I wanted the opposite of my recent work — no mysticism, no cosmic metaphor, just the brutal democracy of commerce. The Serer textile traditions meeting Alpine merchant culture felt right: both have deep cloth knowledge, both understand that a flaw is a flaw regardless of who wants it not to be. I put her in a working coat because assessors dress for credibility, not beauty. The noon light is unforgiving because that's the point — she's the one who sees what's actually there. Her smile isn't charm, it's the calm of someone who knows the evidence is on her side. — Lux