An editorial in black and white

There's a concept of a wedding that resonates with me more than others: essential, elegant, without anything fancy. This project was born to tell its story. I imagined it the way you imagine a fashion shoot, thinking in terms of shots, not settings.

The black and white didn't come later, in post-production: it was already in the director's chair. I chose lights, materials, and settings so that they would hold up even without color, so that only what really matters remained—the gestures, the details, the tailoring.

From the suite, in a backstage area that felt like a fashion show, to the portico like a fashion campaign: I constructed each scene with rhythm and precision. Because I didn't want a wedding inspired by fashion. I wanted a wedding constructed like a fashion show: rhythm, direction, aesthetics.