This shoot within “Dinner for Two” leans into a more dreamlike and “out of time” kind of intimacy. It’s set in a rooftop carpark, which is usually seen as a transitional, in-between space, but I wanted to contrast that by turning it into something soft, romantic, and almost disconnected from reality.
For this one, I focused on a vintage, Victorian and cottagecore-inspired look to create that feeling of being from another time. The outfits feel gentle and romantic, almost like they belong in a completely different world, which clashes with the harsh, concrete setting of the carpark. That contrast is what drives the scene, it feels like they’ve brought their own world into a place that normally has none of that energy.
The props follow that same idea. Instead of fully committing to one time period, I mixed in modern objects like books, a record player and earphones. It creates this slight disconnect where nothing fully matches, but it still works together. It reflects how people escape routine not by fully leaving reality, but by reshaping it into something that feels more personal and meaningful.
Compared to the beach and rubble scenes, this shoot sits in the most reflective and emotionally soft space within Dinner for Two. The beach is playful and ironic, while the rubble scene is more performative and emotionally heightened, built around staged interaction, contrast, and imbalance. The rooftop instead focuses on stillness and shared attention, creating an “out of time” experience between the two.
This aligns with Dinner for Two because at its core it’s about two people sharing a moment in a space where that kind of intimacy doesn’t usually exist. This one just approaches it through the idea of being out of time, showing how connection can turn even the most lifeless environments into something warm and personal.
