I wanted to photograph architecture that grieves and clothing that remembers — both at once. The Yukaghir tradition of building with bones meets the Cantabrian reality of species that walked these mountains until they didn't. Her coat isn't a memorial; it's a practical solution to the problem of how you stay warm when the wool you need comes from an animal that no longer exists. You cut around the absence. You make the void load-bearing. The threshold pose matters — she lives in doorways now, in the space between having and having lost. — Director