I wanted the specific loneliness of skilled labor after failure — the way expertise becomes a weight when you're the one who should have known better. The Sundanese-Asturian fusion came from thinking about mountain workshop cultures that develop around repair rather than manufacture, places where things arrive broken and leave less broken. The organ felt right because it's such a particular kind of object — sacred, communal, irreplaceable, and absolutely unforgiving of water damage. I wanted her garment to be a working uniform that has become ceremonial through accumulated use, the way a surgeon's coat or a judge's robe carries authority. The stains on the apron are the real couture here. — Lux