Pitch marked the first public unveiling of Architecture of Flesh, introducing the collection in its rawest, most immediate form. On the runway, the garments revealed the full complexity of their emotional and structural tensions — tailored precision held against silk’s collapse, the weight of wool interrupted by movement, and the quiet shimmer of staples catching light as the models walked.

The shoot allowed the work to breathe, shift, and respond to the body in real time. What existed in the studio as theory and construction became visceral on the body: seams strained and relaxed, edges fluttered or resisted, and moments of pressure became visible through sound and motion. Pitch transformed the garments into living architectures, revealing the negotiation between control and vulnerability that defines the collection.

Presenting Architecture of Flesh at Pitch also carried a personal resonance. It marked the culmination of years shaped by interruption, return, reorientation, and rediscovery. Walking into that space felt like stepping into the continuation of a path I almost didn’t come back to — grounding the work not only in concept, but in the resilience behind its making.

Standing alongside other emerging designers strengthened the sense of collective momentum within Aotearoa’s fashion community. Pitch became more than a showcase; it was a moment of connection, affirmation, and recognition. The collection’s debut there felt like its first true breath — a beginning held with intention.