

已經收到好多網友的提議講鬼故, 之前我會通知大家何時做直播

不會留底, 所以不會嚇怕其他不想聽鬼故的網友

如果大家喜歡我的介紹, 記得幫我分享訂閱和like If you like my sharing today, please remember to CLS

我的下一條片再傾過日本的其他話題, My next video will cover other topics in Japan,

日文晚安 Oyasumi nasai Good nite in Japanese is "Oyasumi nasai!"

我們下次再傾過, 88, Oyasumi nasai With that said untill next time, 88.
請用片右下角調4K睇片。

みなさん、こんにちは、Ah Tsarです。

今日は大阪心斎橋のタイドショップで買い物に連れて行きます

日本への旅行は、このブランドWEGO Japanese Storeに慣れています

日本のストリートカルチャーについて言えば、誰もが最高の

Supremeは1994年にロンドンのSOHOのデザイナーJames Jebbiaによってニューヨークで設立されました。

Supremeが非常に高価に購入した理由は、デザイナーが個性を持ち、限定版のファッションを数多くデザインしたためです。

多くの限定版であるハンガーマーケティングのためのハンガーマーケティングの使用方法を知っている、

 供給不足での製造。 "想像力"、

さらに、ルイ・ヴィトンのような有名ブランドと話をしなければなりません。クロスオーバーをプレイしている有名ブランドがたくさんあります。

通常のTシャツを1000香港ドル以上購入する必要があります。

今日紹介したWEGOジャパニーズストアは、日本のストリートカルチャーブランドです

しかし、その価格ははるかに安く、価格は人々に非常に近く、そして男性と女性の両方が持っています

15歳から25歳までの日本の若者で、少なくとも1つのWEGOを所有している

WEGOはSupremeよりも手頃な価格ですが、安いUNIQLOカラースタイルよりも豊富です

WEGOは若者だけに適していると思いますか？！

私はこの声明に同意しません！年齢は単なる数字なので

そして、ドレッシングは、あたかも現在の社会的な雰囲気のように、その時の気分だけを表示します

誰もが色であなたの人生に小さなカラフルな要素を注入できるはずだと思います

映画の最後に、この側面に興味があれば、日本の流行語をいくつか紹介します

映画の最後を見ることを忘れないでください、そしてそれを読んだ後、私にサポートを示すために絵文字を与えることを忘れないでください

さらに騒ぎ立てずに、今日の必需品トップ10を見てみましょう。準備はいいですか。

誰もがウエストバッグはタクシーの運転手や行商人の特許だと思っているなら、最初のものを買う必要があります

それであなたはとても間違っています、グッチ、エルメス、ドワールもベルトバッグなどの製品を製造しています

WEGOにはさまざまなスタイルがあります

顔に口紅・水・お財布などが置けて、軽くて便利................