MOB Journal — Editorial

Under Wire by Emmanuelle Lhote

Under Wire arrives as both provocation and elegy, a meditation on femininity staged inside the hollow bones of an industrial ruin. Photographer Emmanuelle Lhote and collaborator Luka Soares have built a visual language from contradictions: the soft and the severe, the ornate and the abandoned, the body as sovereign territory and as object of quiet resistance. Set designer Fanny Petit populates the concrete space with relics of obsolescence, tangles of electrical cord, rotary telephones, vintage armchairs stripped of their original context, each prop functioning less as decoration and more as punctuation. The result is a world caught between signal and silence, charged with the low hum of something unresolved.

Wardrobe stylist Amenis Nasr dresses model Dasa Lalic in garments that feel excavated rather than designed: a sheer bodysuit layered over white shorts and knee socks, a voluminous black tulle skirt erupting from a pale cropped top, a bias-cut gown dissolving into a net of crocheted decay. The clothes carry theatrical weight without surrendering to costume, functioning as second skins that shift meaning with each new pose Lalic inhabits. Makeup artists Marie Fievez and Maïa Dassaud strip the face to its essential architecture, leaving Lalic's gaze as the sharpest element in every frame. Her composure is not neutrality; it is a controlled refusal to perform anything other than presence.

What Under Wire ultimately excavates is the relationship between the feminine form and the infrastructures built around it, the wires and walls and furniture that shape the rooms a woman occupies. Lalic moves through this landscape with the unhurried authority of someone who understands that stillness is its own form of power. Assistant Yolande Dorsainvil and the full creative ensemble have constructed an editorial that resists the decorative impulse even as it revels in beauty. This is fashion photography as architecture, each image a load-bearing wall.