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L'Orient-Le Jour
2 days ago
- Entertainment
- L'Orient-Le Jour
Nine days before his assassination, Gianni Versace left the world a final message
July 6, 1997. In a hushed room in Paris, beneath the weight of summer heat and quiet anticipation, Gianni Versace presented what would unknowingly become his final Haute Couture show. The audience was handpicked, the atmosphere solemn, and behind the scenes, a quiet tension pulsed. On this sweltering Parisian evening, Versace bid an unspoken farewell to the world — just nine days before his assassination. This collection, pure in refinement and rich with symbolism, now feels like a parting testament. Departing from the theatricality that had defined so many of his past shows, the Milanese couturier embraced something far more intimate: a dramatic, almost ceremonial showcase where fashion became meditation. Each silhouette, sculpted with reverence, felt like a relic — an offering from a master at the height of his genius. In retrospect, the show resonates as a quiet prayer, beauty distilled to its essence, from a visionary unknowingly standing at the edge of eternity. Fashion rock star From his spectacular presentations to his scandalous campaigns, Versace dreams his life like a novel and burns through it like one of his Vogue cigarettes. An antique art collector, he sleeps beneath Roman frescoes and dines among gilded columns. His Miami home, a neo-baroque palace adorned with mosaics, marble, and Greek statues, remains one of the emblems of his excesses. Solar, secretive, generous, excessive, he embodies the idea that style is a form of resistance to boredom, a weapon against oblivion. For him, fashion is not a façade but a total language, a celebration of the body and the power it can radiate. He dresses women as modern deities: sovereign, sensual, untouchable. In his eyes, they are neither fragile nor ornamental — they are mythological, electrifying and invincible. Obsessed with art, opera, architecture, and nightlife, Versace builds a world where decadence becomes prestige. This final show, more internalized yet exceptionally intense, reveals Gianni at 50, graver, almost mystical. As if, for one evening, he swapped the spotlights for the shadow that had long gnawed at him. At a time when fashion favors sobriety and the cold minimalism of houses like Calvin Klein, Versace chooses a more voyeuristic path. Where trends dictate disappearance, he chooses omnipresent media and night life, which will ultimately cost him his life. The final works of a master Under the softened gilding of the Ritz, the house icons parade in a reimagined rococo setting. Naomi Campbell opens the festivities in a structured suit with strong shoulders and closes it in a sparkling silver mesh mini dress — a nod to the tradition of bridal looks closing couture shows. Alongside the sultry British panther, Amber Valletta, Stella Tennant, Esther Cañadas (and Karen Elson, initially set to present the final dress) all wear sculpted silhouettes adorned with crystal Byzantine crosses and subtle, refined cruciforms, blending majestic volumes, sensuality, and discipline. Makeup with smoky eyes and slicked-back hair evokes a finely chiseled face, while capes worn like reliquaries and beaded corsets create almost architectonic forms. The soundtrack — sober, dramatically ritualistic — transports the audience to a sacred space, shaped by the intensity of each passage. In the room, a constellation of celebrities illuminates the front row. Claudia Schiffer, Cindy Crawford, Elton John, Sharon Stone, and even Michael Jackson — all gathered to celebrate, unknowingly, the last act of the pope of European extravagance. The day after the presentation, the press reacts with restraint. Some express shock at the darker tone, less flamboyant than usual, but most praise the sophistication and salute the collection as an exercise in mastery. The event, deliberately discreet and minimally documented visually, left few official photographic traces. The silence surrounding it amplifies its myth, although several rare pieces from the Fall/Winter 1997 Haute Couture collection have been worn by celebrities over the years. Elizabeth Hurley was notably photographed in a cross-inlaid corset, emblematic of this show. More recently, Bella Hadid evoked the spirit of this collection at certain events, sporting sculpted silhouettes and adorned touches directly inspired by Gianni's final vision. The Donatella era Gianni Versace shared a deep, artistically intimate bond with his sister Donatella. As both muse, confidante, and creative partner, Donatella knew the designer's vision and spirit better than anyone. After the death of her elder brother, shot on July 15, 1997 on the doorstep of his Miami villa by Andrew Cunanan, a serial killer whose motives remain unsolved, the fashion world is plunged into mourning. Gianni is mourned as an incandescent genius, valued as much for his visionary spirit as for his generosity. Donatella's takeover is met with mixed emotions, admiration for her courage but also skepticism regarding her ability to preserve the house's soul. Yet she quickly reignites the Versace flame, injecting her own energy while remaining loyal to her brother's signature. Today, under the direction of Dario Vitale — former design director at Miu-Miu appointed creative director — the house continues as a powerful beacon of glamour, blending heritage, innovation, and scandals... How to recreate the dream in 2025 Reinterpreting the spirit of Versace's Fall/Winter 1997 Haute Couture in 2025 is to embody a sculptural and magnetic femininity, between antique sensuality and assertive modernity. To revive this grand and intense dream, emphasize strong shapes, fitted dresses, luminous materials, and symbolic details. In the evening, opt for pieces reminiscent of the charisma of the Ritz silhouettes: – The oversized long sleeve shoulder pad mini dress by Norma Kamali (approx. USD 260) creates theatrical shoulders worthy of Camplbell's show opener. – The Narine Dress by Retrofête (approx. USD 580), all fluidity and shine, evokes the richness of the era's draping. – The Carmine Dress by Retrofête (approx. USD 1,250) embodies couture excess with its metallic sheen. – The Skylar Mini Dress by Michael Costello x Revolve (approx. USD 300) hugs curves with authority, blending glamour and architecture. – Finally, the Quinn Embellished Mini Dress by Lovers and Friends (approx. USD 360) revives the jeweler's spirit of the runway's cruciform embroideries. To complete your look, slip on a pair of high boots hugging the leg, worn with black tights to elongate the silhouette. For accessories, the statement piece is an oversized cross — worn as a necklace or pin — a sacred nod to the show's iconic pieces. To finish the beauty look: a satin headband in the hair, a deep smoky eye, nude complexion, and a proud carriage — like a nocturnal goddess back from the '90s.
Mint
3 days ago
- Business
- Mint
Prada wore them. Kolhapur made them. Inside India's fight for a lost sole
Kolhapur/Mumbai: The mood in room number 46 of the Bombay High Court, a vaulted, brightly lit affair, was rather dark on 16 July. Chief justice Alok Aradhe and justice Sandeep Marne, who made up a two-judge bench of the court, were handling public interest litigation (PIL) filings that morning. And their patience seemed to be wearing thin. After summarily dealing with two PILs, they turned to a third one. 'What is this? Kolhapuri chappals? You want an injunction in a PIL?" asked one of the judges, grilling advocate Ganesh Hingmire, who had filed the petition. The case had been filed after Italian luxury fashion house Prada had showcased a pair of 'toe-ring" sandals on a Milanese runway in its Men's Spring/Summer 2026 collection last month. At the receiving end was an array of respondents: Prada S.p.A; its India arm; the Maharashtra government's department for social justice; and Lidcom, a public sector undertaking to promote the state's leather industry and support its artisans. Hingmire, a Pune-based expert on geographical indicators and intellectual property rights, wanted the high court to stop the sale of Kolhapuri sandals abroad. He also wanted an apology from Prada for violating the geographical indication tag protecting the chappals. Hingmire, along with a battery of lawyers, pointed to the history of western brands exploiting Indian heritage. 'The community is suffering from this cultural appropriation," he argued. 'These foreign companies like Prada will just continue (this cultural appropriation) with a word of appreciation." Across from Hingmire was celebrated senior advocate Ravi Kadam, who was representing Prada. The latter's defence was short and biting; he asked why Hingmire had filed a PIL at all, given that he did not own the rights of the Kolhapuri chappal. Besides, he said, Prada had never claimed the shoes on its runway were Kolhapuris. After some back-and-forth between the lawyers and the judges, the court dismissed the case, saying that there were clear legal mechanisms to settle geographical indication tag infringements, and that a PIL wasn't needed to protect the artisans of Kolhapur. Needless to say, the ruling did not leave Hingmire feeling ecstatic. 'Will assess and may go to SC (Supreme Court)," he texted one of the writers of this story. 'I have tried my level best in the interest of our nation. Our intention is pure and clean." The ruling also caused some disappointment 400 km away, in Kolhapur, the birthplace of the eponymous sandals. The court case and the interest it had aroused in the district's most famous export, had given the 100,000-strong community engaged in the business of making the slippers there hope that their flagging business would get a shot in the arm. Kolhapuri chappals are a miniscule part of the country's total footwear exports. And, they're declining. In 2024-25, India exported over ₹21,000 crore of footwear and related goods; of that, Kolhapuris made up just ₹1.3 crore. Thanks to the catwalk in Milan and the court case in Mumbai, Kolhapuri chappals are now enjoying a rare moment of global glory. But, just how did these humble chappals become India's most recognisable traditional footwear, and what is holding the trade back? Mint visited Kolhapur and spoke to artisan families there, as well as designers in Mumbai, to piece together the story of the Kolhapuris. Designer limelight Most of India's shoes, including Kolhapuri chappals, are sold in small, local shops even today. But, in the last decade, independent designer brands have begun to experiment with traditional Indian footwear and sell them at a mass-premium and higher prices. Much of that action has happened in the business of juttis and mojris, close-toed flats native to Punjab, Haryana, Rajasthan and parts of Gujarat. Delhi-based Fizzy Goblet and Needledust are among India's best known jutti brands. They posted annual revenue of ₹33.1 crore and ₹15.2 crore, respectively, in 2023-24, per research agency Tracxn. Today, these brands and other mass-market labels, such as Bata and Metro, have begun selling 'designer' Kolhapuri chappals. But, there are few designers dedicated to working with Kolhapuri and similar 'toe-ring' chappals. One such brand is by Mumbai-based designer Aprajita Toor, who started her studio in Chembur a decade ago, inspired by her mother's penchant for the chappals. 'The Kolhapuri chappal is a liberating design," she told Mint. 'In an orthopaedic sense, it is an open shoe and not contained. If you think about it, the original chappal was so thoughtfully made. It is a visionary design," says Toor. Her eponymous label is best known for innovative versions of the sandals, including those with pencil and wedge heels, strong pastel contrasts, and contemporary patterns adorning the classic T-strap. Toor's offerings are largely for the premium domestic consumer, with a basic pair starting at ₹4,500. For designers, however, the biggest challenge in inventing new forms of Kolhapuri chappals is material. 'The leather the artisans use is buff (buffalo) leather, which is not easy to work with," Toor said. 'It is also not easy to wear. But it is what defines these chappals." Toor has experimented with newer materials such as memory foam cushioning and softer Napa leather to make her shoes more comfortable. Another Mumbai-based shoe label, Tiesta, best-known for elaborate 'bridal' sneakers, also found a niche in innovative Kolhapuris. 'Growing up, wearing heels was the standard (for women)," Janvi Jogatar, designer and co-founder of Tiesta, told Mint. 'But Kolhapuris are not just fashion. The toe ring in the sandal separates the big toe from the rest of the foot, making it much more comfortable (than closed-toe shoes)." However, Jogatar ran into the same problem that her fellow designers did—the traditional Kolhapuri, although beautiful, is not always easy on the feet. Jogatar launched Tiesta's 'Kolas' collection in 2019, switching out the regular buff leather for a vegan alternative that is cheaper, easier to work with, and softer on the feet. The company also added a small innovation: changeable T-straps with different designs so that customers could keep changing the look of their pair. Tiesta priced these at around ₹3,000 a pair for changeable flats and ₹6,500 for changeable heels, even adding a few 'Baby Kolas' for kids. They're a fast mover, but haven't beaten Tiesta's signature bridal sneakers. Despite their popularity across India, the market for Kolhapuri chappals has remained largely unorganized and outside of the purview of India's biggest fashion designers. Those who do sell designer Kolhapuris often manufacture in Mumbai or elsewhere outside the Kolhapur and Belagavi districts. Two public sector undertakings—Lidcom in Maharashtra and Lidkar in Karnataka—were set up in the 1970s to train Kolhapuri chappal artisans and retail their products. Their financial filings are not publicly available on their websites; instead, visitors are greeted with placeholder text. A community creation At ease in his home in Kolhapur, Shashikant Tulsidas Vhatkar, 56, told Mint about how generations of his family and others in the district have dedicated themselves to the iconic chappals. Making the Kolhapuri chappal is a community business, with each member of the family contributing to the end product. The women stitch thin strips of leather into the braid connecting the sandal's T-strap to the toe ring. The men polish and shape the shoes from the leather hides. It's how the craft has been kept alive by generations since medieval times, when the chappal is first said to have been created in the neighbouring districts of Kolhapur and Belagavi. Over time, locals developed variants of the chappals, each named after the village that designed them. By the 18th century, local satraps had taken to the Kolhapuri chappal, along with prominent rulers like Shahu Maharaj, and tanneries flourished in the area, boosting production. For old timers such as Vhatkar, making Kolhapuris is an art, and even reverence—he refused to sit on the heaps of buffalo leather. 'I cannot. This is our mother," he said. Among the prized leather hides is a six feet high, chrome-yellow piece that Vhatkar holds up in a dank, sweaty room. Traditionally, this buffalo hide is dyed with vegetable extracts. Typically, the artisans of Kolhapur use all kinds of leather to make chappals across price points. But over time, they have turned to softer, lower quality leather to make footwear for the mass market. Chappals made from these cheaper materials retail for ₹300-400 while those made with traditional leather and stitching techniques start at ₹2,000-3,000 a pair. Most of these artisans belong to a few castes, traditionally discriminated against in the social hierarchy. Apart from the burden of caste discrimination, they are also struggling with a ban on cow slaughter in Maharashtra. Without the traditional means of securing cow and buffalo hides, used by leather workers to make shoes and other goods for centuries, the cost of sourcing materials for Kolhapuri chappals has gone up. Apart from cheaper leather from Chennai and Kanpur, traditional Kolhapuri artisans are experimenting with artificial leather too. In a corner of his courtyard, Vhatkar also stores heaps of a thin leather parchment sourced all the way from Chennai. These are cheaper, and pale coloured, meant for the eminently wearable and affordable Kolhapuri chappals one finds street shopping in India. Usually, these are dyed chemically, and the bells and whistles of the Kolhapuri style are pasted on, rather than stitched. Vhatkar alone buys 10-15 tonnes of leather from Chennai every month, and hands it over to shoemakers in his area. He invests ₹25 lakh in the business annually, and has a turnover of ₹1 crore. However, Vhatkar insists, it is the artisans who take home all the money and leave him with little. Kolhapur's shoemakers, however, say they earn just about ₹25,000 a month, on average. One family can produce about 100 pairs of cheap chappals that don't require hand stitching in one week, but can make only 20 of the pricier variety in that time. This is a difficult trade to scale up, the artisans say. A whiff of oxygen Since news of the Milan catwalk controversy broke, Prada has become a buzzword all over Kolhapur. Sambhaji Shivaji Powar, a Kolhapuri chappal maker from Kale village near Kolhapur city, says the Italian brand has sparked a kind of renaissance for the traditional sandals. 'We got to know that Prada was using Kolhapuri shoes when everyone spoke about it in the market," he told Mint. 'Our customers come from all over the world but we never get the credit for it." One such customer, for instance, found the shoes Powar's wife Shobha makes on an Instagram page run by his son. He bought two pairs for ₹8,000, a handsome sum. But, the man later told Powar he was selling them to a customer in Australia. 'He would have sold it for a higher price but the maker goes unnoticed," he adds. Designer Toor also says she has international customers for her Kolhapuri inspired sandals, including buyers in Chile. But, she added, the controversy with Prada has had no impact on her sales. 'I think the current rise in interest in Kolhapuri chappals is a fleeting trend," she said. 'For mass-priced brands, there may be a bump in sales." Some artisans in Kolhapur agree with Toor. 'The hype is temporary and in a few days, everyone will forget," 40-year-old Mahesh Suhas Kamble told Mint. He is part of the fourth generation in his family in the traditional trade. Anurag Chandrakant Kokitkar, 33, also worries that the 'Prada' impact will fade away as just another hashtag. He is hoping that thanks to the fight with Prada, there will finally be a serious push to upgrade the chappal trade. In 2013, Kokitkar had set up a manufacturing unit called Paytaan (slang for Kolhapuri slipper), but shut it down during the pandemic. Appropriation debate Together, artisans and traders like Vhatkar make up a community of roughly 100,000 professionals living and working in the villages and towns of Kolhapur district. This is the community that advocate Hingmire says needs to be helped, despite the protections that India's geographical indication tag provides to the product. Legally, only a sandal made in the toe-ring style in the districts of Kolhapur (Maharashtra) and Belagavi (Karnataka) can be called 'Kolhapuri chappals'. But, he told Mint, foreign brands routinely get away with appropriating India's traditional handicrafts without so much as an acknowledgement, let alone compensation. Some are now trying to address these allegations of cultural appropriation. Last week, employees of Prada S.p.A visited Mumbai and Kolhapur to meet artisans and leaders of the Maharashtra Chamber of Commerce, Industry, and Agriculture (MCCIA). They promised to work with the Kolhapuri artisans on future designs. 'We want to bring in a revenue sharing model, get them to purchase from our artists. Prada has added glamour to our work," Lalit Gandhi, president of the MCCIA, told Mint. 'We need to build on that." Gandhi also said he is working with other Indian sourcing firms. Among those interested in sourcing authentic Kolhapuris for markets abroad is Asmara Group, an Indian apparel multinational. Asmara wrote to the MCCIA evincing 'interest" in the sandals. Among Asmara's buyers are American retailers Urban Outfitters, Abercrombie & Fitch, and Free People. Mint could not independently verify the claim. Prada did not respond to Mint's request for a comment, nor did Asmara Group. There is scepticism regarding what Prada and other fashion powerhouses can really do for the Kolhapuri chappals. After all, homegrown designers and exporters, too, have had no lasting impact on the way the chappals are made and sold. The Prada controversy has, however, reignited an old debate on what constitutes cultural appropriation. Some designers, such as Tiesta's Jogatar, believe Prada missed an opportunity to work with local designers and artisans and lend credibility to its collection. Others, including Toor, disagree. 'Designers around the world have drawn inspiration from Indian art and handicrafts like ikat, kalamkari, and bandhani for years," she said. 'The idea of cultural appropriation or giving credit to someone is a very subjective issue. It is all about a brand's ethos. But drawing inspiration is at the heart of design. At the end of the day, I am just happy that the rich tradition of the Kolhapuri chappal is on the global stage. That, too, with a big name like Prada."
San Francisco Chronicle
4 days ago
- San Francisco Chronicle
Popular S.F. teacher and coach brutally attacked and robbed while visiting Italy
The thought kept flashing through Nicholas Pellegrino's mind as he sat on a train station outside of Milan, blood pouring from his throat. If the 29-year-old San Francisco high school teacher and track coach didn't get help soon, he was going to die. 'I had no doubt about that in my mind,' he said. 'It's a feeling of helplessness that I don't wish on my worst enemy.' Moments before, several passengers had attacked him, slashing his throat with a knife and robbing him. Pellegrino, who teaches religion at San Francisco's Archbishop Riordan High School, had traveled to Italy this month for vacation. He was looking forward to seeing relatives and friends in northern Italy. On July 15, he'd caught a train just before noon from just Melegnano, a Milanese suburb, bound for Florence. But the moment he stepped on the train, something felt off. A few seats down, several passengers kept staring at him — then quickly looking away whenever they saw him looking back. As the train rolled into the next stop, one of them rushed him, swinging a knife. With blood pouring from his neck, the thieves ripped the crucifix he was wearing and grabbed his backpack and luggage. Pellegrino clapped a hand to his neck and ran out of the train. He staggered to a column on the platform and sat down, screaming for help. He took his shirt off and pressed it against his throat, trying to staunch the blood pouring out. 'This was going to be the end,' he kept thinking. Paramedics arrived about 15 minutes later and rushed him to the hospital. During the assault, Pellegrino's attackers nicked — but didn't fully sever — his jugular artery, doctors later determined. By the time they were able to stop the bleeding and repair the artery, he'd lost more than a liter of blood. 'Even the surgeons are saying it was a miracle,' he told the Chronicle by phone after being discharged from the hospital in San Donato Milanese. 'There's no other way to put it.' Italian authorities arrested the attack suspects several hours later at a train station about an hour from where Pellegrino was assaulted. Police told him the suspects are four North African men from Tunisia and Morocco who authorities determined were in the country illegally, he said. Police told Pellegrino they'd already been tracking his assailants — they were believed to have attacked and tried to rob another passenger the same day, and they'd assaulted a cabdriver the night before, slitting his wrist in the attack. Pellegrino spent four days in hospital, until doctors were sure that his vein was healing correctly and that his blood levels were safe. Riordan assistant principal Nate Simon called Pellegrino an 'integral part' of the school's community and a beloved teacher and coach. 'We were so sad to hear about what happened, but we've spoken with him and he seems to be doing much better,' he said. 'Our thoughts and prayers are with him as he deals with this terrifying incident.' Finn McCole was a student of Pellegrino's in New York, before the teacher started working in San Francisco. Pellegrino was his track coach, he said, and over the years they became good friends, training together and traveling with other students. McCole recalled trips to Italy, where Pellegrino acted 'almost like a tour guide.' 'He loves Italy,' McCole said. 'He loves the culture, the people. That's why it's so horrifying that he goes there and something like this happens.' McCole and other students set up a GoFundMe to help with medical expenses and replace his stolen belongings, including his laptop and passport. By Saturday afternoon, the account had raised more than $38,000. 'I'm speechless,' Pellegrino said of the donations from his former students and hundreds of others. 'I would never have expected that outpouring of money/support. I guess it shows that the impact you have being an educator/teacher is more than people might think.' A deeply religious man, Pellegrino said the experience has only strengthened his faith. 'I'm convinced the hand of God worked a miracle to ensure I did not lose my life that day,' he said.
The Age
6 days ago
- Entertainment
- The Age
In a city with too many tiramisus on menus, this is the original (and perhaps the best)
Chef Naomi Lowry's menu is short and mostly traditional with a few, vermouth-friendly small plates, three pastas and one secondo del giorno. Across two visits, that rotating main has been a cotoletta alla Milanese of juicy pork, crisp sage and buttery, crunchy breadcrumb. Bellissimo. Sometimes, there'll be a steak special or ossobuco instead, but that schnitzel has already developed a loyal fan base. Sweet and tangy caponata is a deep-red mix of long-cooked eggplant, tomato, sultanas and pine nuts made for spooning on grilled bread and drinking with something fruit-forward and Sicilian. Zuzza also runs online wine store Atelier DeVino – and Cicci's bottle and by-the-glass list is rich with dynamite producers. I've enjoyed a crisp Andrea Occhipinti procanico from Lazio with mozzarella enveloped in fried carrozza bread, as well as a zippy, lightly salty Inkwell grillo from McLaren Vale with mafaldine pasta glossed in a cavalo nero and hazelnut pesto with a whisper of gorgonzola cream. If I'm feeling flush, I might return for the Lake's Folly 2016 Cabernets ($175) and another round with the winter-busting pappardelle and lamb ragu – and then, maybe, something simple but significant from the top shelf of whiskies. 'Giuseppe's [very good, maybe perfect] tiramisu' loves a splash of booze to cut through the yolks and mascarpone. Judging by Cicci's popularity, Balmain locals would love a few more cosy neighbourhood trattorias. (End copy, all bans reinstated.)
Sydney Morning Herald
6 days ago
- Entertainment
- Sydney Morning Herald
In a city with too many tiramisus on menus, this is the original (and perhaps the best)
Chef Naomi Lowry's menu is short and mostly traditional with a few, vermouth-friendly small plates, three pastas and one secondo del giorno. Across two visits, that rotating main has been a cotoletta alla Milanese of juicy pork, crisp sage and buttery, crunchy breadcrumb. Bellissimo. Sometimes, there'll be a steak special or ossobuco instead, but that schnitzel has already developed a loyal fan base. Sweet and tangy caponata is a deep-red mix of long-cooked eggplant, tomato, sultanas and pine nuts made for spooning on grilled bread and drinking with something fruit-forward and Sicilian. Zuzza also runs online wine store Atelier DeVino – and Cicci's bottle and by-the-glass list is rich with dynamite producers. I've enjoyed a crisp Andrea Occhipinti procanico from Lazio with mozzarella enveloped in fried carrozza bread, as well as a zippy, lightly salty Inkwell grillo from McLaren Vale with mafaldine pasta glossed in a cavalo nero and hazelnut pesto with a whisper of gorgonzola cream. If I'm feeling flush, I might return for the Lake's Folly 2016 Cabernets ($175) and another round with the winter-busting pappardelle and lamb ragu – and then, maybe, something simple but significant from the top shelf of whiskies. 'Giuseppe's [very good, maybe perfect] tiramisu' loves a splash of booze to cut through the yolks and mascarpone. Judging by Cicci's popularity, Balmain locals would love a few more cosy neighbourhood trattorias. (End copy, all bans reinstated.)
