Poor Things

By PAP Magazine Editorial

A woman stands at the centre of a surreal tableau, her dark hair erupting skyward while weathered stone forms—half-fossil, half-sculpture—frame her body like architectural ruins. Scattered across these sculpted surfaces are miniature figures dressed in vivid pink, yellow, green, and coral garments, their presence turning the composition into a populated dreamscape. Her own costume layers Victorian collar details over sheer, corseted silhouettes in dusty mauve and cream, blending period silhouette with phantasmagorical styling. The second image transports us into a rococo chamber: floral wallpaper climbs to the ceiling, crystal chandeliers drip light, and gilded mirrors multiply the space into infinity. Here a figure in feathered sleeves and lace hosiery collapses into a tufted chair, her hair wild, a black cat curled at her feet on a faded floral rug. The entire palette—rose, ivory, slate blue—feels like a vintage photograph left too long in sunlight, its colours softened into elegy. Digital compositing and elaborate set design fuse into a visual language that sits between fairy tale and uncanny fiction, where fashion becomes the grammar of a story half-remembered.