I wanted the violence to feel like choreography. There's this moment in controlled demolition where the destruction becomes almost balletic — the swing, the shatter, the way light reorganizes itself through new negative space. The Tehuelche understood that emptiness is architecture too; the Wallonians built their industrial cathedrals knowing they'd eventually fall. I dressed her in a garment that's already mid-collapse because she's not the one who tears things down reluctantly — she's the one who wears destruction like it's celebration. The joy in her face isn't relief or catharsis; it's the pure pleasure of someone doing exactly what she was made to do. — Lux