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Harsha Parihar,Fashion Designer

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Student of Dezyne E'cole College,First Year ,www.dezyneecole.com
Fashion design is a form of art dedicated to the creation of clothing and other lifestyle accessories. Modern fashion design is divided into two basic categories: haute couture and ready-to-wear. The haute couture collection is dedicated to certain customers and is custom sized to fit these customers exactly. In order to qualify as a haute couture house, a designer has to be part of the Syndical Chamber for Haute Couture and show a new collection twice a year presenting a minimum of 35 different outfits each time.
Ready-to-wear collections are standard sized, not custom made, so they are more suitable for large production runs. They are also split into two categories: designer/createur and confection collections. Designer collections have a higher quality and finish as well as an unique design. They often represent a certain philosophy and are created to make a statement rather than for sale. Both ready-to-wear and haute-couture collections are presented on international catwalks.

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Harsha Parihar,Fashion Designer

  1. 1. WOMEN WEAR Harsha Parihar M.Sc. Fashion Technology +1year diploma
  2. 2. GARMENT INDUSTRY
  3. 3. FASHION DICTATED BY ROYALTY Until the Industrial Revolution, people belonged to one of two main classes : the wealthy landowners or the poor laborers and farmers. Because wealthy was afford to wear fashionable clothes. Royalty, at the top of both the social and economic ladders, set fashion trends while other members of the aristocracy followed their example in order to gain approval At the turn of the eighteenth century, members of King Louis XIV’s court became the arbiters of taste, making Paris the fashion capital of Europe. The textile industry grew in Lyons and other French cities, supplying the court with silk fabrics, ribbons, and laces. dressmakers and tailors, sponsored by the wealthy, developed their skills to a high level using this beautiful materials.
  4. 4. HAND SEWING BY DRESSMAKERS AND TAILORS Dresses and suits for individually sewn by dressmaker or tailors to their employers’ specifications. The identities of personal dressmakers were secrets guarded by the wealthy. No one wanted to share the talents of clever dressmakers for fear or losing them Rose Bertin (ber-tan’), dressmakers Queen Marie Antoinette was known only because she was made the official court minister of fashion
  5. 5. FASHION DEVELOPMENT Fashion, As We Know It Is A Relatively New Concept. In Ancient And Medieval Times, Clothing Styles Remained Practically Unchanged For A Century At A Time. Fashion Change Become To Accelerate During The Renaissance, As Western Civilization Discovered Different Cultures, Customs, And Costumes . As New Fabrics And Ideas Became Available, People Craved More New Things. The Pace Of Fashion Change Has Continued To Increase.
  6. 6. GROWTH OF COUTUREFrance became the center of fashion due to the patronage of the royal court and the development of the silk industry there. In France, the art of dressmaking was known as couture (koo-tour’). The male designer was a couturier (koo-tu-ree-ay’); his female counterpart was a couturie’re’ (koo-tu-ree-air’).
  7. 7. EFFECTS OF THE INDUSTRIAL REVOLUTION ON FASHION Growth of the textile industry Early America had virtually no textile or fashion industry. Most materials were imported from abroad : silks from France, India and China, and woolens, calicoes, and cashmeres from Britain. The modem textile industry, which enabled more fabrics to be produced in less time, began in England with John Kay’s development of the flying shuttle in 1733, James Hargreaves’s invention of the spinning jenny in 1764, Richard Arkwright’s water frame in 1769, and Edmund Cartwright’s power loom in 1785.
  8. 8. Christian Dior ( chris- tee-ahn’ Dec- or ) showed his first collection in 1947 and was an instant success. In a reaction against the wartime silhouette, women adopted this New Look with longer, flare skirts; smooth, rounded, sloping shoulders; and tiny fitted waists. Within a few seasons, Dior’s name became a household word, and he was doing as much business as the rest of the couture combined. Elsa Schiaparelli ( ska-pa-rell’-ee ) was the trendsetter of European fashion in the 1930s. Schiaparelli moved the center of interest to the shoulders, which she began to widen, accentuating them by pleats, padding, or braid, a silhouette that remained popular through World War II IMPORTANT TRENDSETTING DESIGNERS
  9. 9. Jean Patou ( Gsahnpa- too’ ) created the famous Flapper look in 1925 bvaccentuating the hipline strengthening a straight silhouette, and making shorter skirts with uneven hemlines. He confirmed that the young, independent women was the new ideal. Paul Poiret (pwah- ray ), whose tubular dresses liberated women from corsets, was the first Paris couturier of this century to become a trendsetter.
  10. 10. ILLUSTRATION
  11. 11. YOKES
  12. 12. CUFF
  13. 13. WAIST BAND
  14. 14. POCKET
  15. 15. NECKLINE AND COLLAR
  16. 16. SKIRTS
  17. 17. FABRIC TEXTURE
  18. 18. FABRIC MANIPULATION
  19. 19. SOME OF MY ASSIGNMENT OF FABRIC MANIPULATION
  20. 20. SOME OF MY ASSIGNMENT OF FABRIC MANIPULATION
  21. 21. SOME OF MY ASSIGNMENT OF FABRIC MANIPULATION
  22. 22. SOME OF MY ASSIGNMENT OF FABRIC MANIPULATION
  23. 23. PHULKARI SOME OF MY ASSIGNMENT OF INDIAN TRADITIONAL EMBROIDERY
  24. 24. Kantha SOME OF MY ASSIGNMENT OF INDIAN TRADITIONAL EMBROIDERY
  25. 25. Kasuti SOME OF MY ASSIGNMENT OF INDIAN TRADITIONAL EMBROIDERY
  26. 26. GRAPHIC DESIGN
  27. 27. Corel draw is a vector graphic software it is used for graphic designing in this software I have learned how to use vector graphic software to give perfect look to my illustration through shape tool logo design, text editing typography, cover pages, layouts and pattern making with the help of editing tool use 2 point curve, 3 point curve, mathematical defined curved line, smooth looking graphics saved on bitmap file format design are easy to select color, move re-size and many other effect and tools.. COREL DRAW
  28. 28. GRAPHIC DESIGN C o c o C h a n e l b o y i s h l o o k s t y l e c l a s s i c f a s h i o n d e s i g n p r i n t c o l o u r t e x t u r e e l e g a n t l o o k f a s h i o n s h o w m a g a z i n e p h o t o s h o p c r e a t i v e i n s p i r a t i o n f a b r i c t r o p i c a l f l o w e r s i l k m a d e t o o r d e r , s i m p l i c i t y e l e g a n t l o o k , c o n t e m p o r a r y l o o k a r t i s t i c l o o k w a r m c o l o u r s i l k , c o r e l d r a w f r e e h a n d , a r t i s t i c m e d i a t e x t w e b s i t e f a s h i o n h i s t o r y s i m p l i c i t y h i g h e r e n d f a s h i o n c u l t u r e , l o o k , f a s h i o n , s t y l e , c o l o u r p r i n t f r e e h a n d e l e g a n t f a s h i o n c l a s s i c n e w l o o k Co c o Ch a n e l b o yis h lo o k s t yle cla s sic in s p ira tio n yo ke re a d ym a d e a rt p ro f ile fa s h io n d e s ig n p rin t co lo u r te x tu re e le g a n t lo o k h ig h p ro file f a s h io n s h o w m a g a z in e p h o to s h o p c re a tiv e in s p ira t io n f a b ric tro p ic a l flo w e r s ilk m a d e to o rd e r, sim p licit y e le g a n t lo o k , co n te m p o ra ry lo o k a rtis tic lo o k w a rm c o lo u r silk , co re ld ra w fre e h a n d , a rt ist ic m e d ia t e xt w e b sit e fa s h io n h is to ry s im p licit y h ig h e r e n d fa s h io n cu lt u re , lo o k, f a sh io n , s ty le , c o lo u r p rin t C oc o C h a ne l bo y i s h l ook sty l e c l a ss i c f a s hi o n d es i g n p r i n t co l ou r tex t ur e e l eg an t l oo k f a s hi o n s h ow m a g az i n e p h otos h op c r ea t i v e i ns p i r at i on f a b r i c t r o pi c a l f l o w e r s i l k m a de t o or d er, s i m p l i c i t y el e ga n t l oo k , c on t em por a r y l ook ar t i st i c l o ok w a rm c ol o ur s i l k , c or el dr a w f r eeh an d , ar t i st i c m ed i a t e x t w eb si t e f a s h i on hi s t or y s i m p l i c i t y hi gh er en d f as h i on c ul t ur e, l o ok , fa sh i o n, s t y l e, c ol ou r p ri nt fr e eha n d el eg an t f a s hi on cl a s si c n ew l ook Co c o C ha n el b oy i sh l o ok s t y l e cl as si c f a sh i on d esi g n pr i n t c ol o ur t e x tu r e el eg a n t l ook fa sh i on s ho w m a ga z i n e ph ot osh o p c r ea t i v e i n s pi r a t i o n fa br i c t r op i c a l f l ow er si l k m a d e t o o r der , si m p l i c i t y el eg a nt l o ok , c on t e m p or a r y l o ok a r t i s t i c l ook w a r m c o l ou r si l k , c or el d r a w f r eeh a n d , a r ti s t i c m ed i a t ex t w ebs i t e f a sh i o n h i s t or y si m pl i ci t y h i g h er e nd f a sh i o n c u l t u r e, l oo k , f as h i on , s t y l e , c o l ou r pr i n t f r eeh a n d el e ga n t f a sh i on c l a ss i c n ew l o ok Coco Chanel boyish look styleclassic fashion design pr int colour textur e elegant look fashion show magazinephotoshop cr eative inspiration fabr ic tr opical flower silk made to or der, simplicity elegant look, contempor ar y look artistic look w ar m colour silk, cor eldraw freehand, artistic media text website fashion histor y simplicity higher end fashion cultur e, look , fashion, style, colour pr int freehand elegant fashion classic new look Coco Chanel boyish look style classic magazinevogue websit e fashion design pr int colour textur eelegant look fashion shows fashion show magazine photoshop cr eativeinspir ation coco chanel fabr ic tr opical flow er silk madeto or der, simplicity creativelook elegant look , contemporar y look ar tistic look war m colour style silk , cor eldr aw fr eehand, ar tistic media text w ebsite pr int colour textur e fashion histor y simplicity higher end fashion cultur e, look , fashion, style, colour pr int fr eehand elegant fashion classic new look CocoChanelboyishlookstyleclassic fashiondesignprintcolourtextureelegantlook fashionshow m agazinephotoshop creative inspiration fabrictropicalflow ersilkmadeto order,simplicity elegantlook,contemporarylookartistic look warm colour silk,coreldraw freehand,artisticm edia textwebsite fashionhistorysim plicityhigherendfashionculture,look,fashion, style,colourprintfreehand elegantfashionclassic new look C o c o C h a n e l b o y i s h l o o k s t y l e c l a s s i c f a s h i o n d e s i g n p r i n t c o l o u r t e x t u r e e l e g a n t l o o k f a s h i o n s h o w m a g a z i n e p h o t o s h o p c r e a t i v e i n s p i r a t i o n f a b r i c t r o p i c a l f l o w e r s i l k m a d e t o o r d e r , s i m p l i c i t y e l e g a n t l o o k , c o n t e m p o r a r y l o o k a r t i s t i c l o o k w a r m c o l o u r s i l k , c o r e l d r a w f r e e h a n d , a r t i s t i c m e d i a t e x t w e b s i t e f a s h i o n h i s t o r y s i m p l i c i t y h i g h e r e n d f a s h i o n c u l t u r e , l o o k , f a s h i o n , s t y l e , c o l o u r p r i n t f r e e h a n d e l e g a n t f a s h i o n c l a s s i c n e w l o o k C o c o C h a n e l b o y i s h l o o k s t y l e c l a s s i c f a s h i o n d e s i g n p r i n t c o l o u r t e x t u r e e l e g a n t l o o k f a s h i o n s h o w m a g a z i n e p h o t o s h o p c r e a t i v e i n s p i r a t i o n f a b r i c t r o p i c a l f l o w e r s i l k m a d e t o o r d e r , s i m p l i c i t y e l e g a n t l o o k , c o n t e m p o r a r y l o o k a r t i s t i c l o o k w a r m c o l o u r s i l k , c o r e l d r a w f r e e h a n d , a r t i s t i c m e d i a t e x t w e b s i t e f a s h i o n h i s t o r y s i m p l i c i t y h i g h e r e n d f a s h i o n c u l t u r e , l o o k , f a s h i o n , s t y l e , c o l o u r p r i n t f r e e h a n d e l e g a n t f a s h i o n c l a s s i c n e w l o o k C o c o C h a n e l b o y i s h l o o k s t y l e c l a s s i c f a s h i o n d e s i g n p r i n t c o l o u r t e x t u r e e l e g a n t l o o k f a s h i o n s h o w m a g a z i n e p h o t o s h o p c r e a t i v e i n s p i r a t i o n f a b r i c t r o p i c a l f l o w e r s i l k m a d e t o o r d e r , s i m p l i c i t y e l e g a n t l o o k , c o n t e m p o r a r y l o o k a r t i s t i c l o o k w a r m c o l o u r s i l k , c o r e l d r a w f r e e h a n d , a r t i s t i c m e d i a t e x t w e b s i t e f a s h i o n h i s t o r y s i m p l i c i t y h i g h e r e n d f a s h i o n c u l t u r e , l o o k , f a s h i o n , s t y l e , c o l o u r p r i n t f r e e h a n d e l e g a n t f a s h i o n c l a s s i c n e w l o o k
  29. 29. Harsha Parihar M.Sc.Fashion Technology 2015 - 2016 GRAPHIC DESIGN
  30. 30. FA SH IO N TECHNO LO G Y Harsha Parihar M.sc.Fashion technology 2015-2017 2015 - 2017 GRAPHIC DESIGN
  31. 31. GRAPHIC DESIGN
  32. 32. GARMENT CONSTRUCTION
  33. 33. CHILD’S BODICE BLOCK
  34. 34. WOMEN BODICE BLOCK
  35. 35. SALWAR BLOCK
  36. 36. KALIDAR KURTA
  37. 37. CHURIDAR PYJAMA
  38. 38. NIGHT SUIT
  39. 39. NIGHT SUIT
  40. 40. KURTA
  41. 41. DRAPING
  42. 42. DRAPING
  43. 43. DRAPING
  44. 44. DRAPING
  45. 45. Princess Panel DRAPING Waist Dart
  46. 46. CASE STUDY
  47. 47. CILENT BOARD Make a salwar kameez for a lecturer in engineering college age 30 to 32 years using any surface design technique ? MY CLIENT CLIENT NAME MRS. REENA CHOUHAN AGE 31 OCCUPATION LECTURER WORKING HOUR 9 to 5 OBSERVATION CALM ,CONFIDENT, INTELLIGENT ,QUALITY , ENERGY ,POWER, BALANCE
  48. 48. RESEARCH BOARD
  49. 49. TYPES OF SALWAR KAMEEZ
  50. 50. TYPES OF SALWAR KAMEEZ
  51. 51. IDEA GENERATION
  52. 52. C 91 M 75 Y 45 K 71 C100 M 83 Y33 K36 C 0 M 60 Y 100 K 0 C 0 M 0 Y 0 K 100 C 0 M 0 Y0 K80 C 0 M 20 Y60 K20 C 0 M 60 Y 100 K 0 C 75 M 68 Y 65 K 90 C40 M 100 Y0 K0 C 22 M 46 Y100 K3 C 33 M 89 Y100 K49 C84 M 73 Y60 K81 IDEA GENERATION
  53. 53. C 91 M 75 Y 45 K 71 C100 M 83 Y33 K36 C 0 M 60 Y 100 K 0 C 0 M 0 Y 0 K 100 C 0 M 0 Y0 K80 C 0 M 20 Y60 K20 C 0 M 60 Y 100 K 0 C 75 M 68 Y 65 K 90 C40 M 100 Y0 K0 C 22 M 46 Y100 K3 C 33 M 89 Y100 K49 C84 M 73 Y60 K81 IDEA GENERATION
  54. 54. C 0 M 60 Y 100 K 0 C 0 M 0 Y 0 K 100 C 75 M 68 Y 65 K 90 FINAL CREATIONS SPECIFICATION SHEET PRINCESS PANEL BLACK KURTA EMBROIDERY SPIDER WEB (BASIC SITICH) NECKLINE ROUND PLAIN SLEEVES PANTS STYLE ORANGE SALWAR
  55. 55. basic block front size 34” basic block back size 34” center panel size 34” side panel size 34” cut 2 piece side panel size 34” cut 2 piece center panel size 34” back size34” basic sleeves size 34” backfront FINAL GARMENT DRAFT
  56. 56. basic block front size 34” basic block back size 34” center panel size 34” side panel size 34” cut 2 piece side panel size 34” cut 2 piece center panel size 34” back size34” basic sleeves size 34” backfront ESTIMATION SHEET
  57. 57. Formal Colors MOOD BOARD
  58. 58. TYPES OF FABRIC Crepe It is crease free fabric and looks so rich and this fabric is mostly preferred by Indian women. Cotton Cotton salwar kameez is light weighted and commonly used . Cotton salwar kameez is preferred in summer season. Georgette This material can be worn for daily purpose as well as party wear. It is embroidery friendly stuff and can be changed easily according to the design of salwar kameez.
  59. 59. TYPES OF SURFACE DESIGN TECHNIQUES
  60. 60. ELEMENT AND DESIGN
  61. 61. LINE- A line is a series of connecting point. It is the simple design element line have direction length width. Line creates movement by leading eye up down, side to side, line may be straight , curved, bent, horizontal, vertical, diagonal. Line - decorative and structural Seam line hemline, panel tucks godets dart gores yoke plackets pleats neckline ELEMENTS OF DESIGN
  62. 62. Colors are used in many ways to assert recognition because they are fairly easy to read and understand. Colors have a demonstrable psychological effect The first thing that is ever noticed about a garment is the color. Color is the most important of all the design element. It is important to understand the basic relationship of color. COLOR TERMINOLOGY Color schemes Contrast Complimentary Opposite Color Scheme Simple complimentary color scheme Double complimentary color scheme Triad complimentary color scheme Split complimentary color scheme Neutral Color Scheme Accented neutral color scheme Achromatic color scheme Related Color Scheme Analogous color scheme Adjacent color scheme Monochromatic color scheme Polychromatic color scheme Warm Color Cool Color
  63. 63. GRADATION SHADE ( RED + BLACK) TINT ( RED + WHITE) TONE ( RED + GREY) Monochromatic a color scheme where we use tints, tones, and shade of any single color to design anything. This color scheme tends to make a person appear tall if his/her height is short. SHADE( RED + BLACK)
  64. 64. White Purity Truth, Peace ,Innocence, Simplicity, Coldness, Virginity, Birth, Freedom ,Elegance, Honesty. Black Intelligence, Mystery, Corruption, Forceful Rebellion, Modernity, Power, Formality, Elegance, Evil, Death, Quality Grey Confident, sophisticate, dignity, seriousness, Elegance, Respect, Wisdom, Old, Bored , Dullness, Neutral, Pollution, Formal, Military, Education. Orange Happiness, Powerful, Inviting, Friendship, Rich, Quiet, Classic, Reliability, Energy, Balance, Heat, Enthusiasm ,Playfulness, Warming, Optimisms , Abundance Yellow Joy, Happiness, radiant, quiet, bright, strong, bold, electric, feminine, rising, Summer, Illness, Fertility, Warming. EFFECT OF COLORS
  65. 65. Red Life, Passion, Energy, Love, Warmness, Strength, Boldness, Beauty, Awareness, Speed, Danger, Anger, Wealth, Luck, Marriage. Green Nature, Fertility, Environment, Wealth, Generosity, Eternal life, Jealously, Growth, Heath, Calmness, restful. Pink Tough, Sweetness, Softness, Paleness, Natural, Gentle, Youth, Innocence, Reality, Overpowering. Purple Cool, Challenging, Magic, Surprise Wisdom, Confusion, Pride, Royalty, Instability Nobility, Spirituality, Creativity, Mystery. Blue Water, Reliable, strong, Ocean, Peace, Unity, Calmness, Confident ,Conserved, Loyalty, Idealism, Dependability, holy, Victory, Innocent, overpowering EFFECT OF COLORS
  66. 66. LINES A line has various functions: Movement is created by moving line the eye along the line up and down, side to side or curved, vertical ,horizontal and diagonal around the garment.
  67. 67. Straight lines are seen on seams ,yokes, edges, dart, panels, zippers, tucks, rows of buttons and braids. Straight lines signify neatness, strength power , stability, dignity and give effect of slimness. Curved lines emphasize body curves and body look rounder give effect of feminity, confidence, gracefulness movement, richness elegance and gentle youthfulness. Perpendicular lines can be seen on yokes, darts, and trims. Perpendicular lines of the yoke attracting to the dress. Small shapes and space add interest than a regular shape and space. LINES
  68. 68. Dominating thick lines seen on borders, bands, belts, cuffs, add weight and convey forcefulness, expansion, roughness, assertiveness and masculinity. Horizontal lines are seen on yokes, waistlines, hemlines necklines and sleeves. It has shortening and widening effect. Psychologically, it shows flatness, balance, rest and peace. Vertical lines are seen on side seams, pleats, fabric pattern and trims. It lengthens and being bold, sophisticated, strong and elegant, vertical lines show forces, gravitational pull, mobility, flatness, balance and rest. Diagonal lines are seen on pockets, panels, seams, fabric patterns, necklines, collar lapels, flared trousers, A-line skirts, raglan sleeves are interesting and dramatic in effect. It has a slimming effect if more vertical and widening effect if more horizontal.
  69. 69. Proportion is the way all the parts in a design related to each other so the person looks tall, slim and more youthful Scale is an aspect which is mainly dealing with fashion accessories a huge hand bag on a small woman look oversized while a handbag on a large woman look different and makes wearer look larger. Similarly the size of pocket color, sleeves, cuff, peplums, belt, button, fabric prints, texture and trims. Should all be as per body size of the person wear it. Contrast can be use in small amount of the dress add interest and attention. A contrast occur when two or more totally unrelated features occur in one design. Contrast sometimes becomes very important in a design. Balance weight of the different elements is the design is equally distributed to create balance. The concept of visual balance is similar to that of physical balance were stability is achieve when the part of design are evenly distributed around a balance line or point. Balance is of two types formal or informal: 4 4 7 1 1 7 Formal balance is similar and occur when one side is repeated another on other side of axis or to become a mirror image formal balance draw attention to the feature if repeated. Informal balance is a similar and occur when object on both side of the axis are equal in visual weight but not identical his difference may be simple variation or strongly contrasting. Structural balance in a garment can be adjust by moving of seams, yokes, panels, darts by adding or subtracting fullness and also by arranging openings. PRINCIPLE OF DESIGN
  70. 70. UNITY All elements of design strive to have unity when place together in a pieces of art. The elements of principle of design should be so placed that neither should be over done .There should be no competition between the elements. A completely united design is that which spoils with the removal or addition of even a single dot, line, shape, color or texture. The elements are placed in perfect harmony with each other. Rhythmic effect created by frills of the dress
  71. 71. TEXTILE STUDIES For any fashion designer its very important to study about the fabric and its properties For design new cloth designer should be aware about the fabric finishes should be aware about fabric finishes like fire repellency, water repellency, aroma fabric ,anti wrinkle property of fabric. Fiber Classification :- Fiber is a raw material of yarn it gives us different sources. It comes from various sources such as Natural and Man-made fibers. Natural fiber Stable fibers Short fibers (cm and inches) Man - made fiber Filament fiber Long fibers (meters and feet). Silk is only natural filament which is filament. Weaving Knitting Non - woven FABRIC FORMATION (TECHNIQUES)
  72. 72. TYPES OF LOOM
  73. 73. creel Warp beam TYPES OF LOOM
  74. 74. WEAVING is the process of interlacement of two sets of yarn warp ( length wise running yarn) and weft(cross wise running yarn). KNITTING is the process of interloping with single yarn it s done by flatbed machine, circular machine and with knitting needles NON – WOVEN is the process entangling fiber and filament mechanically, thermally, chemical they are flat, porous, sheets that are made directly from separate fiber or from or from molten plastic or plastic film. Knitted Warp knitting Weft knitting Tricot Single jerseyRachel Purl Rib Interlock SatinPlain Sateen Twill Jacquard Honeycomb Weaves FABRIC FORMATION
  75. 75. Weaving structure Plain Weave the simplest of the weave and the most common. Consist of interlacing of warp and filling yarn in over one and under one. Twill weave Plain weave Twill weave A distinct design in the form of diagonals is characteristic of the second basic weave twill. SATIN WEAVE A four shaft with warp floats in interrupted diagonal. Variation of plain weave in satin weave. Satin weave
  76. 76. THANK YOU

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