blue wave splash
blue wave splash

Marine biologist Matt Sharp was awarded the Ocean Conservation Photographer of the Year in 2020 for his incredible images, such as this one of a wave breaking in the Maldives in 2019

Marine life is threatened by climate change, pollution and overfishing. And depleted oceans risk collapsing the whole global ecosystem. A new generation of business startups is aiming to reshape the ocean economy, making it both truly sustainable and profitable. Michael Marshall reports

The blue economy is gaining momentum. Hundreds of startup companies around the world are aiming to protect, and even restore, the oceans, while making a profit. They want to get food and other essential resources from the sea in ways that benefit marine life – or at least don’t harm it. What’s more, there are plenty of organisations that aim to support these startups, whether with money or expertise or both.

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“We are not going to save the oceans if we don’t change the economy,” says Tiago Pitta e Cunha, the CEO of the Oceano Azul Foundation, a Portuguese non-profit that supports a variety of initiatives designed to stimulate the growth of the sustainable blue economy. The good news is that the business case for ocean conservation is real and growing. “There’s a wonderful opportunity for startups and new companies to develop business models,” says John Virdin, director of the Oceans & Coastal Policy Programme at Duke University’s Nicholas School of the Environment in Durham, North Carolina.

The ocean certainly needs our help. It faces three big problems – overfishing, pollution and climate change – that “tend to make each other worse”, says Nancy Knowlton, a professor of marine biology and Sant Chair in Marine Sciences at the Smithsonian Institution in Washington, D.C. However, she adds, there have been some real success stories for ocean conservationists in recent years. Take Marine Protected Areas (MPAs), for example. These are regions of the ocean in which extractive industries are either banned or tightly regulated, and they have proven highly beneficial when implemented fully. In 2020, fully implemented MPAs covered 5.3 per cent of the ocean, and this area is growing every year. As a result, some animals that were once considered on the brink of extinction have increased in numbers, including many whale species.

At the moment, the blue economy is dominated by “a few really big fish”, Virdin points out. In 2021, he co-authored a study that found 60 per cent of all revenues obtained from the ocean came from just 100 companies, almost half of which were from the oil and gas industry. Such companies have “rigid processes in place, for good reasons”, says Alexis Grosskopf, the founder and CEO of OceanHub Africa in Cape Town, South Africa, an accelerator for ocean impact startups. Those processes “could not be disrupted smoothly and quickly enough, without blowing up or imploding”.

This is where startup companies come in. Small outfits with radical technologies and new ways of doing things can overthrow existing practices, if they’re successful enough. And in the blue economy there are now hundreds aiming to disrupt a variety of industries, from fishing and aquaculture to renewable energy, pharmaceuticals and waste management. Some want to take an existing industry, such as fishing, and do it better, causing less harm to the ocean ecosystem. Others are aiming to restore and repair, actively improving the marine environment while also making a profit.

As with all startups, the challenge is to survive long enough to build a customer base and break even. A startup company may attract an initial burst of funding on the basis of a good idea, which enables it to start operations. But they then face ‘death valley’, when they risk running out of money before they start earning any.

seaweed shot under water

Intertidal seaweed beds on the west coast of Jersey, UK, in 2020

To address this challenge, a number of incubators and accelerators have been established in recent years to help ocean startups become profitable. These include Katapult Ocean in Oslo, Norway and OceanHub Africa in Cape Town, South Africa. Another is Blue Bio Value, which was set up by the Oceano Azul Foundation and the Calouste Gulbenkian Foundation in 2018 to “help entrepreneurs create commercially viable and sustainable businesses” and thereby “accelerate the transition to a global and sustainable blue bioeconomy”. It is now on its fish set of startups.

Previously, the Oceano Azul Foundation – which owns the Lisbon Oceanarium – had focused on ocean education, but its leaders decided this was not enough. “We thought that, as a credible foundation, we need to also put our money where our mouth is,” says Pitta e Cunha. “We only accept startups that, through their production, will ease decarbonisation of the planet or high consumption of natural resources.” Many of these startups are led by scientists, he explains, who have essential specialist knowledge but little experience of markets or running businesses.

Alongside the accelerator, the team has also created an ideation programme to link academic researchers and business leaders, to encourage the formation of new businesses. “We are trying to manufacture new startups, because they are needed,” Pitta e Cunha says.

With so many funders, incubators and accelerators entering the ocean economy, the challenge for the owners of a new startup is how to navigate this business world. Several organisations have now been set up to organise everything and help startups find their way.

At Investable Oceans, in New York, the co-founder and principle, Ted Janulis, likes to say he was “born with an ocean gene”, which means he “can’t walk past a body of water of any type without jumping in and splashing around”. Several decades in finance convinced him that there were market-based opportunities all over the ocean economy. But the investors were scattered and disconnected. “The people who invested in plastic mitigation weren’t necessarily the people investing in better fisheries or aquaculture,” he says. So he set out to create a single platform where people could come and learn about investment opportunities in the blue economy across all asset classes and sectors. “We’re not an incubator, we’re not an accelerator, we’re not a fund and we’re not a broker dealer,” he says. “Our goal is to connect people.”

Plastic pollution along the beach– knee-deep in some places – in the Maldives in 2019

More recently, an umbrella organisation called 1000 Ocean Startups was launched in May 2021 to accelerate ocean impact innovation by bringing together “incubators, accelerators, competitions, matching platforms and VCs supporting startups for ocean impact”. Its members include Katapult Ocean, OceanHub Africa and Investable Oceans and so far it has backed 168 startups: 115 focused on sustainable use of ocean resources, 33 addressing pollution and 20 tackling climate change. “We’re still in the infancy stage,” says Grosskopf. The aim is to back 1,000 startups by 2030.

The challenge for all these companies will be to compete against existing ocean businesses that are not making efforts to be sustainable, and therefore have lower operating costs. Some consumers are prepared to pay extra for sustainable products, but many will not or cannot, so the startups must compete on price to attract mass-market consumers.

Fortunately, there are many routes to success, says Janulis. “Some of it might be that it’s a standalone company that becomes really big,” he says, but startups can also be absorbed by larger companies that see their methods as an opportunity.

Janulis says there is also “a rising sensibility and more awareness”, a point echoed by many. “I was born as a digital native,” says Grosskopf. People from the generation below, he says, are “sustainable natives”. “The consumers of tomorrow, the employers of tomorrow… they have sustainability in their DNA.”

It will soon be impossible for companies to behave unsustainably, Virdin suggests. “These issues of sustainability of ocean ecosystems and communities, they’re not luxury issues,” he says. “These are core issues to the future of the business model, whether it’s social licence to operate or whether it’s risks to your operating environment in the coming decades.”

Scottish coastal waves

Duncansby Stacks last year, on the exposed north- east coast of Scotland, where seals and seabirds thrive

Knowlton cautions that it’s unlikely startups alone can fix the marine environmental crisis. “The problem is that we’re kind of in a race against time,” she says, so there will need to be top-down action as well. “The role of government is really important because it can motivate change quickly.” However, she acknowledges, startups are where creative ideas can be brought to fruition quickly. “I think you have to encourage entrepreneurship – and much of it will fail, but some of it will work.”

Read More: Kering’s Marie-Claire Daveu on benefits of the blue economy

In other words, it’s not a choice between buccaneering startups and rules-based government. To save our ocean, both will have to work together.

Savvy Ocean Startups

Pesky Fish: Many of the fish that are caught at sea, particularly by trawlers, are wasted. Because they aren’t fashionable, they are discarded as ‘bycatch’. The British company Pesky Fish aims to change that by allowing fishers to sell directly to consumers. It has a rapidly updated online shop and overnight delivery service.

Recyglo: Plastic waste is one of the biggest problems facing the ocean ecosystem. Today most plastic enters the ocean from east Asia, where waste management systems are poor. Recyglo is aiming to change that by bringing modern recycling to the region. It already has branches in Myanmar, Singapore and Malaysia.

Cascadia Seaweed: Farming seaweed has enormous potential to feed the growing human population, remove carbon dioxide from the air, and restore the ocean by providing habitat for marine animals. Canadian firm Cascadia Seaweed is turning kelp into food for people and farm animals. It is working in partnership with First Nations groups.

This article appears in the Deutsche Bank Supplement of the Summer 2022 issue of LUX

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Reading time: 8 min
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As fashion week kicks off in London, we’re celebrating designers who are paving the way for a more sustainable and ethical industry. Here, Justin Thornton and Thea Bregazzi, the founders and creative directors of cult fashion label Preen, discuss their collaborative design process and instinctive approach to sustainability
man and woman

Justin Thorton & Thea Bregazzi

Justin Thorton and Thea Bregazzi have been upcycling and recycling materials since well before ‘sustainability’ became a fashion world buzzword. The couple first met as teenagers on an art foundation course on the Isle of Man, where they both grew up. They moved to London in 1990s after university to launch their label Preen in a small shop in Portobello, the creative hub of the time.

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One of their first design hits was drainpipe trousers, made famous by Kate Moss, and over the years, they have continued to draw a celebrity cult following. Their pieces have been worn by the likes of Beyoncé, Alexa Chung, Scarlett Johansson and Michelle Obama.

Today, the brand maintains its punkish sensibility, but with a grown-up edge of sophistication. With a focus on longevity and practicality as well as beauty, many of their pieces are made to be worn in different ways. A mac coat from their Pre-Fall 2022 collection, for example, comes apart into a cropped jacket and a gilet dress while a double-layer dress of red stretch tulle and acid green floral print can be worn together or as two separate pieces. Here, the duo talk through some of their recent inspirations.

two models in dresses

LUX: How would you describe Preen’s design ethos? And has that changed at all since the brand’s inception in 1996?
Justin Thornton & Thea Bregazzi: We have a very organic approach to designing. There is a certain irregularity to all that we do. We have developed and grown throughout the years but “darkly romantic” has all ways been our style.

Read more: Patrick McDowell on the social impact of sustainable fashion 

LUX: What’s your typical process for designing a new collection? Do you each play specific roles or do you work collaboratively throughout?
Justin Thornton & Thea Bregazzi: Every time we design a new collection, we try to open ourselves up to experience as many things as possible. We talk a lot about what we are loving and what’s inspiring us, and then we start to edit our inspirations and draw from those. We work very collaboratively throughout the designing and creating processes.

LUX: How do you think your experiences of living and working in London and then, New York have shaped your design thinking?
Justin Thornton & Thea Bregazzi:
Showing our collections in New York really made us focus on being an international brand. However, living and working in London is so inspiring to us, it’s such a multicultural, creative city.

LUX: You’ve said before that you pay some consideration to how your clothes will photograph. How do you think image-based social media platforms have impacted the fashion industry?
Justin Thornton & Thea Bregazzi: When we design it’s important to consider [how the garments will appear] on all platforms, but at the heart of it, what we’re trying to create is an emotional reaction whether that’s in person or through a screen.

Read more: Olivia Muniak’s Guide to the Best Restaurants in Los Angeles

LUX: You’ve been upcycling fabrics more or less since the beginning and are now on a mission to become a 100% sustainable brand. What does that mean exactly?
Justin Thornton & Thea Bregazzi: We’ve never considered ourselves to be “a sustainable brand“, but we try our best to offer as many sustainable, recycled and organic options within our collections as possible. It’s important that all designers make an effort to produce a product that doesn’t destroy our planet.

Two models wearing dresses

LUX: What was on your mood-board for the Summer & Resort 2022 collections?
Justin Thornton & Thea Bregazzi: We were greatly inspired by the work of [French artist and photographer] Guy Bourdin: his bold colours and strong graphic lines. We also looked at dance – in particular [Scottish dancer and choreographer] Michael Clark’s work.

View the collections: preenbythorntonbregazzi.com

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luxury hotel bar
hotel bar with mountains in the distance

Lauber’s Hotel CERVO uses recycled materials and geothermal heat. Photograph by Darius Sanai

As COP26 brings together world leaders to discuss climate change, Daniel Lauber, owner of the CERVO Mountain Resort in Zermatt, gives us his six guiding principles on how to create a truly sustainable luxury hotel. No greenwash included

Walk into the CERVO Mountain Resort in Zermatt, Switzerland, and you know you are in game-changing sustainable luxury. All the fixtures, fittings, furniture and decorations inside and outside the main Bazaar restaurant are of found, recycled or second-hand/vintage materials, down to the cloth screens separating tables for Covid-19 security. In the rooms, there are no disposable plastic bottles, either in the bathrooms or minibar; no disposable plastic at all, in fact, as even the bedroom slippers are made of recycled felt (they are then recycled again).

And there’s no greenwashing; Lauber knows the difference between offsetting and zero carbon. His aim is for the hotel to have a zero-carbon footprint or better, an immense challenge.

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Deep boreholes mean all the hotel’s heating is geothermal; electricity is all renewable; produce in the restaurants and bars is discernibly local, sourced from within a 150km radius. All of this is even more challenging in a remote ski resort at 1650m altitude, ringed by some of the highest peaks in the Alps, than in most places.

It’s also one of the funkiest hotels in the Alps; its bar and terrace at the bottom of the Sunnegga mountain piste are the place to be seen at the end of the ski day in Zermatt.

1. Do your homework, set targets and become your own expert

The (geothermal) heating is installed. Now we are trying more and more to go zero footprint or at least a compensated footprint. That’s the next goal, and we are aiming to get to zero waste, maybe by 2024/25.

We work together with myclimate, a Swiss organisation. We are evaluating how big our footprint is. So, the first step is to evaluate and the second step, by the end of 2022, is to try and minimise it with actual plans for things we can change, and what we can’t change then definitely to compensate for it. The end goal is to be zero footprint and then even positive, so we don’t produce a negative footprint at all. As a hotel, that’s quite a challenge, especially as we take into account construction, which always has a negative impact.

2. Make your clients your ambassadors

Doing all this is sometimes (though not always!) more expensive. Then it’s up to us to tell the story to the customer. If they understand it and appreciate it, and most of them do, then we can try to compensate the higher cost of buying with a slightly higher price; and we are lucky that our customers are able to pay that.

3. Go local, but also support family business, and be realistic

The social aspect is very important, as is the economic aspect, because you can be very social and very environmental, but if the business doesn’t work you’re going to lose.

We can work with suppliers who are smaller family businesses to find new ways of being sustainable. I really like that. And I like to give those smaller companies a platform.

For example, most of our ice cream is home-made, but in the summers we have ice cream stands and we sell ice cream from Basel. We could find ice cream that’s closer, but the people producing the one from Basel have a social work space for people who have some health issues or other disabilities and I think that’s nice. It might be 100km further away than other producers, but the mindset they have is so great, it’s worth it.

Read more: Professor Peter Newell on climate responsibility

4. Make a virtue out of your ethical sourcing

Generally, we try to use furniture that also has a sustainable approach. For example, the beds are handmade with organic materials. With whatever furniture we created ourselves, we tried to use local carpenters. In the Bazaar restaurant it was a bit different, it’s more themed, so in that instance we tried to work with young designers and companies in Morocco to support emerging designers or the all-women enterprises there. The chairs, the cushions, the carpets were made for us by small enterprises and that’s nice. It’s different to just ordering a fake Moroccan-style cushion produced anywhere.

5. The hard work is on what clients can’t see

It was quite an easy change to be plastic free in the amenities and rooms. It’s good that the customers see that. The bigger challenge to being plastic free is when it comes to the supply chain. Some stuff we need to order comes shipped stupidly wrapped up. And now that’s the second goal. We can’t do it alone, but we try to talk with those companies and ask if they can ship it differently, to see if they can use multi-reusable packaging, for example.

6. Create a virtuous circle and inspire, but don’t proselytise

We have a lot of feedback when customers say, “Ah this is a good idea”, so we do what we can to inspire customers and staff. If you inspire 10 people, it’s already worth it, and if those 10 each also inspire another 10, then it quickly escalates.

To be inspiring is very important for a hotel but it should never pushy. It’s great to inspire guests but if they don’t care that’s fine, too. Inspiring people can also be a bit educational, but I don’t think it’s our job as a hotel to educate.

Find out more: cervo.swiss

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Product image of glasses and fishing nets
Product image of glasses and fishing nets

Sea2See turns discarded plastic fishing nets into high-fashion eyewear

François van den Abeele had a dream – to turn discarded plastic fishing nets into high-fashion, hand-finished eyewear. People once laughed at him, but now, as he leads a swell of eco-entrepreneurs, his products are in increasing demand around the world. He tells LUX how he created an ecosystem around his brand, Sea2See
Portrait of man holding glasses

François van den Abeele

“My love of water sports nurtured a passion for the ocean and brought me to focus on the problem of plastic contamination in our seas. I had spent a lot of time reading about the degradation of our oceans, the problems surrounding marine plastic, and about the brands trying to implement circular economy in the way they produce.

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“I began to investigate ways of using plastic waste as a raw material to produce something that people would use and potentially wear. Sustainability is non-existent in the optical world; the main raw material used is plastic and 40 per cent of the population wears glasses. It was a perfect win, win, win.

“All this, along with a personal motivation to change my profession and do something positive with a sustainable impact culminated in the creation of Sea2See Eyewear.

“We have agreements with 27 ports in Spain, six in France and now we are starting in Ghana. We collect on average half a ton of plastic waste per day that we recycle to produce all of our optical frames in Italy.

Fishermen standing on a boat deck

“The market is changing, and consumers are more and more worried about the future we will leave to our kids. The proof is that in three years we are being sold in more than 2,500 optical stores across Europe and North America, and the numbers are growing.

Read more: Highlights from the 3rd edition of NOMAD St. Moritz

“People laughed at me four years ago when I had the idea of producing glasses with recycled marine plastic. Today we get calls daily from stores or brands that want our product or to collaborate with us.

“There is a global awareness that we must treat our planet better and consume differently, and Sea2See, thanks to its customers, is doing its part. Sustainable glasses will not change the world. People that wear them will.”

Discover the collections: sea2see.org

This article was originally published in the Spring 2020 Issue.

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Reading time: 2 min
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graphic banner in red, white and blue reading Charlie Newman's model of the month

Portrait of young woman with red hair

British model Anna Proffitt. Instagram: @annaproffitt

LUX contributing editor and model at Models 1, Charlie Newman continues her online exclusive series, interviewing her peers about their creative pursuits, passions and politics

colour headshot of blond girl laughing with hand against face wearing multiple rings

Charlie Newman

THIS MONTH: 22-year-old British model Anna Proffitt has appeared on the catwalk for top fashion houses and graced the pages of many glossy magazines all while juggling a university degree and setting up a platform to discuss slow fashion. Here, she talks to Charlie about escaping to the countryside, sustainable shopping habits and reintroducing a ‘mend-it’ mentality.

Charlie Newman: Firstly, can you tell me about your background? Where did you grow up?
Anna Proffitt: I actually just moved back to the village I grew up in, I missed the countryside and Derbyshire folk when I was in London full time! I’m from a tiny village near the Peak District that’s all hills, fields and forests. I love it now, but not so much when I was young, I thought it was very boring. Everything was very quiet, my primary school class only had nine students. I remember passing my driving test in about four months so I could have some freedom! Now I’m so happy to live in the quiet, I can hike, climb, run and see the horizon all the time. I’m much more productive when I’m here, it’s all the clean air.

Follow LUX on Instagram: luxthemagazine

Charlie Newman: Were you always interested in fashion fashion?
Anna Proffitt: It’s the classic story of someone from the middle of nowhere seeing fashion as this glamorous escapism. I had a subscription to Vogue when I was 14 and fantasised about what it would be like to work in the industry. I did Fashion Design at College then Fashion Communication at University. Midway through studying I was scouted by an agency in Milan and went there in my summer break. When I came back I decided that I wanted to pursue it properly so applied to London agencies online and Models 1 signed me. Having worked for three years now experiencing the ups and downs, I am so grateful for the opportunities that have come out of it and know how to make it work for me. I have great respect for models, you have to be very strong and grounded to succeed.

Model wearing puffy yellow tutu

Instagram: @annaproffitt

Charlie Newman: How easy was it to manage both modelling and studying?
Anna Proffitt: I studied at Nottingham Trent University so I was on the train to London pretty frequently. At times, it was hard to juggle as my course was very intensive. I am naturally organised and hard working so I made it happen, I wrote a lot of my dissertation in queues for Fashion Week castings! I don’t think I would have done it in a different order as my modelling career helped with my course, it inspired and influenced a lot of the projects I did. I had a real industry perspective so could tune my projects to what actually happens in fashion, not just what I read about. I’m lucky to have had truly supportive agency that respected my studies and asked how I was. The stress of third year really took its toll on me so I took a long break from modelling but with a great team, I came back and walked Celine in the September after graduation.

Charlie Newman: In my opinion, catwalk modelling is the most gruelling part of the industry. How do you get through fashion week?
Anna Proffitt: It really is! I’ve certainly not always thrived in it, you have to be so in tune with yourself and able to ignore a lot as the nature of the process strips away your self-worth very easily if you let it. But then you have to be in it to win it. It’s all about the balance of knowing what is right and safe for your physical and mental health whilst allowing your ego to take you into that model mentality. I have a much stronger sense of self now, I guess it comes with age. So fashion week wouldn’t be so gruelling for me now as I know how to keep myself level.

Read more: Truffle making & Michelin-star dining at St. James’s Hotel & Club

Charlie Newman: What has been your favourite show to walk in and why?
Anna Proffitt: Celine is the biggest show I’ve walked yet and it was amazing to be surrounded by some of the biggest names in the industry. It was fascinating to see how a big fashion house works and be a part of the hype around Hedi Slimane’s first season at Celine. As a dressmaker myself, it was a dream come true to see how expert tailors fit the garments and discuss fabrics. I love Paris so much too, being able to spend 3 weeks there was amazing. Travel is definitely the biggest perk of the job!

Charlie Newman: Other than Celine, what’s been a career highlight so far?
Anna Proffitt: I loved the shoot I did for Wonderland Magazine with Campaign for Wool. It was all about championing British industry and conscious consumption which I am extremely passionate about and it was also my first glossy magazine shoot. I ended up collaborating with Campaign for Wool on my final major project at University. It’s so fulfilling when you meet lovely people on a job that you get on with and can work with on other projects.

Charlie Newman: Who do you look up to within the industry?
Anna Proffitt: I look up to the Ateliers of Haute Couture, they are some of the most skilful and talented people on the planet. My favourite artists in the industry are Rei Kawakubo, Tim Walker, the late Alexander McQueen and Christopher Simmonds.

Young female model with red hair

Instagram: @annaproffitt

Charlie Newman: How did you come up with the concept for The Idle Hands Collective?
Anna Proffitt: Idle Hands is a platform that discusses conscious consumption in the fashion industry. It started as a way I could visually explore the topic so more people can join the conversation. I am passionate about the craft of fashion and using what we already have, there are so many amazing clothes in the world we don’t need to make more, especially more that are made from plastic and fall apart after one wear. I want to champion quality over quantity and prove you don’t have to forfeit your aesthetic in the slightest to dress sustainably. The blog consists of think pieces about sustainable fashion and features people, makers and communities that are paving the way. It goes alongside my vintage and up-cycled business which I have on Depop and my Instagram.

Read more: Why Spain is best for cultural travelling by Geoffrey Kent

Charlie Newman: As consumers, how can we make our approach to fashion more sustainable?
Anna Proffitt: Stop buying crap clothes! Why would you want to put your hard-earned cash to something that you know will only last you about two months? I would love to see a massive shift in consumer mentality that champions quality items over anything the fast fashion brands give you (which are inherently made to be disposable). I would love for charity and second-hand shops to be destigmatized and a ‘make do and mend’ mentality to be reintroduced. In this consumerist society, we can vote with our wallet, so make your money count.

black and white portrait of a woman

Instagram: @annaproffitt

Charlie Newman: Who are your favourite sustainable brands?
Anna Proffitt: My favourite sustainable fashion brands are: Paloma Wool which is ethically made in Barcelona, Girls of Mars, FARA Charity shops because they are usually nicely presented and Rokit Vintage (my favourite is the Covent Garden branch). I am currently using a face oil by an independent maker called Lovely Skincare based in Sheffield and I use Neal’s Yard too as their green credentials are to be envied.  The Body Shop and L’Occitane have recently teamed up with TerraCycle so you can recycle all beauty empties in store, which is quite revolutionary. The best places to shop are always local; support your local community. Shop your local markets, greengrocers, hardware stores, charity shops and book shops.

Charlie Newman: Lastly who is your role model of the month and why?
Anna Proffitt: My role model of the month is the climber Nina Williams. I watched her documentary at the Reel Rock Film Festival and I am in awe of her mindset and strength. Go check her out!

Follow Anna on Instagram: @annaproffitt

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Reading time: 7 min