Loading...
Loading...
Loading...
Loading...
Loading...
Loading...
Loading editorial...
Zurich. Raw cement. Raw silk.
The silk charmeuse cost eight thousand euros. We dragged it across wet concrete.
Photography: Sofia Collins / Styling: Lila Bernard, Sofie Lind / Creative Direction: Aurelia Hart, Mateo Rossi
The architecture department gave us six hours and one rule: don't touch the rebar. We broke that within twenty minutes when the charmeuse caught on an exposed joint and tore along the bias. Sofia kept shooting. 'That's the cover,' she said. The stylist looked ill. By hour four the dust had gotten into everything — hair, lenses, lungs. Brooke never flinched. She moved through the space like she was surveying damage, not modelling. The last setup was shot in near darkness, one overhead fluorescent flickering. Nobody wanted to stop.
Swiss precision meeting deliberate destruction. There's something in the Zurich character. All that order and restraint. That makes the act of ruining an eight-thousand-euro dress feel genuinely subversive. The basement reads like an architecture sketch before the beauty arrives. Concrete and silk shouldn't coexist. That's the entire point.
Silk charmeuse dragged through construction dust, picking up the grey ghost of concrete. The fabric softened where it caught on rebar, fraying into something rawer than the pattern cutter intended. Against bare cement, the sheen reads almost wet.
Overhead fluorescent cutting through construction haze. Where the tube lights falter, a handheld flash fills in. Hard, forensic, unapologetic. The combination gives everything a flattened, documentary quality. No romance. Just evidence.
ETH Zurich. The architecture department let us use the basement. Unfinished concrete, exposed rebar, construction dust everywhere. 'The dress will be ruined,' the stylist said. That was the point. We shot twelve looks in six hours. The silk picked up grey streaks from the walls. By the end, it looked like it had lived through something. It had.
