She came in, sat in Schanica Pickens' makeup chair, chose her clothes, and walked on set. No preamble. Pose after pose, no direction needed. The only input I gave was refinements: do that again but add something, try a version facing the other way, shift a few degrees. She was on a tight schedule and had somewhere to be after. She did her work and left.
Two looks. The first was all black: cargo jogger pants with a chain detail at the hip, a black scoop neck tank, black Nike Air Force 1s, gold hoop earrings and a layered chain necklace. A floral tattoo on her forearm appeared in nearly every frame and became one of the defining visual elements of the shoot. The second look brought a sharp tonal shift: high-waisted wide-leg trousers in white with a black vertical stripe, a black lace underwire bralette, and a tan suede cropped moto jacket worn open. The contrast between the two looks, one compressed and monochromatic, the other open and graphic, gave the session more range than the single location would suggest.
The black and white frames were a post-production decision, selected for the images where the contemplative quality of the work was strongest.