The looks in this editorial reflect our fascination with high fashion and conceptual imagery—an aesthetic traditionally shaped and dominated by the Global North. At the same time, we’re equally drawn to the scarcity of these aesthetics in third-world countries like our native Colombia, where limited access to high-end brands and products fuels a unique visual language—one born out of necessity, ingenuity, and a desire to create something radical.

We’re drawn to creating unexpected narratives by pairing traditionally iconic fashion pieces—whether it’s a pair of Phoebe Philo sunglasses—with elements of the absurd. A handful of aluminum bells from a hardware store, a moth-eaten T-shirt once used by a grandmother to wipe the dust—these seemingly trivial objects disrupt the hierarchy of luxury, injecting a raw, almost accidental elegance into the composition.

Set against the landscapes of Eastern Antioquia, these images navigate a tension between belonging and estrangement. This land is ours, yet at times it feels distant, even hostile—a place we call home but also a terrain that unsettles us. The result is a visual dialogue between identity, displacement, and the complex relationship we have with the spaces that shape us.

The contemporary world is oversaturated with meaning (an excess of meaning)—we have no interest in making sense. Instead, we chase the beauty of the absurd.