The idea here is simple: worn fabric as a material, not a costume. Distressed denim, frayed edges, things that have been used and show it. Set against skin, the contrast does the work – rough against smooth, structured against organic, the weight of the textile pulling against the body beneath it. Using fabrics and items of clothing with different textures or a combination of textures: Denim, Hessian, Lace and so on.
This is studio work. Controlled light, plain backgrounds. Nothing to distract from the relationship between figure and fabric. What interests me is how a model holds themselves when the material is working against them – draping unevenly, resisting the pose, asserting its own shape. The body responds. That negotiation is what I’m shooting.
The series is about contact points – where fabric ends and skin begins, where something rough meets something that isn’t. The distressed textile becomes a sculptural element, and the poses are built around that relationship rather than conventional ideas of how a figure should sit in a frame.
The collaboration between photographer and model matters here more than most projects. Getting that interaction to read honestly takes time and trust.