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We can dream of a future where sleek spaceships glide through the air at the speed of light and any of our wants, needs, or desires, can be conjured by the simple press of a button — but the truth is, the future is a wholly intangible entity. Only time will tell where the pathways we have carved as a civilization will lead the travelers of tomorrow. Although, some creations are so ingenious that they just may supersede time as we know it.
MONOSUIT is a genderless brand inspired by the solar system, sci-fi, and all things space. With their latest collection, titled “Destroy All Monsters,” the cutting-edge brand cemented their role as leaders in the evolution of fashion. Their one-of-a-kind, sustainable and seamless jumpsuits, coined “Monoskins” are the perfect versatile option for any and every occasion.
You can take down the galaxy and still make it home in time for dinner in MONOSUIT’s space-age-inspired suits. MONOSUIT is breaking every normative fashion barrier and bettering the world all at once — MONOSUIT is the future.
Experience the infinite, expansive planet that is MONOSUIT by reading office’s interview with the brand’s designer and founder, Maria Agapkina, below.
How did the MONOSUIT journey begin? Why did you decide the world needed a brand like yours?
So first of all, I'd like to introduce myself. My name is Maria Agapkina. I'm a designer and the founder of MONOSUIT's fashion brand. I started my brand eight years ago, in Moscow, Russia. And then later after several years — three years ago — we expanded into the U.S. The main motivation for me to start a brand was actually two different things. First of all, I really love fashion and I have an artistic background. I'm an artist in my heart. And fashion is really what I've dreamed of since my childhood. But at the same time, I can see that fashion has what I call a 'dark side' and I know most people do not like to talk about that. That is what mostly worried me about designing — the whole process of creating and utilizing clothes. Now, the majority of clothes, they live for what I would call a linear lifecycle — we are buying stuff and using it, but then those clothes are dying somewhere in a landfill. From the beginning, I've loved fashion. It's cool. It's interesting, it has a lot of creative opportunities for me as an artist. But at the same time, it has an unpleasant back side. I felt like I may be one of the people who could really help to change things. That's why I started thinking, about eight years ago, that we needed to actually make a dramatic change in how we produce clothes, how we design clothes, and how we ultimately recycle them. I found out that the best solution here is to make that lifecycle circular. So for me, my dream from the beginning was for someone to buy my clothes, wear them, and then after the person doesn't need the clothes anymore, we need to recycle it back — ideally into a powder or into a fiber. And from that fiber, we can make threads, and then use the threads again to form fabric, and then out of fabric we can make a new garment once again. The concept of zero waste became my dream. I focused all of my efforts on starting this business, and now I'd like to help other people who supported me to switch from that linear lifecycle to the circular and zero waste concepts. The brand started with that big dream. It was very ambitious and a little bit romantic at the beginning, but here we are.
I feel like a lot of brands — they don't start with this idea from conception of the brand. With what you're saying, this was always the intention. Your products are so ethically made, but these are things that a lot of companies are just starting to figure out. I think that's really commendable, because that was always your vision and it shows through your work.
Thank you very much for saying that. The most important motivation for that, I would say, was actually my parents who graduated from agricultural university. All their lives, my mother and father had been planting those seeds. That's why, from childhood, I felt that deep connection with nature. I've actually traveled to more than 60 countries all over the world. Year after year, I saw the bad situations going on with waste all over the world. There is excessive plastic and trash floating in our oceans. It's about actually accepting that. I don't think every government understands that this phenomenon is accelerating, and we need immediate action.
Can you explain the behind the scenes process that goes into the regenerated nylon that the jumpsuits consist of? How does ocean and landfill waste go from trash to your beautiful end product?
I did a tremendous amount of research and found amazing technologies in Italy. I met with the general directors and representatives for some factories, and we started discussing that we were on the same page, you know, we had the same interests. For them, they are producing fabrics, and they are also looking for ways to be sustainable in the production of the fabric. For us, we are looking at how to make design more sustainable and how to source more sustainable technologies. We found the solution together. When we say ocean waste, it's actually a subsidiary of the factory and we are together controlling it. A majority of ocean waste is fishing nets and, of course, plastic garbage. So all this waste in the Mediterranean and the Pacific Ocean, we collect it. Then this waste needs to be sorted out. Out of this garbage, we make capsules — they look like little black stones. We turn those 'stones' into a powder, and this entire process requires minimum amounts of water. It's a lot more ecological when compared to organic cotton, which requires tons of water and tons of human labor. This is a machinery process. Out of the powder, we then make the threads. After that, there are actually two methods we could use. The first method is we could make fabric, then cut our clothes out of traditional 'cut and sew' patterns. But we decided not to use that method; we decided to go a more automated direction. It's seamless. It means that all those threads go into a special, tubular machine. Those machines are also used for making tights, for example. So we were able to combine together a sustainable, recyclable yarn plus that circular production.
All of our jumpsuits also have zippers on the lower back, which resolves that awkward problem for women — you don't have to sit naked in the restroom. So far, we are able to use 30% of fiber made of that recycled material, but we are going to increase that recycled percentage from collection to collection. The technology just isn't there yet. We already tried to make our products 100% recyclable, but it's a little less comfortable to wear. I'm wearing it right now and it takes me from morning to night. So we are trying to find that balance between thermal, antibacterial, soft as cotton, but at the same time — recyclable. That's why in the next collection, hopefully we will have another 10 or 20% more, and then hopefully by about three years, we will have 100% recyclable and comfortable wear.
My mind is blown because the detail that goes into this is so intricate. And 30% regenerated materials is 30% more than a lot of other brands are doing. Your jumpsuits are also the first ‘high-tech’ jumpsuits out there. From antibacterial material to patented ‘secret’ zippers, you really thought of it all. Can you break all the technology included in the jumpsuits down for me?
Those qualities — antibacterial and thermal characteristics — are actually all about how to knit the garments. For example, you can knit it in a more firm way, or you can knit it in the way that it still breathes. It took us at least 15 tries — we played around with how to knit for the best softness and best breathability. For the antibacterial effect, it's actually certain components that are added to the top of the fibers in order to prevent bacteria from growing. For example, bacteria love cotton. There are advantages to combining different man-made materials because bacteria don't like them. So it's not about killing bacteria, it's about not letting them grow.
I know you said you're wearing a Monoskin right now. Why do you think everyone should have a Monoskin jumpsuit in their closet?
For me, it's about being a very busy person. In the morning, you always think, 'Oh, my God, what to wear — I have to combine a top and bottom.' With Monoskin, it's so easy. Basically you can jump in and go. So this morning, I went jogging wearing it. It's breathable and perfect for winter temperatures. And then for this meeting, to look more 'business,' I just put a jacket on and I'm ready to go. It's easy to style with all the basic items in a wardrobe, and at the same time, it saves you time. I love this one I have on — it's like a cinnamon color. But the black one is always a universal one. Especially when you are traveling or on an airplane, there is no uncomfortable squeezing — you don't actually feel it on you. Another thing that I love is that jumpsuits are just super trendy right now, especially in terms of all of this digitalization — like gaming and virtual reality. Wearing it kind of makes me feel like a superhero. I'm also a big fan of space and space travel and it feels very futuristic. It's an amazing substitute for the pairing of leggings and a top; I think that's a little outdated now.
Your latest collection, titled “Destroy All Monsters,” was inspired by a 60s film by Irisho Honda. So I was wondering, what is your favorite sci-fi movie of all time?
It might be an unexpected answer but for me I feel like what you see in sci-fi movies can be observed in Grimes and what she's doing. It's like a reality show. But I really love all retro-futuristic movies, like Kubrick or I really love this Russian film called “Solaris” — the story was written by a Russian writer. I really go for a slow kind of futuristic movie — almost hypnotic. You kind of feel yourself in there in some way — in a spaceship, lost in space. I think all the old ones are the best. I like the irony of these films.
Yeah all of those topics are relevant now, too, with technology. So I think that's a super cool concept to base a collection on.
This comes, again, from my childhood. The first cosmonaut was actually in Russia, back in 1961. My childhood was full of dreams that maybe just in a year or two, we would be traveling between the planets easily. I'm still waiting for that moment — hopefully it will be soon. And that's why I need to be prepared in terms of what I can wear!
Exactly. You could totally wear a Monoskin in space. You talked before about how putting something on can transform the self — it can transform your identity, depending on what you're wearing. You said, you know, maybe you can even feel like a superhero. So if you could be a superhero, what would your power be?
Frequently in my dreams, I see myself flying. So I think I would be a fairy or an elf — something like that. My superpower would be flying all over space and curiously observing what is happening and how I can help to change things — kind of like an angel. For example, if I see that there is a lot of garbage somewhere, I have a magic wand and I can touch the garbage and clean it all up. Transforming trash into a treasure, you know?
And my follow up question is, if you could visit one planet, which planet would you choose and why?
I think I would like to visit another universe — not the planets of our galaxy. So if I had the opportunity to talk with a kind of higher mind, I would ask them how many universes we have in our solar system. And, if they said, for example, 'Five,' I'd go to the farthest one. I would want to see the most strange and outlandish place. I could gather inspiration and maybe bring some of those amazing things here, back to the earth.
Your pieces have been seen on some really big names, after only three years of bringing MONOSUIT to the U.S. What was the moment for you that really made you realize your brand was resonating with people?
Our strategy was to participate in New York Fashion week every season. We started in 2018, twice a year in New York, just to get visibility. The reactions were really positive; they'd say, 'Your clothes are so not from here!' A lot of people used the words avant-garde or futuristic. A lot of people said they hadn't seen something like that in New York before. And for me, it was so much support. When I compare it to Moscow, Russia — I receive so much support here too, but people in the U.S. are more brave about wearing original designs. In Moscow, people want to wear brands that they know. And in New York, I see that people are so open to new ideas. They really support me. The biggest celebrity, the first one was Maye Musk. She started to support the brand and we send her custom pieces all the time. Then Madonna. Madonna was like the moment.
Do you have any fun conceptual ideas that you're working on for a next collection?
Now, a lot of the sustainable aspects we would like to incorporate into our strategy are actually digital — digital clothes. Because from the sustainability perspective, digital clothing is an amazing direction for us to go. All of these big plans for the Metaverse, by Zuckerberg, actually open up a great perspective for designers to design digital clothes that potentially will be used for avatars. I know, statistically, about one of 10 garments that people are buying is normally just used once for an Instagram picture or a Facebook picture, and then it's garbage. That is such a, frankly speaking, nasty thing. It doesn't need to go this way. Our clothes are a lot of statement pieces — I just want the people to wear them for many years. That's why we are very, very focused on quality. But at the same time, if we see that the person would rather just wear it for one picture, we'd rather stimulate them buying a digital version of the garment. It's much less of an impact on our environment — except for certain e-waste. So digital clothes and NFTs are our next major direction.
Check out the new collection below.
Area Collection 01 bends the rules of femininity, establishing that it is truly in the eye of the beholder. Gone are the days of succumbing to rigid expectations and non-tangible “rule books,” gone are the days of shaping to fit impossibly biased molds — Area Collection 01 creates a new reality, a reality where stereotypes are only acknowledged so that they may be brazenly broken.
Some models in the campaign are displayed dripping in diamante (Area’s signature, of course), while others are brandished in chunky studded embellishments. This unexpected clash of daintiness and boldness embodies the ethos of the entire collection — challenging feminine stereotypes while enforcing the idea that a true Area wearer is in charge of their own femininity and how they want to wield it.
Whether that be through 1600s-style metal-boned corsets or softer tweed styles that call to the 80s, Collection 01 allows you to choose the manifestation of your identity. Area sifted through different feminine styles and motifs throughout history — such as the classically gentle and sweet daisy — to create an all-encompassing culmination of the modern empowered individual.
As the collection features a range of garments, from pave-crystal garnished frocks, to tailored sets, to slinky catsuits, it even clouds the distinctions between lingerie, luxury wear, and day wear. There are no rules with Area Collection 01, only freedom to express without hindrances or assumptions.
To bring this concept to life, the campaign called upon photographer Charlotte Wales, stylist Clare Byrne, and make-up artist Kanako Takase who all contributed to further illuminating the rich menagerie of colors and textures in Collection 01. Models Daphne Groeneveld and Debra Shaw stand in as the representatives of everything the collection embraces — freedom, fluid sensuality, and most of all, confidence.
Enter the magical realm of Collection 01 by viewing photos of each look below.
Italian-born and New York-based designer, Prisca Vera Franchetti wants you to experience the bliss of escapism with her SS22 lookbook filled with her own friends, paparazzi-style. The designer that juxtaposes the elegance of European garments to today’s pop culture makes clothing for the women that take risks in a calculated fashion. Her woman is a badass and from the lookbook, you can imagine your own abilities to command attention in the most mundane of times.
The vibrant silky blues and striking prints such as dalmatian print, mini dresses, and mesh material are an embodiment of what spring will be like in 2022. If there’s one thing that might be absolute for the new year it’s that PRISCAVera will be worn by the New York woman that isn’t afraid of nearly anything. The lookbook features women doing their everyday hot girl activities i.e. making out in the streets of the city or casually walking your stroller of groceries back home while dressed to the nines in a subtle yet commanding glamour.
The designer took a year-long break and her comeback is nothing short of astounding. The intention of having a core collection shows that the designer is a true aesthete and this lookbook will be shaping a woman’s perspective on her own definition of escapism.
Take a look at PRISCAVera’s lookbook down below!
Italian clothing brand, GCDS and the beloved and chic doll makers at BRATZ have teamed up to bring us a whimsical and childlike capsule that will allow us to live out our childhood fantasies of being “that bitch.”
GCDS is the anti-label label. In the world of categorizing and naming and branding and labeling everything we see, how can you create a brand, a line of clothing, the goal of which is not to label anyone who wears it as any one thing?
Founder Giuliano Calza, speaks of his youth in Naples, Italy. “We had lots of groups of people. You could be the one doing drugs in the bathroom, the emo one, the metal one, but you really had that lifestyle. Today, I see people emulating a way of living, a way of dressing up, even when they’re not that person.” And he has grown up to create GCDS, which has stood for many different acronyms so as not to align itself too closely with any one definition.
Play is another very important factor for GCDS and for Giuliano. Remembering to play and to have fun and to not take things too seriously keeps the world interesting. And probably keeps the world a lot kinder, as well. This is partly why a collaboration with BRATZ is so fitting. Dresses with graphic manga prints of Sasha, Chloe, Jade, and Yasmin’s faces, blingy gold BRATZ earrings, and “Passion for Fashion” emblazoned across hoodies, bras, shorts, and dresses, are among the items featured in this status-quo challenging collection.
The phrase “Passion for Fashion” is used both by BRATZ and GCDS to remind us that that’s all this is! It’s really not much deeper than that. It has a kind of “express yourself” message behind it. Calza strives to create clothes that remind us of this sentiment. Just have fun with it! Helping to make toys that dawn his creations reflects just how important it is to Giuliano.
Both GCDS and BRATZ encourage personal expression, acceptance, and different canons of beauty, which is further conveyed by the custom dolls Giuliano chose to create, modeled after some of his most admired icons — artists and musicians and straight up party girls who have challenged the norm in one way or another.
See our conversation with Giuliano below, as we discuss both the toy-sized and life-sized capsule and what the making of it meant to GCDS!
What is GCDS’s mission as a brand?
So, I travel the world and the 7 seas, and I’ve experienced so much in my life; I’ve met so many people. At some point, I realized Italy was a bit cussed out from this vision of global and fun and Pop, and I asked myself, Why can I not be this guy? To make Italian manufacture, make it Pop, make it relevant for the world and my generation? At the same time, I wanted to remind everyone that GCDS is about having fun. It’s about playing your personality, the game of personality, who you are for real, what’s your ambition, what do you wanna be in your life? Sometimes, BRATZ, in a silly way, reminded us of the same thing. If you have a passion for fashion, or just wanna be a bad bitch, just be that girl! I just wanted to create this fun, pink, gay world, call it a weird name that everyone would be pissed off at, and call it my scenario. And BRATZ were exactly the same. I remember one of my first shows, and one reviewer came and said to me, Oh, you do ugly clothes, and I said, Oh, thank you, but I think many people like ugly clothes! I think, today, rather than having the world be where we belong to a tribe and where we belong to a community, we emulate something or lifestyle in order to join one. To me, still, it’s a good reminder to stay young and play the role of who you want to be and not the role of who others want you to be. And BRATZ is exactly the same.
I love what you said about emulating a group you’d like to be a part of.
As a kid, I used to live in Naples, in the south of Italy, and I remember I used to go to a really normal school. We had lots of groups of people. You could be the one doing drugs in the bathroom, the emo one, the metal one, but you really had that lifestyle. Today, I see people emulating a way of living, a way of dressing up, even when they’re not that person. And me, personally, I’m always seeking truth to what I am, what I like, and what I want to be. When I see this thing, I said, Oh my gosh, let's make something that’s fun, let’s make something you just want to own because it’s a toy. Toys for adults, I want to do. This is my point of view on this weird world, where everyone wants to be something, but we don’t experience anything anymore. I used to go hardcore, to parties in China, and do crazy things, and I lived that life. I feel, still, I don’t own anything of that life. Instead, now, it’s enough to wear a metal band t-shirt and you are that girl! I’m like, okay!
What does GCDS stand for?
GCDS is multiple names. At the beginning, it was my first company in China, Giuliano Calza Design Studio. Then, I said I wanted to do streetwear because I was obsessed with seeing people and what they were doing with their own life, their clothes. So I decided God Can’t Destroy Streetwear, because I felt like the world of streetwear was limited to straight people. So I said, I don’t think this can be judged in any way possible, so not even God can destroy it. Then it became Girls Can Desire Sex, because I was obsessed with the idea that my generation can desire sex. I wanted to create a brand that was not labeling in any way possible who was buying it. It had to be a puzzle, a game, it has to evolve.
I saw in the press release that you don’t call GCDS streetwear, but “culture wear.” What is your definition of “culture wear”?
In a way, I don’t think you can define streetwear. What is streetwear today? I love to see hoes in high heels and a mini dress, I love to see punks. To me, it’s more becoming a “culture wear'', in the way it defines your own culture. I’m just trying to portray this; I’m not trying to create something that is based on an ideal of the past or an ideal of the future. I think this is the moment I’m describing, and this is my culture. I always say, Meme is my culture. There is nothing more relevant in our generation than memes. So, I think this is my idea of culture. I’ve studied political science, I’ve studied economy, I fully speak Chinese, I’ve studied French, I’ve studied English. Still, I don’t feel resident in any of these cultures. I just want to create something laughable, doable, enjoyable, ironically good, and you can just wear it!
Will you describe GCDS’ relationship with the LGBTQ+ community? It seems like a significant part of the brand’s identity.
I don’t think it’s an identity. You don’t define yourself with an identity. I belong to a generation that comes with new ideals. They are not the 50’s ideals of what you have to sexually be or how you have to define yourself. I don’t even like pronouns. I don’t think anyone should say I’m this or that. I think we’re living in a culture that puts us in the wave of being culturally connected, living the world, eating food from all over the world. And this is a matter of fact. Kids today are already teaching us how to do better. We should be learning from the younger generation on how to use new media, or how to use your persona and your voice. I’m just speaking up for my generation. I didn’t find myself in any old advertising from any brand. I couldn’t see myself. I was not standard Italian, I was not a guy from anywhere in the world, I just wanted to represent these people. I just want to represent different communities. I just want to represent even the LGBTQ+ world in a way that is not saying, Oh, I represent the LGBTQ. This is my casting. There is going to be trans people, there is going to be gay people, there is going to be cis people. But this is where I live. What really made me come up with this seniority idea of the GCDS logo, was that I was living in a college with kids from all over the world. I was in Shanghai, and I had my best friend from Japan, people from Kazakhstan, people from Russia, people from Colombia. I was not questioning why. I was just fully embracing it. This is my idea of where I should stand for my ideals and what is the generation today. Is there anything, like gender norms, or a beauty standard. What are the standards today? I don’t think anyone can say, Oh, this is right and this is wrong. This is not where we live anymore today. Everything is more organic, even Instagram. You choose what you like. It’s not TV anymore, where I tell you, You need to like this, this is the new product. No, I’m gonna choose what is right for me, and this is my menu. I’m gonna do my own DIY menu.
So, I guess you could say, then, that you’re very much focused on the individual. You’re not trying to define anything or to belong to any one style or community per se, but you’re just making something authentic that people can identify with in whatever way that works for them.
Yes, exactly this in the end. I never set out to do this as my job. I studied Political Science. I was really into art. I’ve always been drawing, I’ve always been painting, but I was not saying, One day I’m gonna design for people, and I’m gonna show what I can do. It just happened to be that people liked what I was doing and it got bigger and bigger. In this journey, I took on my card, artists, people enjoying my work, people really liking it because it’s new, because it’s different, or because it’s really bad, or because it’s really good.
Why does the collaboration with BRATZ make sense for GCDS?
They were the bad dolls. They were ugly, they had ugly makeup. They were different. For this, they were not right. GCDS at the beginning was not right for fashion, was not right for streetwear, was not belonging, but it became a huge success. As soon as they rang my bell, I was so excited, because they were LGBTQ. In any way, these people were pioneering what they were doing. These dolls were going to every place with fashion, with gender norms, with beauty and makeup. In a way, I just felt like they belong to my world. Ten years ago, they did what we’re talking about today. Maybe today, we’re doing something with GCDS that in ten years is still gonna be relevant. I just wanted to fully celebrate it. What I really loved, and I didn’t think about it, is that most of the people that came to the stores when I was releasing the dolls were men. This shows you the impact of a doll can be big. Even on the sexuality of a little young man, that ten years later still is celebrating what he wanted to have as a kid. I think that’s amazing.
How did you come up with the concept of the custom dolls?
I took all the people that were icons to me. Sita has always been by my side, and she has always been the one, like, Fuck it. Then, I went with Shea Couleé, because I’m a huge fan of Ru Paul’s drag race. While there’s beauty queen, and there’s glam queen, she was the fun one. She was dressing up as whatever you dream to be. Icons for me that are not beauty icons or norm icons. Just people that represent their artistry in a different way. Dua Lipa for me was just singing pop style. And people are trying to be different, but sometimes a good pop song, everyone can enjoy it. All different categories of people that have taught me so much. To not care anymore. These rules, what is right, what is asked to be. I don’t think they belong anymore to our generation.
What relationship does this collaboration have with the idea of childhood? You briefly mentioned that these men were able to have the doll that they always wanted.
I think GCDS is very much based on childhood. If you’ve seen my show, once I made a giant T-Rex. I always want to make people feel like they’re a small child looking at something big, or something they aspire to. Dolls are something you think you can only play with when you’re young. But there are many people who shouldn’t forget how it is to play. I think when you lose the playfulness of it all, the world gets boring. I’d rather be celebrating ten years younger people, and just be like, let’s enjoy it, than to create something that is boring.
The clothing created alongside the dolls, what was your vision for that?
First of all, I wanted to create a meme. Because Passion for Fashion is something everyone knows. I think as a kid, you listened to it a million times. Passion for Fashion! This was the first idea. Even when there’s a drama or a trouble in the office, or the casting, or the campaign, the shoot goes bad, I’m like, This is passion for fashion. It makes the room exhale. We’re just doing clothes, guys. On the other side, I wanted to put the dolls in my most iconic prints. And my most iconic print is the naked girls with boobs out. They said absolutely no. This is a doll. Anyway, kids are gonna buy it! So I recreated the manga print by myself. I redid it all with Sasha, Yasmin, Chloe, in a manga way. I did the final inception. I put it on them, and I put it on the people that were buying them.
All the details in the clothing, the graphic quality, even the earrings, it’s all amazing.
The good thing, I wish you could see, but we have no dolls, they sold out but will be restocked soon, is that my gold heart bag has a chain. The chain was designed by me, and each part of the chain is G-C-D-S, G-C-D-S. They recreated it exactly the same on the doll. One day, I was at my desk looking at the doll, and I got closer and closer and realized they made the chain exactly. So detailed! Even the fur has the lining of the fur with the little black cat, because the logo of Sasha is a black cat. My white boots with the logo GCDS as metallic heels. They recreated the metallic heels.
Honestly, when you’re creating a life sized collection, you have the boundaries of reality. Sales campaign, press, everyone is gonna tell you this is childish or not real enough. With dolls, you have no boundaries. You can say, I’m gonna dress her up in a catsuit, then I’m going to get a babydoll dress with Swarovski, then I’m gonna put on fur, then I’m gonna braid their hair to the floor. The Bratz people were like, Yes, we love this.
How long was the process of making the dolls?
To make a doll, it takes one and a half years. It’s endless just to get approvals on the materials. It’s not hard to design. The difficult thing was to think of this doll not only as an item, but something that people will play with. Even things I planned to do at the beginning changed on the ride to the end. Everything has to change, it cannot stay the same from the beginning. At the beginning, I wanted to have bling makeup, and then they said, no you cannot put stones on the face because collectors are gonna be nasty about it. The most fun I’ve ever had in a capsule collection or anything I’ve done before.
It seems fun! Like a dream! For those who’d like to purchase something from this collection, where can they find it?
The capsule collection is available in my stores in Milan, London, and Rome, or at GCDS.com. The doll is now sold out on all platforms, but it’s going to have a restock in Target and all the Toys R Us in the world and also on GCDS.com.
Please confirm that you are at least 18 years old.