Abstract: this article attempts to show the types of design experiences which characterise the behaviorism of the consumer, with a goal of analyzing the consumer in-store experience at the point of sale. This article deals with the various interactions involving aspects of behaviorism applied to experience, such as sensory experiences of the brand – related to visual merchandising – and their implications/influences on consumer behavior. For this, part of the case study of the Havaianas brand identifies behaviorism and experiences as seen in its visual merchandising.
Keywords: Behaviorism, visual merchandising, experience, Havaianas.
Autores: MEDEIROS, Diego Piovesan; PILATTI, Grasiele; ALVES, Clarissa Martins; PERASSI, Richard; GOMEZ, Luiz Salomão Ribas.
Publicação: CIMODE, 2., 2014, Milão. Proceedings… . Milão: Polimi, 2014. p. 1726 – 1725
Como citar: MEDEIROS, Diego Piovesan et al. Behaviorism, in-store design experience ad setting of the brand: an analysis of the Havaianas brand. In: CIMODE, 2., 2014, Milão. Proceedings… . Milão: Polimi, 2014. p. 1726 – 1725. Disponível em: <https://www.eko.polimi.it/public/files/cimode2014/CIMODE 2014_PROCEEDINGS.pdf>. Acesso em: 24 maio 2015.
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Design produces experiences and sensations related to its use. To generate experience at point of sale is the task of the professional responsible for visual merchandising, as applies to some authors. The experience factor within the point of sale sets off consumer desires, as well all the sensorial behaviour.
This article has the general objective to identify the modes of experience in contemporary design, relating these to behavioural theory as applies at the point of sale. For this the article presents behaviourism concepts and their insertion in contemporaneity. It is also necessary to characterise the types of experience derived from design applied to the practices at the point of sale. To achieve this we use a case study of the shops selling the Havaianas brand, identifying their relationships of experience and uniting behaviourist theories.
The article also reflects on the doctrine/behaviourist theory of consumer behaviour, how it can affect them and which contributions it can bring to better understand this particular consumer and how their experience can be improved.
Contemporary society demands experiences of consumption resulting from needs by own consumer goods. The high level of information and mediatisation gave control to the consumer also as a sender of the message itself. This is based on the experience and the impulsive behaviour of consumers today. One of the strands aims at studying the behaviour of the company, specifying the human being, which comes from psychology and might also be known as behaviourism.
“(English behaviour or. in the United States. behaviour: behaviour) 1. Method of experimental psychology that consists in making a scientific study of man or animal, limiting themselves to the investigation of their behaviour (set of sensory reactions. nervous, muscular and glandular determined by a stimulus) as a response to an external stimulus, without any reference to consciousness. In other words, it is a method that consists essentially in observing stimuli and behaviours and taking from it the laws that unite them” (MARCONDES, 2001, p. 25).
Dutra (2005), highlights the term behaviourism is fundamentally based on experimental psychology and in philosophy of the mind, going in both directions, one negative and one positive. In a negative sense, behaviourism denies the existence of the mind as an entity independent of substance and of natural processes that govern the operation of bodies, including human beings in all their aspects. In a positive sense, behaviourism face issues which are traditionally identified as mental processes as shown in individual behaviour. The author presents behaviourist variations from the point of view of their creators.
Definitional Behaviourism – the mentalists’ terms, such as expressions of propositional attitude, for example, “to believe that”, which corresponds to possible entities, events or mental structures, should be translated into terms which refer to shown individual behaviour.
Analytical Behaviourism – mind language constitutes only a dialectal alternative; when we use thought or behavioural formulations, we are only using two alternative forms of language to speak of the events themselves.
Programmatic Behaviourism – mind language can be only admitted as a shortcut or an easier way of talking, but behavioural language is as genuine language, through which we can investigate behaviour and develop theories about human action. (Dutra, 2005, p.134 ).
The author (2005) points out that all these aspects of behaviourism can be taken only in a positive way, as pointed out by Santayana. Already definitional and analytical behaviourism concerns are more clearly semantic, most commonly found in philosophy. The forms of programmatic behaviourism concerns more investigations, and intends to substantiate research programs within experimental psychology. (DUTRA, 2005).
Vaz (2014) points out that a human being has several types of behaviour which were classified by Skinner as follows: reflexive, voluntary and operant behaviours. Operant behaviour is a stimulus from the environment and triggers observable behaviour. The author (2014) also points that reflex behaviour is one in which the individual acts involuntarily. Voluntary behaviour is conscious action of the individual related an environmental factor.
The meaning Behaviourism has been modified over time and today is no longer considered as isolated, but as an interaction between the environment (where the “to do” happens) and the subject (the one who “does”, making “Behaviourism” dedicated to the study of the interactions between the subject and the environment, and the actions of this subject (the responses) and the environment (the stimuli) (FERREIRA, 2012).
Pragmatic behaviourism is based on human knowledge that are explained with reference to environmental factors. It is a form of external explanation of action and knowledge. Dutra (2005) points out that the constructive behaviourist program, in psychology and in the philosophy of the mind, make an external option opposed to any form of internalism.
“The basic idea of pragmatic behaviourism is that, in the environment in which is an organism exists, we can find the factors enough to explain and understand its general behaviour, including the knowledge”. (DUTRA, 2005).
Skinner, according to Dutra (2005), in his radical behaviourism doctrine suggests that operant behaviour is a class of responses from the organism that produces consequences in the environment. The individual’s behaviour is controlled by such environmental consequences, when they are rewarded, increase the likelihood of new responses of the same type, whereas, when they are punished, this probability is reduced.
One of the studies by Foxall (et. al, 2006) shows that consumer behaviour occurs at the intersection of the definition of the subject with the learning history of this individual, where presented as a function of utility consequences (mediated by product) and informative (mediated by other people). Studies also inform that the objective of a behaviourist study on consumer behaviour should introduce complexities of interpretation which could not have been foreseen by an analysis of the behaviour based on experiment. Foxall (et. al, 2006) argues that studies in loco give better results than those in laboratories, where theory is restricted to a closed space. This is reinforced in another study by the same author (2001, p.169) where he says that the researchers who study consumption have a level of contact with observation and analysis that is frequently ignored by behaviourist analysts.
Foxall explains that this is due to the impossibility of behaviour analysis in a laboratory. The objective should be to explore the interaction and comparative evaluation of behavioural and cognitive analysis of consumer choice.
It is true that the consumption has been an expressive phenomenon and has allowed a market evolution, with constant productive innovations (DORMER, 1990).
Within this statement, the design is strengthened by providing opportunities and experiences of use and consumption. Starting this speech in the etymology of the word design, is the meaning designate, denote.
Second Vihma (1995) this concept is important, because it is through the form of an object that will be expressed emotions and messages for users. This way, the objects are seen as items with capacity for representation.
It is necessary to consider the interpretation of the user at the time of purchase and use, therefore, it is necessary to capture the response of the consumer before its appearance. This is one of the processes of communication.
The language of the products must be seen from the relationship between themselves and the man, the design will treat this relationship, focusing on functions that will facilitate the perception, accordingly to Burdek (2004).
The designers should worry about with the inclusion of aesthetic and symbolic elements in their projects, in order to obtain an affective and understanding response of the appearance. For this reason, Norman (2002) says that they need to be aware of the systems of cognition and affection, which systems are responsible for the processing of information and has an influence on one another. The first brings meaning to the world and the second is responsible for the judgment. The cognitive response is the act of acquiring knowledge through perception, attention, memory, imagination, thought and language, a set of processes of the mind used in thought, recognition and understanding, when the brain perceives, learns and recalls. Already the affectivity is a psychological condition that allows someone to demonstrate their feelings to a being or object, creating a loop, a commitment, and may even produce a welfare by means of psychic phenomena, which is manifested by emotions accompanied by satisfaction.
Therefore, according to the author (2002), cognition will determine how the consumer will behave before the product, which reality it will capture, and this will influence their affective response.
In addition, there is the semantics of the object, in which the designers also must observe, according to Krippendorf (1984), which system express and creates different languages, visualizing the product and taking in the consideration the social and cultural aspects.
The semantics, according to the author (1984), is concerned with the relationship between user and object and the importance of the artefacts that operate in a social context. In other words, a sign is something that sends a message to the people and the semantics is the theory between the signs and their meanings. In the field of experience design, the object becomes a sign that will transport a response. If this fact does not occur, it will become incomprehensible and will bring a negative experience. The interest and understanding will result in an aesthetic experience, for something to become attractive and a stimulus happens.
This impression comes not only through the desire and cognition, but can also be the result of information related to the novelty and harmony that will help the consumer to understand the product, accordingly to Coates (2003). These, according to the author, are the basis that can be divided into four components: subjective information, which is the sum of contrasts that are presented by design, such as colours, shapes and lines clashing of the environment in which they find themselves, in these already a high degree of perception; the subjective information, which is the perceived novelty, comes through in the way the consumer distinguishes the forms already known to him, for example, products that differ from the usual attract more; The objective harmony, which can be perceived in design, with objects that exhibit symmetry, originality and simplicity, for example; and the subjective harmony that can also be reached by design, determined by personal, cultural and visual experiences of the user helping them to understand it. These four elements are conceptualized by Coates (2003) as items in a scale of values, where there is a need for a balance to wake up feeling, recognition and attitudes.
Hakkert (2006) says that these interactions do not occur only in the handling of the object, but in the fantasy or remembrance in mental plan. The personality, skills, values and motivations of the viewer they talk with the shape, colour, texture, functionality of the object, it is all part of the experience. Dohmann (2013, p . 33) Describes this way:
“The flow of meanings and images that the objects are portrayed through channels of communication is able to awaken individual aspects in reminiscences of individuals, by memories of past experiences that alternate tensions between forgetfulness and cutely, in the senses and sensations revived by material memory. Objects or things always refer to memories of people and places, of a single photograph up to an architectural landmark. To provide the connection with the world, these objects are emotional companions that sustain memories, relationships and stories.”
When someone has affection for something, he or she will treat this kind of stuff with more affection and care; he or she will also repair it when it’s necessary and will try to extend its useful life. This is a consequence of affection. Fridja (1986) says that emotions involve a tendency of adaptive action, for example, when something brings fear, consequently, will also bring leak and anger and this will result in attack and the fascination can generate a tendency to exploit. Thus, a product that does not interest anybody else will be forgotten and those who lookout interest will be explored. These events can be seen by means of expressions, such as smiles, becomes wrinkled however this forehead and many other reactions.
Accordingly to Hekkert (2006) there are three levels of experience with the object: the aesthetics, the emotional, and the meaning, each one with its laws of processing and interactions among themselves. The aesthetic experience stimulates one or more sensory sensations, such as apparent beauty, interesting sounds, delicious taste and good aroma, corroborating with what was said earlier in this section. These sensations will be perceived to detect a structure, order and coherence, evaluating the novelty. Schmitt (2000) defines experience as the “individual events that occur in response to some stimulus”. Such events occur as a result in the participation in real moments, imaginary or virtual.
Experiments are not spontaneous phenomena, but induced ones, departing from a message with a specific objective. In studies dedicated to experiential design were defined some theories that enrich their definition; relate these theories makes similarities are found and reaffirms the concept of experience. Jordan (2002) complements this area of design with the Pleasure-Based Design, which brings the importance of pleasure in creation and in the use of objects; He defines the pleasure as being “the emotional benefits, hedonic and practical associated to the products”.
Still accordingly to Watinkinson (2010, p . 01): “A great experience reflects the identity of the consumer, satisfies your biggest goals, is planned in detail, creates and meets expectations, happens without effort, avoids the stress, causes the senses, brings social engagement, puts him in control and involves emotions.” Press and Cooper (2009) assume that the experience consists in the totality of sensations, perceptions, knowledge and emotions that are obtained by means of an event or interaction, being related to products and brands in the sense of emotional needs and/or multisensory.
In a problematization of the issue of experience Suri (2003) says that the experience is personal and cannot be designed, because it is not in the control of the designer. However, the same author argues that even in the face of the impossibility of designing the experience it is possible to adjust the terms of design to influence the emotions and experiences in an appropriate manner. In this sense, the design makes use of knowledge that can assist in possible responses or reactions that can be obtained by the perception of these expressions of design. In this context, the behaviourism appears as a theory able to corroborate for a closest approach of the possible interpretations of these elements of expression of design at the point of sale, thus contributing to a design project to the experience in these environments.
The point of sale is defined in accordance with Blessa (2008, 1909 ) as “any commercial establishment that expose services or products for sale to consumers.” It is in this area where converge the elements that constitute the sale: the product, the consumer and the money. The point-of-sale deserves special attention in order to meet the expectations of your target audience and thus be able to meet the demand. When connected to the marketing strategies have your power plus the normative thought to involve the consumer in the area of sales. This occurs when are explored the five senses (sight, smell, touch, hearing and taste), transforming a visit in a buying and branding experience that are unique. When we try to incorporate or analyze the elements of design at a point of sale it is necessary to define what are these elements and at what level they should be analyzed. In terms of experience these elements seem to be always connected to the senses, i.e. , the basic elements of building perception.
Subsequently can be analyzed the effects produced by these perceptions from the levels proposed by Hekket (2006), starting with the bonus by senses (aesthetic experience), the aggregated meanings (experience of meaning) and the feelings and emotions evoked (emotional experience), presented in the previous section. In this way, there is a series of communicational elements related to the five senses that must be analyzed in the construction of the ideal atmosphere to be built at the point of sale.
The term “the shop atmosphere” was coined by Kotler (1973) to describe the sensory qualities present in a point of sale. For the author these qualities can generate physical, emotional and behavioural responses in the consumers. The concept of emotional design by Norman (2008) adds that the space is not simply the object of use, but also assumes social and symbolic forms. For this reason, the attention is focused on the people and the way they interpret and interact with the physical and social environment. Thus the work is focused on the emotion and the intention to provide enjoyable experiences at points-of-sale. Research compiled by POPAI Brazil[1] indicate that approximately 85% of purchases are made on impulse.
Another study carried out by the group Ogilvy (apud TURCHI, 2014) in 700 stores in 24 countries, with 14 thousand interviews says that 30% of consumers only define the product brand that will buy when they are in the store itself, 10% of them change their mind and buy a different brand that they had planned and 20% buy categories who neither had the intention to buy before they get to the store. These data demonstrate that the decision of the consumer is at the point of sale. He decides to take the product only by a sudden desire, who had no prior planning. This happens unconsciously, due to the stimuli provided by the space.
Therefore, the concern in the Design of the point-of-sale leads the thought of space beyond the physical limits. The consumer faces it as a means of identification and lay down their desires looking for fun. Underhill (2009, p. 181) says that “the people will buy some product when they feel they are desired and, generally, pay a little more for the privilege”. It is a positive point to the businessman, who can use these resources to promote products and their own brand bringing financial return. Within a universe highly competitive, where are identified a wide range of products and brands, one of the keys to success in the market is based on differentiation.
The point-of-sale becomes vital element in the consolidation of a product and/or brand. This identity must be clearly recognized among the other competing companies, showing clear your physical, sensory and emotional attributes. Roscoe (2008) emphasizes the importance of the interior of commercial point. He must translate the philosophy and culture of the company, attracting the customer and making it feel at home and that the environment bring him feeling of well-being. Since the consumer is identified with the space, spends more time in the store by increasing the chances to make a purchase. An example of experience at the point of sale, is the case of Havaianas brand, which will be examined in the next section.
The Havaianas brand sells itself as simple, cool, intense and democratic, a perspective of identity that seeks to be the the world’s most famous sandals being exported to more than 80 countries. There are about 80 models, which added to the colours and styles it can reach more than 600 different sandals. The relationship of brand experience covers many social classes, styles, gender and age. According to the site havaianas.com.br Havaianas Shops were devised in order to provide consumers with a complete experience with the brand. The franchise model was adopted because the brand believes that local entrepreneurs who identify with the brand and business model can aggregate knowledge and regional experience, crucial to the success of the stores.
Among the points that favour the shop are the support given by the brand. There is a consulting with periodic visits to specialized professionals in the business, for guidelines related to local marketing, operational management, financial management, human resources, training and development, benchmarking, competition, planning and control. Also offered are the materials of institutional marketing, with professionals for the development of standardized materials to the marketing efforts of the local unit, all of which is to maintain a standard of experience unique in all franchising stores. It is responsible, also, for the development of new solutions to keep the network with news and monitoring of market trends. In addition to the types of franchise, the brand operates with shops concepts and pop-up stores in the major cities of the world, such as Sao Paulo (fig. 1A and fig. 1B), Milan and Berlin. This type of store, has visual and sensory individual characteristics of franchising stores.
Figure 1 A and B: Franchise shop in Sao Paulo and Facade of diurnal store concept in Sao Paulo
The proposal of the concept store in Sao Paulo, located at Rua Oscar Freire and signed by Isay Wienfield [2], is to bring the naturalness and the experience to their consumers. Even though they have common areas of a traditional store (box, exhibitors, etc.), the same presents a space for customization of products. The container located inside the store exposes inside the export models. This space, in addition to help with the decoration of the point-of-sale, invites the consumer to discovery, valuing the path of this individual by the shop and causing new sensations. The freshness, the well-being and the “Brazilianness” designed for this project[3] are translated in indirect lighting, in the presence of plants and banks in format of tree trunk. A space that is blended with an artistic installation. It can be observed that the aesthetic experience, already addressed in the previous chapter is the key point of the store. In this environment, the consumer does not feel only stuck to the aspects of a traditional shop, but, experience new sensations connected with the essence that the brand seeks to provide to the consumer.
This explains the existence of a concept store to the brand, where consumers seek exclusively by curiosity in new experiences, since the product remains the same. This type of store, from the point of view of the behaviourist experience is presented as a function of utility consequences, mediated in this case by the product and the way in which it is presented, and informative, mediated by exhibitors and by other people, in this case, the tenants, sellers and consumers themselves.
As already pointed out by Dutra (2005), the environment in which it is an organism, in this case the consumer, it is possible to find the explanatory factors sufficient to understand its behaviour in general, including the knowledge that he will be under the exposed products.
As the brand Havaianas has in its identity simpleness this becomes much easier. Figure 3C shows the space mounted by the brand for the Bread&Butter Fair[4] in Berlin in July 2012. An outdoor space mounted exclusively in European summer. This type of experience seeks to take the Brazilianness up to Europe. The colours and signs present in Brazilian culture referencing the own brand. The space made of wood and with large colourful umbrellas reinforce the natural concept of Havaianas brand with her simple DNA: intense, cool and democratic. The behaviourism deals with the stimuli originated from the external environment that affect individuals in their actions (responses), in this case, purchase or simply of affection to the brand.
Figure 3 A, B and C. Storefront shops in Milan and Havaianas fair at Bread&Butter in Berlin.
Figures 3A and 3B present a showcase formulated for the gallery La Rinascente in Milan (Italy). This vitrine, assembled to sell a product model, alludes to the game Pacman, classic in the 1980s.
A storefront that sells the playful and nostalgic in a public that certainly already lived the experience of the game. One can analyze that experience begins by visual, but meets sensory relations of memory and emotion, factors that possibly will assist in the act of the purchase. The vitrine works with lights and elements of great proportion, aiding in viewing at the long distance. The experience is akin to a game and this activates the operant behaviour that acts by stimulating that the consumer will be in the store, as seen in the Skinner’s radical doctrine.
This is rooted in the environment, i.e. the concept stores have major factors of experience than the traditional ones, enabling up to customization of products offered. The individual’s behaviour is controlled by such environmental consequences that, when they are premiadoras, in this case even with a toast, they increase the probability of new responses of the same type, such as for example, the purchase and loyalty with the Havaianas brand.
It can be noted that the design of the store about the behaviourist learning is environmentalist, or better, both the development and the learning are determined by the environment, and therefore gives great importance to stimuli found in this environment.
It is worth discussing that the decision-making that considers the emotion is not purely instinctive. Cognition and emotion, as says Norman (2004) are not antagonistic, but complementary in processes that involve value judgment. The emotion is, therefore, a necessary part of life that affects the way people feel, behave and think. Under this view, the emotion is essential to the ability to make decisions and to make value judgments; this system of judgments, conscious or unconscious, we can call it affection and the emotion is the conscious experience of affection (NORMAN, 2004).
We can finish this article saying that behaviourism has characteristics with the experiences resulting from the design, in particular the Visual Merchandising, where the interaction can serve as a stimulus to consumption. Brands that have and generate experiences in their consumers are more close to the actions of their purchase, maximizing sales and their loyalty.
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[1] POPAI Brazil is a non-profit association dedicated to development of the activities of retail marketing.
[2] Brazilian architect renowned and award winning for its residential a commercial creations.
[3] Source: retaildesignblog.net
[4] Fashion Fair that takes place in Berlin (Germany) annually in January and July, parallel to the Fashion Week of the same city.
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