What is the tale behind Shapeless Me?

English terminology regarding the fashion editorial is rather interesting. Story. A series of events, with a possible unexpected punchline at the end. Of course, many exciting stories exist with their accompanying exciting visual representations, even though most series have no dramatic structure, only their very own worlds. Possibly this world is the story itself. This more or less applies to Shapeless Me as well. I was interested in form as the surface, a certain kind of blurriness and self-serving character. With someone standing behind it, with their own nature. What a nice way to put it: nature. Human nature. The nature of humans is essentially organic and complicated. I was interested in the relationship of these two characteristics. 

Is there a hidden story behind the person portrayed in the story?

The editorial genre can also be meaningful, because it enables mixing reality and fiction freely. The recipient may also add its own preconception to the story. This is not a film with the preliminary warning: based on actual events. In this case I was not interested in any kind of background story. But there are actually existing things available: a corner in my studio painted in nice white and another one, full of objects. Clothes, shoes, photography equipment, fog machine, racks, backgrounds, etc. On the one entirely uninteresting, but on the other hand, if it finds its context, as a spectacle it works. It is a portrait in itself. It is without form, without significance; still it feels like something was happening here. Sarah, for instance, is not a model here anymore, she is more like a form, a girl from the town of Kecskemét, brought to Budapest by her parents in their car, in order to let her take part in the photo shoot. Another way to put it: personality comes to life in this case, without having to force it. While form celebrates in the white corner, something real takes place behind the curtains.