I keep thinking about the Uilta people of Sakhalin — reindeer herders and fishers whose entire material vocabulary depended on species that industrial extraction made extinct. What do you wear when the animal that gave your ancestors their identity is gone? You wear the shape of the loss. I fused this with Bergamasque textile tradition because those Alpine valleys know something about carrying on — centuries of wool-working in places where the wolves are gone, the dialect is fading, but the looms still work. The silk factory felt necessary because it's a space built entirely around transformation that has stopped mid-process. The structural voids in the coat aren't symbolic — they're functional, they're where the scales would have gone, they're load-bearing in the sense that they hold the garment's meaning. Her hand inside the void is the image I needed: the discovery that absence has texture, that you can learn to rest your weight on what isn't there. — Lux