Showing posts with label Gérard Depardieu. Show all posts
Showing posts with label Gérard Depardieu. Show all posts

Sunday, October 20, 2013

Down and out: the French flee a nation in despair

The failing economy and harsh taxes of François Hollande's beleaguered nation are sending thousands packing - to Britain's friendlier shores, says Anne-Elisabeth Moutet
 
Le brain drain: high-net-worth French families are heading to the UK
By 2014, France's public expenditure will become the world's highest, at 57 per cent of GDP Photo: Howard McWilliam
A poll on the front page of last Tuesday’s Le Monde, that bible of the French Left-leaning Establishment (think a simultaneously boring and hectoring Guardian), translated into stark figures the winter of François Hollande’s discontent.

More than 70 per cent of the French feel taxes are “excessive”, and 80 per cent believe the president’s economic policy is “misguided” and “inefficient”. This goes far beyond the tax exiles such as Gérard Depardieu, members of the Peugeot family or Chanel’s owners. 

Worse, after decades of living in one of the most redistributive systems in western Europe, 54 per cent of the French believe that taxes – of which there have been 84 new ones in the past two years, rising from 42 per cent of GDP in 2009 to 46.3 per cent this year – now widen social inequalities instead of reducing them.

This is a noteworthy departure, in a country where the much-vaunted value of “equality” has historically been tinged with envy and resentment of the more fortunate. Less than two years ago, the most toxic accusation levied at Nicolas Sarkozy was of being “le président des riches”, favouring his yacht-sailing CEO buddies with tax breaks and sweet deals. By contrast, Hollande, the bling-free candidate, was elected on a platform of increasing state spending by promising to create 60,000 teachers’ jobs, as well as 150,000 subsidised entry-level public-service jobs for the long-time unemployed and the young – without providing for significant savings elsewhere.

By 2014, France’s public expenditure will overtake Denmark’s to become the world’s highest: 57 per cent of GDP. In effect, just to keep in the same place, like a hamster on a wheel, and ensure that the European Central Bank in Frankfurt isn’t too unhappy with us, Hollande now needs cash. Technocrats, MPs and ministers have been instructed to find every euro they can rake in – in deferred benefits, cancelled tax credits, extra levies. As they ignore the notion of making some serious cuts (mooted at regular intervals by the IMF, the OECD and even France’s own Cour des Comptes), the result can be messy.

On the one hand, the lacklustre economy and finance minister Pierre Moscovici recently admitted that he “understood” the French’s “exasperation” with their heavy tax burden. This earned him a sharp rap on the fingers from the president and his beleaguered PM, Jean-Marc Ayrault. On the other, new taxes keep being announced, in chaotic fashion, nearly every week. “Announced” doesn’t mean “implemented”: the Hollande crowd have developed a unique Wile E Coyote-style of leaks, technical glitches, last-minute tweaks and horse-market bargaining whereby almost nobody knows, at any given time, who will be targeted by the taxman, and how. Unsurprisingly, this is liked by no one except us reptiles of the press, eager to report on the longest series of own goals in the history of government communications.

Take last year’s famous 75 per cent supertax, on individuals earning over one million euros a month. This has still not been implemented. First, it got struck down by France’s Constitutional Council on a technicality. Leaks suggested the rate would fall to 66 per cent. They were confirmed, then denied. Hollande eventually vowed that the tax would be paid by the targeted individuals’ employers, for daring to offer such “obscenely” high salaries. This has just been approved by the National Assembly, and must still pass the Senate. So far, it is only supposed to apply to 2013 and 2014 income, but no one knows if the bill will be prolonged, killed or transformed.

What we do know is that this non-existent (so far) tax has been the clincher that sent hundreds, possibly thousands of French citizens abroad: not just “the rich”, whom Hollande, during his victorious campaign, said he personally “disliked”, and who now are pushing up house prices in South Kensington and fighting bitterly over the Lycée Charles de Gaulle’s 1,200 new places; but also the ambitious young, who feel that their own country will turn on them the minute they achieve any measure of personal success.

In the heart of Paris’s Right Bank, where I live, only foreigners seem to buy flats, at prices entirely disconnected from reality. In my street, I have spotted three new Maseratis. Even before seeing their Qatari plates, I knew they couldn’t belong to local owners: they’re an ostentatious admission of wealth no one wants to make in Hollande’s France. (A luxury car is one of the “outward signs of wealth” your tax inspector has been specifically trained to query. The lesson has been learnt: last year, Rolls-Royce sold no cars in France.) On the Left Bank, elegant Americans buy bijoux apartments on place de Furstenberg, at 30,000 euros per square metre, and venture into the fine Café de Flore for elevenses.

“It’s not only that people don’t like to be treated like criminals just because they’re successful,” says a French banker friend who has recently moved to London. “But this uncertainty in every aspect of the tax system means it is impossible to do business: you don’t know what your future costs are, or your customer’s. You can’t buy, you can’t sell, you can’t hire, you can’t fire.”

While I’m still happy in Paris, I envy him his surroundings, the vibrancy of London, the feeling that anything is possible, the sense of fun I remember from the years I lived there in the Eighties and Nineties, and that I gladly find again every time I zoom in on the Eurostar. Paris, my city of birth, is an elegant museum – where any new idea, in any context, seems to be fated to be shot down by a combination of old, structural conformism and blasé disenchantment.

Today, one out of four French university graduates wants to emigrate, “and this rises to 80 per cent or 90 per cent in the case of marketable degrees”, says economics professor Jacques Régniez, who teaches at both the Sorbonne and the University of New York in Prague. “In one of my finance seminars, every single French student intends to go abroad.”

“The French workforce is now two-speed,” explains a headhunter who shuttles between Paris and London. “Among the young, perhaps a third speak English, are willing to relocate, and want to work. For one thing, their dream employers are the more prosperous of the large French multinationals, almost all those in the CAC40 index, who make over half of their profits abroad, sometimes over 90 per cent – companies like, say, L’Oréal, Schneider or Danone. This is why French universities have shocked the Académie française and now teach many courses in English.

“But I’ve also seen determined young people take jobs in places like Vietnam, with local contracts and nothing like the level of protection afforded by French labour law, in order to gain a proper first experience of business in a competitive environment. And then you have a large group whose ambition is simply to stay outside the economy.”

This means a trade-off with which anyone in France is familiar: young people, and many of their parents, dream of getting any kind of state or local administration post, usually badly paid, very often frustrating, but which ensures complete job security, unrelated to the economic situation, the market, or their own performance.

More than a quarter of the French workforce is employed by some public body or other: schools, hospitals, local and regional councils, the police, the civil service proper – or those new subsidised public-service jobs the Hollande government is so keen on.

While the young French generations were aspiring to cocoon themselves away from the realities of the world, our nearest neighbours were following the opposite trend. In 2000, under a socialist chancellor, Gerhard Schroeder, German businesses paid an astonishing 51.6 per cent company tax – largely to pay for the previous decade’s reunification. Today, this is down to 29.8 per cent, when the French equivalent, the highest in Europe, is 38 per cent. By 2003, Schroeder had embarked on a widespread reform programme, lowering taxes and drastically slashing benefits, curtailing the influence of the unions, and eventually reducing German unemployment from 10 per cent to 7 per cent (it’s 11 per cent in France).

There are many reasons why this wouldn’t work in France, not least because the French Socialists happen to have noticed that Schroeder and his party reformed themselves out of a job. Another is that French unions represent very little: less than 8 per cent of the French workforce overall is unionised, a figure that falls to between 3 per cent and 5 per cent in the private sector. Unions do, however, play a mandated part in a number of negotiation and welfare net structures, the unemployment benefits system, retraining schemes and the national health and pensions co-administration. This, not members’ contributions, keeps them afloat. The law also provides for legal labour dispute fines to be paid to the unions.

French unions see as their main goal the preservation of the status quo: from overprotective labour laws that make it so hard to fire employees that French bosses will do almost anything to avoid hiring new staff (who cost them a whopping 70 per cent in payroll taxes), to perpetuating antiquated regulations dating back to Vichy France, banning Sunday trading and evening shifts.

Recent union legal actions have forced businesses to close on evenings and Sundays, from the cosmetics chain Sephora – where employees protested that they wanted to keep working their late hours – to the British-owned DIY chain Castorama, which belongs to Kingfisher: no wonder Ian Cheshire, Kingfisher’s chief executive, complained last Friday that this harmed the French economy as well as his stores. “The president has said that recovery is in sight: I’m not sure where he’s looking at the moment. The mood is improving in the UK, not in France.”

It wasn’t fated to happen. “By 2000,” says Jacques Régniez, “French multinationals had achieved a very high level of competitiveness. Having committed to the strong franc, in the run-up to the euro they were forced to become lean and efficient. They rationalised production, and French workers became some of the most productive in the world.” French utilities, insurers, aerospace makers and luxury-goods conglomerates were up there with the best. If you wanted the best nuclear plant, crocodile handbag, commercial aircraft, high-speed train, you bought French.

What went wrong, says Régniez, was a bill passed by the then socialist Lionel Jospin government reducing the working week to 35 hours. “Where our competitors, especially the Germans, saw the need to keep prices and costs down, France spent money she couldn’t afford.” The entire system, he explains, tilted fatally to the side of salary hikes, perks and a lowering of retirement age, in the face of every observable demographic trend. Investment slowed down in the private sector, and almost stopped in the public one. “Each year, France has missed out on four GDP points of capital investment. By now, after a decade-and-a-half, we are not only lagging behind, it’s not certain we can make up for it. It would cost a 4.5 per cent hike in VAT, and other significant hikes in payroll taxes. That, quite simply, is not realistic.”

Even France’s vaunted infrastructures – those trains, roads, telecoms cables, the once ultra-performing electrical grid, the nuclear plants, the delayed 4G network – have taken a severe hit.

A French businessman who moved to London last year and asked not to be quoted by name, “because my tax audit would be even more retaliatory than what I’m currently being subjected to”, compares July’s Brétigny train crash, France’s worst rail disaster in a quarter of a century that killed six and injured 100, to the Paddington and Potters Bar derailments. “The rolling stock is ageing, the tracks are in a constant state of disrepair, even the TGVs now have regular delays because of catenary failure.”

Despite disputing allegations of negligence, SNCF have said they will reinforce maintenance “without waiting for the conclusions of the inquiry”. Criticisms have also been made that vast sums went on salaries, benefits and pensions.

But most analysts share the blame between Left- and Right-wing French governments in the past two decades. An investment banker, who has also moved to London recently, dates the wrong choices from the first Jacques Chirac presidency, in 1995. Chirac and his PM Alain Juppé, both Gaullists, decided to reform the huge French public sector’s pension system, to align civil servants’ pay-as-you-go pensions, which were (and still are) much more favourable, with those of the private sector.

There followed three weeks of hard strikes, shutting down the entire country, from schools to public transport to utilities and the post office. Juppé was ready to stick it out, but Chirac blinked. The reform was shelved, and for the next 12 years he stayed in office, Chirac never, ever tried to clash with vested interests again.

Sarkozy had great plans after his 2007 election. He believed in business, and good pay for hard work, and was devastatingly frank about it. It might – perhaps – have passed in prosperous times: one year on, the financial crisis hit, and his brusque style and love of bling clashed with both the times and age-old French preferences. (France is an old Catholic country that, for over a century, was influenced by unapologetic Marxism. It is atavistically hostile to money.) The reforms Sarko managed to pass, much milder than necessary, still ensured his unpopularity. He bet on French realism, and lost.

Realism – actual, real-life realism – is not an accusation you can levy at Hollande. Like Chirac – who supported him both because of a deep personal dislike for Sarkozy, and because they are in many ways very similar – France’s unlikely seventh president of the Fifth Republic is a professional politician, a graduate of the top government school ENA, and has never held a job in the private sector. Both Chirac and Hollande come from Corrèze, in central France, a region that has regularly provided French politics with a certain type of wily opportunist. Both appear easy-going and friendly, and both are complete cynics, with very little in the way of ideals, and an infinite capacity to scheme in order to stay in power.

Chirac, like Hollande, knew how to cultivate an array of political allies: in the case of Hollande, this means keeping the Left of his party as well as his Green allies happy with a number of symbolic measures, from the supertax to the recent anti-fracking bill.

Uninterested in the impact of morale and image on politics and the economy, Hollande believes that the economic cycle is bound to turn (he has said several times already that the recession is behind us), and that all he’s got to do is stay in power until things get better – thanks to the Chinese, the Americans, it hardly matters which. He doesn’t even worry about Marine Le Pen’s inroads in local elections: a junior aide in the Mitterrand Élysée 25 years ago, he believes the National Front, conjured up by his old boss, is a convenient accessory designed to split the Right and help him win a second term in 2017.

Professor Régniez believes this is very dangerous. “Sarkozy narrowly lost in 2012 for personal reasons – his style annoyed voters who could have agreed on his policies, but who wanted to punish him: 18 per cent of them voted for Marine Le Pen, against only 5 per cent for her father in 2007.

“This should be a warning to other countries, like Britain – it’s all very well punishing a conservative politician you’re dissatisfied with by voting for a maverick, Le Pen here, Farage there. But it gets the likes of Hollande elected. Think well: is ours the kind of future you want for your country?”

© Telegraph Media Group & Anne-Elisabeth Moutet, 2013

Monday, December 17, 2012

France warms to Gérard Depardieu, the heroic exile

Jean-Marc Ayrault, the French prime minister, may come to regret insulting the actor who symbolises Gallic exuberance 

Depardieu is excessive in every way, but he’s never been a hypocrite
Depardieu is excessive in every way, but he’s never been a hypocrite Photo: AFP/Getty Images
Asterix and Obelix have deserted Gaul. Or at least the two actors who played them in three blockbuster movies have. With Gérard “Obelix” Depardieu’s much-trumpeted exile to Belgium last week, following Christian “Asterix” Clavier’s move to London in October, France has lost her best-known fictional heroes, undefeated by Julius Caesar’s legions, but vanquished by François Hollande’s punitive new 75 per cent top marginal income tax rate, recently hiked capital gains tax, and reinforced wealth tax.

 The symbolism has not been lost on the French. When France’s richest man, Bernard Arnault, the CEO and main shareholder of the luxury behemoth LVMH, applied for Belgian citizenship last August, it was easy for Socialists to paint him as an unpatriotic, despicable fat cat. “Get lost, you rich b------” blasted a headline on the front page of Libération, the Left-wing daily, effectively capturing the national mood.

But Depardieu is a vastly different proposition from a wealthy tycoon and former asset-stripper whose children’s weddings warrant 10-page spreads in society magazines. When Jean-Marc Ayrault, France’s prime minister, contemptuously called him “a pathetic loser”, Depardieu shot back with an open letter published on Sunday. “I was born in 1948,” he wrote, “I started working aged 14, as a printer, as a warehouseman, then as an actor, and I’ve always paid my taxes.” Over 45 years, Depardieu said, he had paid 145 million euros in tax, and to this day employs 80 people. Last year he paid taxes amounting to 85 per cent of his income. “I am neither worthy of pity nor admirable, but I shall not be called 'pathetic’,” he concluded, saying that he was sending back his French passport.

For a few hours, the government spin doctors thought the French, whose deep mistrust of money is rooted in a dual heritage of Catholicism and unreconstructed Marxism, would join in the public shaming. It did not happen. An online poll conducted by the popular Le Parisien tabloid showed almost 70 per cent supporting the country’s wayward son and poster boy for glorious political incorrectness.

Depardieu has lit up on Jonathan Ross’s show (and growlingly ground his cigarette stub into the studio carpet after a heated exchange); has urinated in an overflowing plastic bottle on an Air France plane after being refused permission to use the loo; has kicked the fenders off an offending car which had crowded him in a Paris street; once peed (not on purpose) on the leg of a Deauville policeman who asked for an autograph in a car park; has punched countless paparazzi on three continents; and over the years has managed to alienate many fellow stars with the kind of blunt talk no luvvie would ever utter. “She has nothing, I can’t even comprehend how she made 50 movies,” he once said of Juliette Binoche.

Depardieu is excessive in every way, but he’s never been a hypocrite: there have been no stints in rehab after one too many drunken brawls; no staged acts of contrition at any moment of his chaotic private life; no tabloid-monitored diets or fitness regimes. A working-class boy with no formal training but a miraculous gift for bringing to life the most complex nuances of almost every character he has played, he manages to make the classics as accessible as Asterix. He has made over 170 movies and given memorable stage performances – his Tartuffe, the protagonist of Molière’s eponymous play, ranks up there with Louis Jouvet’s historic 1950 performance, exposing the vulnerability and vertiginous loss of control of a devout hypocrite usually played for laughs. He makes his own wine from his own vineyards, owns two restaurants, has written cookbooks of hearty traditional French cuisine. He is, perhaps, a compendium of what the French most aspire to be, taken to epic heights.

He’s been an amnesiac Napoleonic colonel under the Bourbon kings (Le Colonel Chabert); the Provençal peasant ruined by the drought in Jean de Florette; Cyrano de Bergerac on stage and screen; Christopher Columbus for Ridley Scott; Reynaldo in Branagh’s Hamlet. He has worked with Bertolucci, Ang Lee (in Life of Pi), Godard, Resnais, Handke, Truffaut, Wajda, Weir; he’s been Jean Valjean and Rasputin. In short, he is a monument, and he is very difficult to hate.

I remember seeing him at a Cannes film festival party, more than 20 years ago, given in a villa on the hills by Premiere magazine when it was edited by the magnificent Michèle Halberstadt. It was raining violently, the music was blaring in every room of the house, and alone in the sodden garden, in the middle of a waterlogged flowerbed, drenched, his face to the starless sky, like an Easter Island statue, was Depardieu, howling at the cloud-veiled moon. Now that he is settling in an 800,000-euro Walloon house less than a mile from the French border, I can imagine him howling in just the same way at the Hollande crowd and assorted spin doctors. He won’t let them forget him.

© Telegraph Media Group & Anne-Elisabeth Moutet, 2012

Thursday, May 1, 1986

Sophie Marceau at 19

EDUCATING SOPHIE

At 15 Sophie Marceau became one of France's sweetest starlets. At 16 she asserted her independence and played a prostitute bent on revenge. Now, at 19, she has shocked her public even more with her most recent role in police, which opens here in early june. Profile by Anne-Elisabeth Moutet.

Watching Sophie Marceau play a North African hustler in Maurice Pialat’s pessimistic film Police, it’s hard to believe she was once billed as ‘the new Gallic Shirley Temple’.
Her character, Noria, is sullen, vulgar, sensual and ultimately deceitful. In a country where anti-Arab racism runs rampant, Marceau risks losing some of the fans who adored her as the cute, sugary and white child star.

But then, at 19, with a five-year, six-film career behind her, Marceau is an exception in the usually unadventurous French film industry. At 13, she signed up with a children’s model agency without telling her parents and was called up to audition for a film. Director Claude Pinoteau picked her from 200 teenagers and her career was launched with his two innocuous comedies, La Boum and La Boum 2. School was abandoned. There was no baccalauréat for Sophie, only a French Oscar for Best Newcomer.

The films were produced by the 92-year-old plane maker Marcel Dassault, a sometime Howard Hughes with a Walt Disney sensibility. He believes in the clean, wholesome values of the French middle class, and has the money to promote them on the big screen.

La Boum, set in one of the more affluent Paris suburbs, was about teenagers going to their first surprise parties and the most daring scene showed daylight necking on a living room sofa with the curtains drawn.

Five million spectators saw it in France alone, and Marceau found herself whisked off on promotional tours of Germany, Spain and Japan (where she eclipsed John Travolta, there to sell Grease). She was a 15-year-old bankable star, and France’s best-loved young actress.

In the beginning, she behaved so true to teenage type that Dassault could never have enough of her on the cover of his other toy, the glossy magazine Jours de France, (‘We only report the good news,’ one of its editors once proclaimed) and the rest of the French press followed suit.

Her first love was her leading man in La Boum, 18-year-old Pierre Cosso. Both touchingly told reporters they wanted to ‘keep it clean’. Sophie agreed to every picture session: in front of her parents’ council house in the kind of Parisian suburb where no Dassault production would ever be shot; with her school chums, with her father, mother, dog, cat; with the ubiquitous Pierre, hand in hand at the Cannes film festival or on the Champs-Elysees.

She cut a forgettable single with the pop singer François Valéry and, such was the appeal of her image, even while she admitted to singing off-key, it sold more than 100,000 copies. She was the ultimate clean-cut teen actress.

Then the image blurred and the clichés vanished. Or perhaps Marceau was moving faster than the eyes watching her. She requested, and obtained, legal emancipation at 16 ‘to be able to sign my contracts myself’. She left her family home in Sceaux (‘No dramas, I just wanted to live at my own rhythm’), bought herself a flat in Paris and her parents a brasserie. Pierre receded gently into the background. She refused 25 screenplays that were little more than Boum series rehashes.

‘I got into the film business quite casually,’ she says, ‘and in the beginning I felt I could just give up if I stopped being successful. But now it’s got me. I’ve got to do it and do it well, and if, with my all efforts, I fail, I’ll work as an extra to keep near the cameras. I come alive on a set. Sometimes it worries me, ordinary life seems less real.’

It’s a far cry from the carefree day when, with her café waiter father, she answered Pinoteau’s casting call.
‘We never took it seriously,’ she remembers. ‘I just thought it would be fun to make a little money. Then we saw all those other kids dressed like models, with their stage-struck parents, when I was just wearing dungarees and a ponytail. Dad thought we’d better leave at once, and I begged him to wait for at least an hour. If no one had called me then, we’d go. He agreed and I was selected, so that hour really made all the difference in my life.’

Today, with years of interview experience behind her, Marceau is more reserved. Her answers remain quite direct, but she sometimes hesitates to find the best turn of phrase. Living in jeans, men’s sweaters, ‘and my latest film’s hairstyle — I don’t really care’, she refuses most picture sessions and very few outsiders are allowed in her home. She also keeps her personal life completely private. No Paris socialite, her spare time is spent working on her country house, east of Paris. At home in her city flat, the front door is firmly shut in the face of prying journalists.

Marceau’s deviation from an innocent image was born out of L’Amour Braque (Mad Love), Polish director Andrzej Zulawski’s modern-day version of Dostoevsky’s The Idiot. Zulawski had been impressed with her performance in Fort Saganne, a big-budget epic about French colonization in Africa, in which she played the daughter of a French civil servant and shared top billing with Gérard Depardieu and Catherine Deneuve. A Zulawski/Marceau combination sounded improbable. But the idiosyncratic director, with a reputation for brutalizing his actresses (he gave Romy Schneider, Isabelle Adjani and Valérie Kaprisky their most taxing roles) and a fascination for the darkest human emotions, offered her the part of Marie, a teenage prostitute bent on revenge and self-destruction.

‘I was struck by Sophie’s quality of immediate truth,’ says Zulawski. ‘It could have been her youth. But when we met, it was obvious that it came from inside her.’

Marceau jumped at Zulawski’s offer and shocked her French public with violent and nude scenes in the director’s baroque, excessive style. ‘He gets things out of his actors that they never knew were there,’ she says. ‘Sometimes it hurts, yet you are changed by it.’

But Zulawski also protected, almost nurtured her. ‘He had the dresses redesigned especially for me in Paul Poiret’s Thirties style,’ she recalls. ‘He insisted on a heavy fringe to emphasise my eyes. He corrected my make-up until he found a soft enough eyeliner. He lightened the shadows on my face.’ Friendship grew from such intimacy.

L’Amour Braque was a commercial flop, which she regrets to this day, but even before its release, she’d started work on Pialat’s Police. Her days as France’s favorite sugar baby were over.

Even today, Marceau finds it difficult to talk about Police. After Zulawski’s ultra-professional (and protective) methods, she found herself dealing with the talented Pialat’s messy, improvised direction and his habit of establishing what she calls ‘sadistic’ relations with his actors. She remembers coming to work and being ignored by him for days on end, playing a character whose delineations changed hourly. Pialat indulged in disparaging comments about her looks and weight at the end of shooting. ‘That fat cow,’ he called her, in front of a reporter. That she emerged with flying colors is a tribute to her abilities. But it left her with a bitter aftertaste.

On set, Depardieu was no help. ‘When we’d shot Fort Saganne he was so protective, like a big brother. On the Police set, he was withdrawn, self-centered. But I couldn’t criticize him; I’ve always said myself that selfishness is an actor’s best asset,’ she smiles wryly.

Since Police, she has made an LP, Certitude, a vast improvement on her first single; posed nude in Photo magazine; and is currently working on Zulawski’s next project, a biography of Joan of Arc. After that it’s a Bogart/Bacall-type thriller, La Descente aux Enfers, under the direction of Francis Girod.

Every now and then, Sophie Marceau is asked how it feels to be a star. ‘I am not,’ she says. ‘You need much more work, experience, personality to be one. People pay attention because I’m so young. Someday I’ll be 30 and perhaps, like Isabelle Huppert recently, I’ll only rate two pages in Paris-Match instead of six.’

© Copyright ELLE UK & Anne-Elisabeth Moutet 1986