Hotel Courbet Tinto Brass Watch 60 Exclusive May 2026

In the final shot of Tinto Brass’s The Howl, the protagonist looks directly at the camera and smiles—an acknowledgment of the artifice, an invitation to enjoy the show.

The Hotel Courbet Tinto Brass Watch 60 Exclusive does the same thing. It knows it is excessive. It knows it is niche. It is winking at you. The question is: Are you cool enough to wink back?

Proceed to checkout. The projector is rolling.

Disclaimer: Hotel Courbet is an independent brand. Tinto Brass is a trademark of the director's estate, used under license for this limited 60-piece collection. Specifications are subject to change, but with only 60 units, what you see is what history will remember.

The Provocative Lens: Exploring Tinto Brass's Hotel Courbet In the realm of Italian erotic cinema, few names carry as much weight or controversy as Tinto Brass . While known for high-budget spectacles like

, his later work often shifted toward intimate, short-form storytelling. One of the most enigmatic pieces from this period is the 2009 short film, Hotel Courbet A Glimpse into the Plot Hotel Courbet

centers on a woman who seeks to assuage her "erotic affliction" through a series of private, provocative acts. The narrative tension arises from a voyeuristic element: a burglar who, rather than stealing physical valuables, finds himself captivated by the woman's intimate moments. In the world of Brass, the value of this "violated intimacy" far exceeds any traditional loot. Behind the Scenes: A Personal Connection The film is notable for its cast and crew, featuring Caterina Varzi

, who not only co-wrote the screenplay with Brass and Piero Fontana but also starred in the lead role. This professional collaboration mirrored their personal life; following the death of Brass’s first wife, he and Varzi began a relationship and eventually married in 2017 Hotel Courbet Stands Out The Signature Style

: The film maintains the lush, erotic aesthetic that defined Brass's career after his departure from mainstream satire in the late 1970s. Venice Debut : It made its international premiere at the 2009 Venice Film Festival

, highlighting its status as more than just a genre piece, but a work of artistic expression. Voyeuristic Themes : Like many of his films—such as The Voyeur (1994) and P.O. Box Tinto Brass

(1995)—it explores the psychological boundaries of watching and being watched. Though it clocks in at only 18 minutes, Hotel Courbet

serves as a concentrated dose of the themes Brass spent decades refining: the intersection of desire, privacy, and the gaze. Wikipédia Hotel Courbet (Short 2009) - IMDb

Exploring the Artistic Influences of Tinto Brass’s " Hotel Courbet Released in 2009, Hotel Courbet

is a short film directed by the Italian filmmaker Tinto Brass. Spanning approximately 18 minutes, this work is often noted for its stylistic departure from his longer feature films, focusing instead on a condensed narrative that pays homage to various forms of classical art and literature. Narrative and Setting

The film is set within a secluded villa and follows a woman, played by Caterina Varzi, who is reflecting on past experiences while staying in a room inspired by the Parisian "Hotel Courbet." The plot introduces a secondary character, a burglar played by Alberto Petrolini, whose arrival shifts the focus of the film toward themes of observation and the psychology of the "unseen witness." Artistic Foundations and Tributes

Hotel Courbet is heavily layered with references to high art and mid-century literature, showcasing the director’s interest in historical aesthetics:

Gustave Courbet: The title itself is a direct nod to the 19th-century Realist painter. The film attempts to translate the painter's focus on raw, authentic forms into a cinematic medium.

Georges Simenon: The setting and atmosphere draw inspiration from Simenon’s psychological thriller Le Chambre bleue (The Blue Room), reflecting a sense of mystery and isolation.

Visual Arts: The cinematography by Andrea Doria utilizes a rich color palette, echoing the works of various early 20th-century artists to create a dreamlike, nostalgic environment. Production and Credits

Cast: The film stars Caterina Varzi and Alberto Petrolini. Varzi also contributed to the production as a co-writer of the screenplay.

Production: The film was produced in Italy by MMIX and premiered during the Venice Film Festival as part of a retrospective on the director's career.

Technical Specs: It features a concise runtime and emphasizes visual storytelling over extensive dialogue. Cinema History Context

Within the broader scope of Italian cinema, Hotel Courbet represents a late-career shift for its director toward short-form storytelling. It is frequently studied by those interested in how directors utilize short films to experiment with specific visual motifs or to pay tribute to the artists who influenced their professional development.

For further details regarding the cast and crew, information is available through standard cinematic databases such as IMDb or regional film archives specializing in Italian production history.

Hotel Courbet is a 2009 erotic short film directed by the renowned Italian filmmaker Tinto Brass .

While it is a frequently searched title, it is currently not available for streaming on major platforms like MUBI or IMDb. Key Movie Details Director: Tinto Brass.

Lead Actress: Caterina Varzi, who later married Brass in 2017.

Plot: The film follows a woman who indulges in her erotic desires, observed unseen by a burglar who finds her intimacy more valuable than the items he intended to steal. Duration: It is categorized as a short film. Where to Find Tinto Brass Content

Since Hotel Courbet is difficult to find through official "watch now" services, fans of Tinto Brass often look to these alternatives:

The inquiry refers to a specific intersection of Tinto Brass

's film career and a limited-edition consumer product. Based on current data, the primary reference point is the 2009 short film " Hotel Courbet ", directed by Tinto Brass and starring Caterina Varzi.

While "Hotel Courbet Tinto Brass watch 60 exclusive" likely refers to a niche, limited-edition promotional item or a director-branded timepiece, specific commercial listings for such a watch are not currently appearing in broad archival databases. However, the film " Hotel Courbet

" is a well-documented entry in Brass’s later avant-garde and erotic filmography. Film Overview: Hotel Courbet (2009) Director/Writer: Tinto Brass.

Principal Cast: Caterina Varzi, Alberto Petrolini, and Vincenzo Varzi. hotel courbet tinto brass watch 60 exclusive

Synopsis: The film follows a woman who surrenders to her "erotic affliction" in a hotel room, explored through Brass's signature provocative and intimate visual style.

Significance: It marked a significant collaboration between Brass and Caterina Varzi, who later became his wife and manager of his artistic legacy. Contextualizing the "Watch 60 Exclusive"

The phrase "watch 60 exclusive" typically appears in high-end memorabilia or boutique product launches in two likely contexts:

Limited Production Run: A boutique or commemorative "Tinto Brass" watch produced in a run of exactly 60 exclusive pieces. Such items are often sold through specialized art-house cinema boutiques or Italian luxury retailers to mark career milestones.

Special Edition Packaging: Labels like Cult Epics frequently release 4K restorations of Brass's films which sometimes include exclusive 60-page booklets or specific "Watch Editions" for collectors. Availability and Collection Hotel Courbet (Short 2009) - IMDb

Hotel Courbet (2009) is a short film directed by Italian filmmaker Tinto Brass. It is characterized by the director's specific aesthetic and focus on themes of voyeurism. Movie Overview

Duration: The film has a runtime of approximately 18 minutes.

Premise: The narrative centers on a woman's private explorations of her fantasies. Her actions are observed by a burglar who becomes a silent witness to her intimacy.

Cast: The film features Caterina Varzi, Alberto Petrolini, and Vincenzo Varzi. Critical & Audience Reception

The film is recognized within the context of the director's later body of work:

IMDb Rating: It currently holds a 7.3/10 based on user ratings.

MUBI Rating: It maintains an 8.8/10 from the MUBI community.

Style: Critics often describe the film as an exercise in voyeurism, highlighting the director's late-career focus on specific visual aesthetics and the celebration of female forms. Availability

The film is documented on major databases like IMDb and Letterboxd. Finding the film on mainstream streaming services is uncommon; it typically appears on specialized cult cinema platforms or within physical media collections dedicated to the director's filmography.

For those researching the film, it serves as a brief example of the stylistic choices prevalent in modern Italian erotic cinema.

Overview

The Hotel Courbet Tinto Brass Watch is a limited-edition watch designed by Tinto Brass, an Italian filmmaker known for his provocative and artistic style. The watch is a collaboration with Hotel Courbet, a luxury hotel in Milan, Italy. Only 60 exclusive pieces of this watch were produced, making it a rare collector's item.

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Unique Features

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Specifications

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If you're interested in purchasing or learning more about this watch, I recommend checking with authorized dealers, luxury watch retailers, or online marketplaces that specialize in exclusive timepieces. Be sure to verify the watch's authenticity and condition to ensure its value and legitimacy.

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Introducing the Hotel Courbet Tinto Brass Watch: A Timeless Masterpiece

In the world of horology, few timepieces have managed to capture the essence of luxury and sophistication as effortlessly as the Hotel Courbet Tinto Brass Watch. This exquisite creation, limited to just 60 exclusive pieces, is a masterclass in elegant design, precision engineering, and meticulous attention to detail.

A Tribute to Art and Architecture

The Hotel Courbet Tinto Brass Watch is inspired by the grandeur of 19th-century European architecture, specifically the iconic Hôtel Courbet in Paris. This stunning edifice, built in the late 1800s, was renowned for its opulent decor, sweeping staircases, and majestic façade. The watch's designers have distilled the essence of this architectural marvel into a wearable work of art that exudes refinement and poise.

Tinto Brass: A Metal of Distinction

The watch's case is crafted from Tinto Brass, a rich, warm metal alloy that evokes the golden glow of sunset-kissed Mediterranean landscapes. This distinctive material, prized for its durability and luxurious feel, adds a tactile dimension to the timepiece, inviting the wearer to appreciate its subtle nuances. In the final shot of Tinto Brass’s The

Dial: A Masterpiece of Enamelwork

The watch's dial is a triumph of enamelwork, featuring a subtle, gradated pattern that shimmers with a soft, iridescent glow. The dial's understated elegance is punctuated by delicate, hand-engraved markers and a stately, sweeping second hand, creating a sense of dynamic movement.

Movement: Precision and Reliability

The Hotel Courbet Tinto Brass Watch is powered by a precise, automatic movement that guarantees reliable timekeeping and a generous 42-hour power reserve. This mechanical heartbeat is a testament to the watchmaker's art, ensuring that the timepiece remains a faithful companion for years to come.

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Only 60 of these exceptional watches have been crafted, making the Hotel Courbet Tinto Brass Watch a true collector's item. Each piece is individually numbered and presented in a luxurious, velvet-covered box, accompanied by a certificate of authenticity.

Specifications:

The Verdict

The Hotel Courbet Tinto Brass Watch is a majestic creation that embodies the very essence of luxury watchmaking. Its unique blend of architectural inspiration, exquisite materials, and precise engineering makes it a must-have for connoisseurs and collectors. If you're seeking a timepiece that exudes refinement, sophistication, and exclusivity, look no further than this exceptional watch.

Hotel Courbet (2009) is a short film directed by Italian filmmaker Tinto Brass

. At approximately 20 minutes, the work is often analyzed as a stylistic distillation of the director's career-long focus on specific aesthetic themes, framed through the lenses of classical art and private architectural spaces. Artistic Inspiration

The title serves as a direct reference to the 19th-century French Realist painter Gustave Courbet

. The film leans into the "Realism" movement that Courbet pioneered, attempting to translate the textures and lighting of 19th-century oil paintings into a modern cinematic medium. The setting—a sun-drenched, rustic hotel room—is designed to mimic the naturalistic compositions found in classical gallery works. The Cinematographic Gaze

The narrative structure is minimal, focusing instead on the atmosphere and the role of the camera as an observer. The cinematography frequently employs a "keyhole" perspective, a recurring motif in the director's filmography. By focusing on mundane actions and the details of a solitary environment, the film attempts to elevate everyday movements into a formal study of form and light. Legacy and Style

"Hotel Courbet" is considered significant in film studies as a representation of a "minimalist" phase in the director's later career. Unlike his earlier large-scale historical productions, such as

, this short film focuses on tactile elements: the sound of fabric, the creak of floorboards, and the interplay of shadows. It is often cited as a definitive example of the intersection between fine art history erotic cinema

, illustrating how classical painting techniques can influence the visual language of film. Further analysis could explore how Gustave Courbet’s

specific use of color and shadow influenced the lighting choices made during the production of this short film.

The story behind Hotel Courbet is a unique blend of cinematic provocation and a real-life romance that changed the life of Italian director Tinto Brass . The Cinematic Story

Released in 2009, Hotel Courbet is an 18-minute short film that premiered at the Venice Film Festival. It tells the story of a woman who surrenders to her erotic impulses within the confines of a hotel room, unaware that she is being watched by a burglar. True to the style of Tinto Brass, the film focuses on "provocative intimacy" where the act of witnessing a private moment is portrayed as more valuable to the intruder than any physical object he could steal. The Real-Life Connection

The film is most "interesting" for its behind-the-scenes impact on Tinto Brass:

The Leading Lady: The film stars Caterina Varzi, a former lawyer who transitioned into acting and screenwriting for this project.

A Life-Changing Partnership: Shortly after the film's release, Tinto Brass suffered a severe intracranial hemorrhage in 2010. Varzi became his primary caregiver during his recovery, helping him regain his speech and mobility.

From Set to Altar: Their creative collaboration on Hotel Courbet eventually turned into a deep personal bond; the two married in 2017. Why the "Watch 60 Exclusive" Tag?

The "Watch 60 Exclusive" or similar phrasing often refers to curated collections of Tinto Brass’s short erotic works—like those found in the Tinto Brass Presents Erotic Short Stories series—where his most provocative shorts were compiled for exclusive home video or streaming releases. Hotel Courbet (Short 2009) - IMDb

Details * September 10, 2009 (Italy) * Italy. * Language. Italian. IMDb Hotel Courbet (2009) - MUBI

A provocative face means nothing without a reliable heart. Hotel Courbet did not cut corners here.

Powering the Tinto Brass Watch 60 Exclusive is the Sellita SW200-1 Elaboré. This is a Swiss automatic movement with 26 jewels, a 38-hour power reserve, and a frequency of 28,800 vibrations per hour (4 Hz).

Unlike many fashion-forward collaborations that use cheap quartz, Hotel Courbet ensures that this exclusive piece is a watchmaker’s watch. The movement is visible through a sapphire crystal display caseback, which is etched with Tinto Brass’s signature and a cheeky engraving of a film reel.

The Hotel Courbet Tinto Brass Watch 60 Exclusive walks a fine line. To the prudish, it is a $4,000 gag gift. To the liberated, it is a wearable film poster.

Objectively, the build quality matches watches in the €3,000–€5,000 range (Longines, Oris, Nomos). The movement is workhorse reliable. The dial craftsmanship is genuinely unique—no other brand uses theatrical silk. The main criticism is the water resistance (50m is low for a steel sports watch) and the lack of a quick-release mechanism for the velvet strap.

However, you do not buy this watch for diving. You buy it for the conversation. You buy it to remember that time, like pleasure, should not be taken so seriously.

If you are one of the 60 lucky owners, you aren't just checking the hour. You are wearing a piece of cinematic rebellion on your wrist. Disclaimer: Hotel Courbet is an independent brand

Where to follow: @HotelCourbetParis (Instagram) | #TintoBrass60Exclusive

Disclaimer: Hotel Courbet watches are intended for adults. The design references artistic nudity and is not suitable for minors or corporate dress codes that prohibit suggestive imagery.

The Hotel Courbet stood on a narrow Venetian canal that most guidebooks ignored: a crooked façade painted an unsteady teal, balconies like broken promises, and a neon sign that hummed only at twilight. The locals called it a relic; fashion editors called it photogenic; and a whispered circle of cinephiles called it a shrine. That last group kept vigil for one reason: once every six decades, the Courbet hosted a private screening the city never advertised — the Tinto Brass Watch.

They said the ritual began in 1966, the year the director arrived in Venice under a rain-slick sky with a suitcase of reels, a scandal-stamped reputation, and a grin that made respectable matrons tighten their pearls. He booked the whole hotel, or so the gossip went, and turned its rooms into film sets and salons. When he left, he left a clock in the lobby: a heavy chrome thing with a red second hand that ticked like an indecent heartbeat. Someone engraved the numbers 6–0 on its face. No one could remember who paid for it. The concierge, a man named Moretti with a pencil-stub moustache and a face like folded paper, said only, “It tells when to watch.”

Years unspooled. The Courbet hosted painters who painted the same window light over and over; poets who drank absinthe until their tongues forgot the word for rain; lovers who carved each other’s initials into plaster and then plastered over them again. The neon sign stuttered; a stray pigeon claimed the fourth-floor sill; the bathroom tiles were all mismatched, each one chipped like a secret.

Then came the telegram that changes things in stories—an anonymous envelope, a plane ticket, a single line of instruction: “Return for the Watch.” Rooms were reserved under invented names. A man with a trumpet—his teeth like polished coins—arrived from Turin, a woman with hair like midnight chorus from Marseille, a film student from Prague who had watched every surviving frame of Brass’s work until the reels left traces on his palms. They converged like tidewater, carrying with them the smell of cigarettes and the fatalism of people who have read too many biographies.

At precisely sixty minutes before midnight on the appointed evening, Moretti wound the chrome clock and set it on the front desk. The guests, ordered by something invisible, filed into the lobby. Nobody spoke until the buzzer from the inner door buzzed like a moth trapped in a jar. Behind the door was a small screening room—the hotel’s old billiard room, its green felt faded to moss—where someone had hung moth-eaten curtains and propped up a projector that whirred like a small sea.

The projector coughed a single frame, and the room inhaled. The film was not a single film at all but a montage: faces, kisses, curtains, streetlamps, a hand rolling dice, an unmade bed, a slow toothy smile. The camera moved as if it were touching things it loved and also feared. It lingered on a woman who smoked through a veil, on a child who watched from a balcony, on a man who put on a coat and left, and on a mirror that refused reflection. The footage never settled long enough to tell an ordinary story; it stitched little betrayals and tiny joys into a fabric that felt like the memory of falling asleep on a train.

Halfway through, the projector jammed. In most cinemas, a jam is an annoyance. In the Courbet, it was choreography. The master of ceremonies—an elderly projectionist with hands like film strips—slid open the projector and fed the reel through by hand, whispering to it like a priest to a sacrament. When the image returned, it had changed. Faces rearranged slightly; a laugh that had been muffled now rang clear. Someone in the audience sobbed, quietly, at something that had never been in their life.

The Tinto Brass Watch was not a film festival. It was a kind of amulet: those who watched were said to leave altered. A widow found a laugh inside her that she had stopped believing existed; a critic who had spent his life measuring scenes against doctrine dropped his notebook and learned to miss things instead. The week after, a local florist began delivering bouquets to strangers; a bellhop started learning the names of people before taking their luggage. Small rebellions, gentle resettings.

Some nights the film showed a scene of Venice that could not be recognized—canals braided like hair, gondolas floating past a theater with a marquee that read a name that had been erased from directories. Another night, the reels showed a woman in a dress the exact color of the Courbet’s façade, turning keys in a lock that didn’t exist anymore. Those who had once considered themselves immune to enchantment left with their collars undone.

Not everyone left unbroken. A young poet who had come in search of a line that would make him famous ended up standing at the canal at dawn, whispering, “I wanted a sentence, not a life.” The trumpet player disappeared for three days and later claimed he had been inside the film, playing a requiem at the funeral of a man he had never met. The Prague student stayed until the morning and then walked into the sea until fishermen pulled him back, sputtering lines from films no one else slept through. These were not tragic endings so much as absences left in doorframes—people undone in ways that sometimes mend, sometimes don’t.

The director himself never attended any Watch at the Courbet. He had vanished into legend years earlier, last seen boarding a ferry carrying an armful of negatives. Some guests swore they’d seen him in the flicker—a boot, a cigarette, a hand fastening a strap—but whether that was a trick of light or a memory dressing itself in an old man’s face, no one could say.

The legend grew: sixty years, they said, because that was how long it took for the world to forget and then remember again; sixty because of the chrome clock; sixty because time finds its own rituals. The hotel changed hands more than once. Developers came, smelling profit. “Restore, rebrand, reopen,” they announced in brochures that flapped like paper gulls. Each time, someone inside the Courbet—usually Moretti, whose moustache grew whiter with every decade—would take the investor to the billiard room, wind the chrome clock, and tell them to watch. Few could make it through the first half-hour; they left muttering about pacing and audience expectations, their pens broken on contracts.

On the sixtieth anniversary, the city sent reporters. Social media made its valiant attempt at naming and cataloguing the ritual. Lines formed outside the hotel like a braid of whispers. The old guests returned, many with new grandchildren tucked beneath their coats, and new faces appeared, their eyes hungry for ghosts.

That night, after the projector shuddered back to life and the film stitched its last frames, the chrome clock clicked twelve. The second hand paused a fraction, as if inhaling, then swept forward. The guests rose slowly. Outside, the canal lapped with a sound like applause. Someone from the audience—no one remembered who—slipped a key into the director’s empty room upstairs and for the first time in decades, a door opened on the Courbet’s top floor.

Inside was not a man but a studio: stacks of labeled reels, notebooks with notes like prayers, photographs, a shirt on a chair that smelled of tobacco and river mud. On the desk sat a note in a looping hand: “Watch carefully. The rest is yours.” Beneath the note was a single unmarked can of film.

They screened it in the early hours, when the city is soft with sleep. It was nothing like the other reels. It did not scandalize; it told a simple story—a woman who walked through a house looking for an answer and found, instead, a staircase that led back into the rooms she had left behind. Those who watched felt a small, steady warmth: not revelation but permission. Permission, perhaps, to be less tidy in living.

The Tinto Brass Watch never became a public event. It remained a rumor with a schedule only whispered to those who believed themselves ready to be small and surprised again. The Hotel Courbet kept its crooked façade and its humming neon and the chrome clock with 6–0 engraved on its face. Travelers still missed it on guides and yet sought it on maps no one authorized. Some said the Watch was a hoax; some said it was contrived nostalgia; others kept the postcards of the hotel in drawers like lit matches.

Years later, when Moretti’s hand could no longer wind the clock, a young woman who had once watched the Watch at nineteen came back with sleeves rolled up and hands that remembered the softness of projection reels. She took the key from the old man’s pocket, polished the chrome, and set the clock. The ritual had already become smaller, more private, less theatrical. It had narrowed into an act that required only a few people willing to sit very still as a projector breathed.

Not every legend deserves to be preserved. The Courbet’s was kept because it asked for so little: not fame, not profit, only attention, the patient kind that makes the ordinary shimmer. And in a city stacked with artifice, the Watch remained a place where things were allowed to be both trivial and singular. It taught those who attended that there is a difference between seeing and watching: one is fast and neat; the other keeps its hands folded in its lap.

The last known screening—a modest evening with a handful of people and a kettle boiling in the kitchen—ended with an image of the hotel itself, small and stubborn in its teal paint, a neon sign humming like a secret. The frame held for a few breaths, long enough for the viewers to feel seen, to understand that some places keep their clocks wound not to order the hours but to mark the moments when people choose to look.

If you ask an old Venetian about the Courbet now, he will tap his temple with a finger and smile like a locked room opened. “Tinto Brass Watch?” he might say. “Ah. Exclusive.”

Hotel Courbet is a 2009 short film directed by the legendary Italian filmmaker Tinto Brass. Clocking in at approximately 18 minutes, it marked a significant moment in Brass’s later career, serving as one of his final directorial works before he suffered an intracranial hemorrhage in 2010. The film is celebrated for its provocative intimacy and visual style, which is characteristic of the "Maestro of Eros". The Story and Vision of Hotel Courbet

The film tells the story of a woman who surrenders to her erotic impulses to alleviate what the director describes as an "erotic affliction".

Protagonists: The film stars Caterina Varzi, who became a long-time collaborator and eventually the wife of Tinto Brass, alongside Alberto Petrolini.

The Plot: The narrative centers on a woman's private journey into self-indulgence and desire, which is unknowingly witnessed and violated by a burglar.

Premiere: It was featured at the 66th Venice Film Festival as part of a retrospective dedicated to Brass's avant-garde and erotic contributions to cinema. The "Watch 60 Exclusive" Connection

While "Hotel Courbet" itself is a short film, the keyword "watch 60 exclusive" often surfaces in collector circles and digital archives in two primary contexts:

Festival Anniversaries: Brass’s work is frequently revisited during major festival milestones, such as the 60th anniversaries of the Venice Film Festival or special retrospectives celebrating his six decades in the film industry.

Digital Streaming and Archives: Exclusive digital collections and specialized platforms like MUBI or IMDb often host these short films as "exclusive" content for cinema enthusiasts looking for high-quality, uncut versions of Italian erotic classics. Artistic Legacy and Recent Recognition

Tinto Brass remains a figure of interest in avant-garde and erotic cinema, having transitioned through various genres including political satire and Westerns throughout his career. Recent exhibitions, such as the Brass Mon Amour photo exhibit in Lucca, have utilized imagery from "Hotel Courbet" to illustrate the director's specific aesthetic style and his focus on provocative themes. For enthusiasts of Italian cinema, this short film is often viewed as a significant entry in the final chapter of his creative evolution.

This is a statement piece. Do not wear it with a t-shirt and ripped jeans.