Richemont Sets Ambitious Sustainability Goals In New Report

In its latest Sustainability Report published Friday, the Geneva-based corporate giant says it wants to see “luxury create benefits for all.”

By Samantha Conti 20/07/2020

Compagnie Financière Richemont is making strides on the sustainability front, looking closer at sourcing and raw materials, accelerating its climate-related targets and tuning into the needs of Gen Z, while empowering its own brands to pioneer change.

In its latest Sustainability Report published Friday, the Geneva-based corporate giant and parent of brands including Cartier, Van Cleef & Arpels, IWC, Dunhill and Chloé says it wants to see “luxury create benefits for all.”

While Richemont has been regularly gauging — and reporting — its impact on the environment since 2006, the company admitted its focus has mainly been on “mitigating risk” in the supply chain and work environment, and on preserving the longevity of its products, businesses and skills.

Now the company is becoming more proactive, talking openly and specifically about its targets and goals in the fields of people, communities, sourcing, supply chain and the environment.

“This year is a turning point for Richemont,” says Matthew Kilgarriff, the company’s director of corporate social responsibility.

“We’re not only telling our ‘mitigating’ stories, we’re showing where we want to go in the longer term. What we’ve shown in this report are our short-, medium- and long-term goals, what we’re doing so far, with whom and how we are building the strategies to address those long-term objectives.”

The dense, 100-plus page report takes in goals as diverse as a commitment to use 100 per cent renewable electricity by 2025, full traceability of its gold by that same year (the company, which uses mainly recycled gold, is almost there) and the acceleration of efforts to reduce its carbon footprint beyond buying offsets — something that Richemont has been doing since 2009.

The company is also pursuing what it describes as a “comprehensive” waste-management strategy, with the ultimate goal of zero waste to landfill from any major manufacturing and warehousing site in the long term.

The report also takes in Richemont’s work on recycling, the leather goods supply chain, safety measures during the COVID-19 pandemic, efforts to address gender and diversity in the workplace, child care for working parents and donations to the communities where it sources raw materials.

In fiscal 2019-20, the company said it donated 34 million euros, or 2.8 per cent of its profit before tax, to charities concerned with health care, social and economic development, education, women’s welfare and children in those communities worldwide.

The influence of company founder and chairman Johann Rupert on the report, and on Richemont’s environmental and human resources ambitions, is not to be underestimated. Rupert has long been vocal about the stress that humans place on the environment, and about the need to make fundamental behavioural changes.

As reported in May, on the day Richemont published its 2019-20 results, Rupert said the pandemic and subsequent lockdown measures would result in “not a pause, but a reset. We don’t know what all the outcomes will be, but luckily we’ve positioned ourselves in such a way that we’re not in throwaway luxury. We have to look at the way we live, because there will be changes — and maybe changes for the better.”

Rupert added that “it’s up to science now to dig us out of the hole that we, as mankind, put ourselves into, by our lifestyle and our abuse of the environment and the way we were living. If you think every single human being alive today, if we had to be put in a tube and boxed in like sardines in a tin can, we could easily fit into one cubic kilometre. That’s all. And yet, look at the way we live. We’ve used and abused I would guess 70 per cent of the world’s natural resources. We still act as if climate change is not real, we’re dumping plastic everywhere and now nature retaliated, so maybe it’s time for us to pause and to think. Maybe it’s a very good thing that’s happened to us, it gives us a pause.”

He also said he foresees more demand for “discreet, well-made artisanal products,” and that the big luxury companies like Richemont have a role to play to preserve and create these specialised jobs. “People will understand the value of job creation, and artisanal values will be appreciated more and more.”

Richemont’s new sustainability report also underlines just how much head office is empowering — and taking the lead from — the brands in its portfolio. Indeed, Kilgarriff has given brand leaders training and toolkits to make their own changes, and highlighted those brands that have been at the forefront of change.

Each of Richemont’s “maisons” manages its own CSR agenda independently of the group and of one another, while annual strategic planning processes include CSR objectives linked to each brand’s unique characteristics.

The maisons have also established cross-functional teams, intranets and CSR-dedicated social media groups.

In the report, Richemont described IWC Schaffhausen as a “sustainability leader,” and noted that it was the first luxury watch brand to sign the Ellen MacArthur Foundation’s New Plastic Economy Global Commitment, committing to the reduction of plastic waste.

IWC has introduced new packaging, which contains 90 per cent less plastic than before, and reduced the average packaging weight and volume by 30 per cent. It is also making sure that shopping bags are both recyclable and are made of 100 per cent post-consumer Forest Stewardship Council-certified paper.

The fine gold used in IWC’s watches is from recycled sources and is Chain of Custody-certified by the Responsible Jewellery Council (RSC), while the food prepared in its Swiss canteens is locally sourced, seasonal and includes vegan options. The watchmaker also subsidizes its workers’ commutes by public transport.

Later this year, the watch brand plans to publish its latest stand-alone sustainability report, describing progress against its 2020 targets, and setting new targets for 2022.

Richemont also pointed to another of its watch brands, Panerai, which launched the Submersible Mike Horn Edition in 2019 using, for the first time, a new alloy with a high environmental performance called Ecotitanium.

Richemont says the material offers top mechanical properties, such as corrosion resistance and lightness, and is mainly used in the aerospace industry.

The Ecotitanium that Panerai uses is made out of a minimum of 80 per cent of recycled materials, and its production involves far less energy consumption and environmental impact compared to traditional titanium, according to Richemont.

“This type of initiative contributes to the creation of new circular economy supply chains able to source and recycle metallic scraps, potentially without limit,” the group said.

The company explains that Panerai team had long been looking for the right sort of titanium alloy, and added that this one is ideal for sailors because it is impervious to salt water and the chemistry of the sea, which can damage other metals.

With regard to gold, Richemont believes it is “on track” to deliver 100 per cent CoC, or Chain of Custody, certified gold, be it recycled or from small-scale mines.

“This will not be achieved within a few months, but within a few years. When we reach the end of that path, most likely in 2025, our maisons will have the opportunity to engage with their customers about the gold used in their jewellery, watches and writing instruments,” says Richemont.

Right now, the company says it knows exactly where 90 per cent of its gold comes from, and that it favours recycled gold — as opposed to large-scale mining gold. Recycled gold is friendlier to the environment as it does not require pulling rocks out of the ground.

Richemont also adheres to strict diamond and coloured gemstone tracing and trading standards and is encouraging its suppliers to become certified members of the Responsible Jewellery Council.

Richemont’s ambition is to source all of its diamonds from RJC Code of Practices certified suppliers. Currently, 98 per cent of the group’s diamond purchases are from RJC COP certified suppliers.

In addition, the company said investigations are “in progress” to identify and analyse upstream supply chains for diamonds, while investigations are also under way to implement traceability in its diamond supply chains.

At group level, Richemont explains it conducted a wider review of the plastic used across its operations, including branded packaging, catering and logistics.

During the year, the types and volumes of plastics used by all maisons were analysed by material type, by carbon emissions and by brand. The company said its brands are learning from the preliminary findings and expect to apply them in the years ahead, reducing the volume of plastic components used in branded packaging and offering a broader choice for customers.

With regard to paper and packaging materials, Richemont says the brands and group have chosen, whenever possible, to use 100 per cent responsibly sourced, wood-based materials in line with Forestry Stewardship Council standards.

In the energy sphere, Richemont also notes that Yoox Net-a-porter Group had set — and will achieve — an ambitious target, committing to 100 per cent renewable energy by 2020. It added that by 2018 all Italian operations were using 100 per cent renewable energy.

“YNAP faced many challenges, such as the difficulties encountered in shifting from standard contracts into green energy procurement contracts, and the regional price differences for green energy certificates in different markets,” the report details.

It adds that YNAP is also working on reducing its global emissions and energy demand as much as possible, by constantly exploring new technologies and processes.

In the report, Richemont revealed that it is looking at the behaviour, habits and priorities of Gen Z. Even though that demographic is not its core consumer, the company still wants to understand the under-25 age group and shape its future sustainability and corporate ethics policies around them.

The company says “this cohort of under-25s is already being employed across our maisons and, for some, increasingly represent our customer base, particularly in the Asia-Pacific region. Understanding Gen Z is critical to the future of our business. We already know that Gen Z want to work for companies with purpose, buy from businesses that tackle social and environmental problems, and expect greater product and corporate transparency.”

In the interview, Kilgarriff says “a 20-year-old today is not a typical Richemont customer, but we are building perceptions now for that generation, and those perceptions will shape the relationship that we have with them in five, and ten years’ time.”

 

This article was originally published on WWD.

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Car of the Year

Always an unmissable highlight of the automotive calendar, Robb Report ANZ’s annual motoring awards set a new benchmark among glorious Gold Coast tarmac.

By Horacio Silva 24/03/2025

Over two unforgettable days, our motoring sages and VIP guests embarked on an exhilarating journey from Surfers Paradise to Brisbane and back again—traversing an irresistible selection of terrain in our exotic rides, from deserted rainforest-lined b-roads to testing mountain switchbacks with dizzying—sometimes heart-in-mouth—views over the southern Queensland peninsula. And as befitting an event starring the crème de la crème of auto marques, we did so while savouring the best in luxury and gastronomy—capped off with an extraordinary superyacht experience at Sanctuary Cove.

 

The ten contenders for the Car of the Year were not the only dream machines on show. The first day’s adventure kicked off at the Langham Hotel and included a midday pit stop at the glorious Beechmont Estate, where our fleet of drivers were greeted by a stunning array of vintage cars exhibited in a concours d’elegance-style display.

 

Concours d’elegance-style vintage car show at the Beechmont Estate.

The sumptuous feast for the eyes on offer at Beechmont, a quaint country village located between the Lamington Plateau and Tamborine Mountain, was followed by a meal for the ages prepared by executive chefs Chris and Alex Norman at the property’s hatted restaurant, The Paddock.

 

Fine dining at The Paddock.

Then, itching to remount our steeds, it was time to hit the road again, with our drivers—all sporting Onitsuka Tiger’s new driving shoes—hightailing it to Brisbane and The Calile Hotel, a property which has been scooping accolades like Jay Leno collects supercars.

 

Rolls-Royce Spectre

After some much needed relaxation by the pool, that evening the drivers and press were joined by local luminaries in the hotel’s private dining room. Over an extravagant banquet they got to compare notes on marvels of engineering and design that they’d had the chance to pilot all day. They were also treated to a showcase of spectacular Jacob & Co. timepieces and Hardy Brothers jewellery and an elegant sufficiency of 40-year Glenfiddich whiskey served in gold cups worth $60,000 a pop. It made for animated discussions and more than a little impromptu shopping.

Rivera Yachts 6800 Sport Yacht Platinum Edition

And did we mention the luxury yacht experience? After a full itinerary of adventures on the road, the day ended with an invigorating late-afternoon of luxuriating aboard two new Riviera Yacht releases—the 6800 Sport Yacht and the 585 SUV—where our intrepid drivers and assorted press got to literally and figuratively take their hands off the wheel and make a case for their car of the year. As the forthcoming pages attest, they were more than spoiled for choice. But who would take centre stage on the winners’ podium?

OVERALL WINNER

Rolls-Royce Spectre

 

BEST SPORTS CAR

Aston Martin Vantage

 

BEST LUXURY HYBRID

Bentley Flying Spur

 

BEST PERFORMANCE SUPERCAR

McLaren 750S

 

BEST ROADSTER

Mercedes-AMG SL634MATIC+

 

BEST CAR DESIGN

Maserati GranTurismo

 

BEST ELECTRIC PERFORMANCE CAR

Porsche Taycan Turbo S

 

BEST SUV

Ferrari Purosangue

Cruise along to robbreport.com.au/events for more supercars and luxury motoring.

 

Judges sample luxury Jacob & Co. timepieces.

 

 

Aston Martin Vantage

 

 

Graceful egress in Onitsuka Tiger’s driving shoes.

 

The Porsche Taycan retains a timeless demeanour in any company.

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How to Use Your Dress Watch to Nail Casual Style This Fall

The dress watch is back and more laid-back than ever. Here’s how to rock your Cartier and Piaget pieces with casual looks

By Paige Reddinger 24/03/2025

After the seemingly never-ending hype around steel sports watches, dress watches have been making a comeback. But it’s not just the average 42 mm dress watch that’s sparking interest (although, those too, are in the running), but also funky vintage diamond-accented timepieces or small-sized, almost feminine pieces are trending. Recently, actor Paul Mescal was spotted on the red carpet of the Annual Academy Museum Gala wearing a Cartier Tank Mini with his tux, while sports legend Dwyane Wade wore a 28 mm diamond Tiffany & Co. Eternity watch with his black tie ensemble to the same event. While these guys were wearing dress watches in their intended setting, here we show you how to make a dress watch work for casual weekend wear too.

Try dabbling in unexpected pairings like an army green Ghiaia safari jacket with a vintage Chopard Happy Diamonds timepiece or Breguet Classique Ref. 7147 (the ultimate dressy timekeeper) with a Louis Vuitton sweatsuit and a Brioni overcoat. Anything goes these days and the more unexpected the timepiece, the stronger the statement. It’s good news all around—for your wardrobe and your investments in the vault.

Above: Blancpain 39.7 mm Villeret Ultraplate in 18-karat red gold, $69,675; Tod’s faux-shearling and denim jacket, $5,6859; Tom Ford cashmere and silk turtleneck, $2,535.

PHOTOGRAPHED BY MATALLINA. WATCH EDITOR, PAIGE REDDINGER. FASHION DIRECTOR, ALEX BADIA. STYLE EDITOR, NAOMI ROUGEAU.

Jaeger-LeCoultre 40 mm Reverso One Duetto Jewellery in 18-karat pink gold and diamonds, $79,560. Right: Chopard 32 mm vintage Happy Diamonds in 18-karat white gold and diamonds, $19,930, analogshift.com; Ghiaia cotton safari jacket, $1,426; Eton cotton T-shirt, 358; Hermès denim trousers, $1,674.

Audemars Piguet 34 mm vintage automatic ultrathin watch in 18-karat white gold and diamonds, $9,300, classicwatchny.com. Right: Cartier 41.4 mm Tortue in platinum, $35,600, limited to 200; Gabriela Hearst hand-knit cashmere sweater, $2,500; Officine Générale cotton-poplin shirt, $315.

Breguet 40 mm Classique Ref. 7147 in 18-karat white gold, $37,468; Brioni wool and cashmere overcoat, $12,233, and silk knit crewneck sweater, $2,224; Louis Vuitton wool track pants, $2,120, and wool hooded jacket, $5,002. Right: Patek Philippe 39 mm Calatrava Ref. 6119R-001 in 18-karat rose gold, $52,791.

Piaget 45 mm Andy Warhol in 18-karat rose gold, $69,198. Right: Rolex 29 mm vintage King Midas Ref. 4342 in 18-karat yellow gold, $28,301, classicwatchny.com; Brunello Cucinelli denim shirt, $1,586; Tom Ford cotton chinos, $1,259; Berluti leather belt, $1,132.

Model: Arthur Sales
Grooming: Amanda Wilson
Senior market editor and casting: Luis Campuzano
Photo director: Irene Opezzo
Photo assistant: Alejandro Suarez
Prop stylist: Elizabeth Derwin

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Fair Play

Pioneering Australian fashionista Andrew Doyle is on a mission to build the world’s finest—and most responsible—knitwear brand.

By Brad Nash 24/03/2025

Some brand stories come so swathed in lashings of romance, it’s hard to know where to begin. Ask Andrew Doyle, founder of luxury knitwear brand Formehri, and he’ll tell you that the true essence of his company lies in its name— or, rather, its namesake: his wife, Mehri.

“The story of our brand is really the story of our family,” Doyle says. The two now have three children, having met in their twenties while working for the same company. “We were on our honeymoon, I think, 11 years ago, and she made a passing comment that it was her dream to live in the south of France. I don’t know why, but I decided there and then that I was going to make it happen for her.”

Now, Doyle splits his time jet-setting between Monaco and Sydney, but he was born and raised among the more prosaic pastures of Canberra, working for much of his twenties and thirties building a successful finance recruitment company. Having taken an interest in menswear from an early age, he spent most of that time moonlighting as one of the internet’s OG menswear bloggers under the moniker Timeless Man. The site gravitated towards covering smaller, artisanal producers, eschewing big brands and splashy catwalk shows in favour of those making bespoke garments and accessories with an emphasis on quality over quantity.

“I did it for free for a decade,” he recalls. “I was always drawn to craftspeople who were creating something authentic and product driven. I would save up my money, go have these people make me a jacket and write about the process. I just found it so interesting. Pretty soon I started thinking that I’d love to do this myself.”

One would expect a chance meeting in, say, Paris or Florence to be the scenario in which Doyle got his look-in. Rather, it was on a dusty salt flat in Bolivia where, while on holiday with his wife, an opportunity presented itself to him. There, taking in the near-overwhelming silence of the Salar de Uyuni, he was reminded of nearby farmers raising vicuña: a pint-sized relative of the Alpaca prized for its ultrafine wool.

“I’d first learned about vicuña some years earlier,” Doyle says. “A contact of mine had paid John Cutler something like $50,000 to make a vicuña overcoat for him, so once I got back to La Paz I asked him to put me in touch with the local producers here.” Vicuña wool, for the uninitiated, is among the most prized fabrics in the world, orders of magnitude lighter and finer than merino or cashmere. Endemic to remote, high-altitude plateaus throughout the Andes, most vicuña are wild-farmed and, being slow-growing, hand-sheared just once every three years. Most fleeces are bought in bulk by a well-known luxury knitwear brand that, for reasons that will soon become apparent, shall remain nameless.

Back in the Bolivian capital, Doyle met with someone representing the nation’s rural community of vicuña farmers. There, he learned of the mass exploitation taking place, not just in Bolivia but across other South American countries. Despite the price of vicuña garments steadily rising, the wholesale prices paid to producers for their wool has dropped by a third in the last decade—an issue that, for those inclined to do a quick Google search, has seen our nameless brand hauled in front of a US Congressional caucus.

Aussie entrepreneur Andrew Doyle in Monaco.

“They’re pretty seriously impoverished,” says Doyle. “They’re very isolated. They’re up on this plateau, really struggling day to day. Meanwhile these big brands are buying up the bulk of the wool—which is not cheap—and yet the farmers are seeing almost none of the profits. That’s when all the pieces came together for Mehri and me. We said: ‘This is it.’”

“I think it was even the next day,” he continues, “I got back in touch with them and said: ‘What if we start a company that can make the finest product in the world and we’ll give you 10 percent of everything we make in profit?’ And they just said, ‘That’s exactly what we’ve been looking for.’ As the story evolved, I felt 10 percent wasn’t enough. So now we reserve 10 percent for communities in South America, and then another 10 percent for a range of charities around both Monaco [where Andrew Doyle has a factory] and Africa, with a focus on people who really need it.”

 

This is, of course, all just empty talk without the product to back it up. And while Formehri is still very much a brand in its larval stage, the quality of its garments is rapidly garnering acclaim. The brand’s core range revolves around sweaters and cardigans, spun at a family-owned mill in Bologna and hand-finished in Monaco—made to order and priced accordingly. Formehri’s sweaters start at around $7,500, its shawl-neck cardigans tipping the fiscal scales at around $21,900.

Already, this plucky upstart is turning heads in the right circles. The brand recently completed a trunk show at London’s Baudoin & Lange and has recently begun a residency at famed Parisian tailors Camps de Luca. “We met Andrew many years ago as a client,” founder Julien De Luca tells us. “The philosophy behind Formehri is very similar to our own vision of craftsmanship. Formehri understands craftsmanship, patience and the time necessary to create not just a garment, but a story and a distinct moment behind each piece. Formehri goes far beyond a brand—it comes from a man truly dedicated to excellence.”

 

 

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Overall Winner: Rolls-Royce Spectre

The marque’s first fully electric ultra-luxury coupe takes our top honour for the year.

By Vince Jackson 24/03/2025

Neither the Honourable Charles Rolls nor Sir Henry Royce were car guys, not initially anyway. First and foremost, they were electricity men, apostles of the current. The former’s obsession flowered early; aged nine, the young Brit was already toying with this burgeoning fin de siecle phenomenon, mounting electrical rigs at the family’s ancestral pile in Wales. At the same time, a grown-up Royce was busy earning his entrepreneurial chops, heading a thriving enterprise in Manchester that made small domestic appliances—doorbells, lamps, fuses and the like.

It is, then, little wonder the pair were early electric-car adopters, experimenting with the energy after launching their nascent automobile company in 1904. Though electricity eventually lost out to combustion in the arm-wrestle for early-20th-century tech supremacy, anyone who has ever sat in or steered the Rolls-Royce Spectre—the marque’s first fully electric ultra-luxury coupe—will tell you that the 120 years it has taken for the company to disrupt the entire industry has been worth the wait. Revenge is sweet. And silent.

Rolls-Royce’s “magic carpet ride” has been synonymous with the brand since debuting in 2003’s Phantom VII, but the sensation of deep-space-like serenity has been compounded to the nth degree in the absence of oil power (though, admittedly, few Rolls-Royces throughout history can be described as rowdy). On occasion, one almost feels transcendentally detached from the current time dimension, as the Planar Suspension System’s cameras scan tarmac conditions ahead—adjusting settings in real time to proffer maximum comfort—and the vehicle’s aerodynamic silhouette makes a quiet mockery of wind resistance and other established laws of physics. 

Factor in that other meditative proprietary feature, the Starlight Headliner, which projects 4,796 fibre-optic stars onto the roof and two doors, and before long the Spectre is morphing into something beyond a mere automobile—echoes of a life-affirming business-class-jet flight, flashes of sub-orbital-spacecraft awe.

Other determinants tipped the balance in the Spectre’s favour when the time came for our judges to nail their sails to the mast: the cabin’s handcrafted wood, leather and metal detailing; the optional Champagne Chest for pure, unabashed extravagance of it all; and those 23-inch wheels, the first time Rolls has fitted this size to a coupe since 1920s, lend the vehicle an air of Great Gatsby meets late-’90s hip-hop cool.

Most of all, however, the Spectre takes centre position on this year’s podium for broader, existential reasons. Because when the history of post-Prius electric motoring is eventually written, the production of this EV will surely be recognised as a hill-cresting moment in technology, a landmark in modern engineering, the exact point when the power struggle between electricity and combustion erred towards the new-but-old energy. The best Rolls-Royce ever? Maybe. The best EV ever? You know it.

So, Spectre: take the podium, wear the wreath, pop the Dom P—the world is yours.

 

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Best Car Design: Maserati Gran Turismo

A sculpted, long-hooded fastback designed to turn heads.

By Vince Jackson 24/03/2025

In Italy, beauty is not optional, it is demanded. This is a nation whose fashion houses treat clothing as high art; a people to whom hand-rolling individual pasta pieces into decorative shapes is an artisanal obsession; a country that employs polizia who’ve been plucked straight from the Milanese catwalks… or that is how it seems. 

Cars are, of course, not immune from Italy’s rat-race of beautification, and to stand out in the company of auto aestheticians like Ferrari, Lamborghini and Alfa Romeo is no cinch—and yet this year Maserati managed to do so with the Gran Turismo, a sculpted, long-hooded fastback (hand-built in the motherland, natch) that will keep Modena’s chiropractors minted for the model’s life term, given how many unprepared Tuscan neck muscles will be craning as this peach homes sashays by.

While surface-level joy can be had swooning at the Gran Turismo, the allure runs deeper than just elegant lines and sexy rims. The interior hosts a quiet riot of high-end materials—leather, carbon fibre, Alcantara—which collude to create the refined cabin tableau.

Comeliness aside, it would be churlish, and vaguely vacuous, not to mention what a beguilling motor this Maserati is. Rivals in the GT firmament may flex more raw power, but few will be able clock the big testosterone numbers with such composure—like a manicured Donna di Classe whose immaculately quaffed hair refuses to be ruffled in the wind. Even so, its 0-100 km/h sprint time of 2.7 seconds stands as one of the best in class.

Ultimately, there is good reason why grand tourer cars tend to be the purest expression of automotive beauty: their modus operandi is delivering long, comfortable, cross-country journeys with panache—and no one wants to squander life’s precious hours in an ugly car, not least an Italian.

The Numbers (Trofeo model)

Engine: 3.0-litre Nettuno twin-turbo V6

Power: 410 kW

Torque: 650 Nm

Transmission: 8-speed auto

Acceleration (0-100 km/h): 3.5 seconds

Top speed: 320 km/h

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