#pull quote

Twist going to hit 100,000 views on AO3 sometime in the next couple of weeks - which is just wild to me. I started browsing through it last night - it has been so long since I looked at it that I’d forgotten much of the details. Draco And Luna’s friendship was one of my favorite things to write - in Twist!Canon post-battle they are both hurting and are united by what they have gone through.

Draco walked into the Great Hall for breakfast the next morning. He felt Granger staring at him while he sat down in his same spot at the far end of the table, next to Luna. Luna smiled at him, how did she always find a way to smile he wondered. "I'm sorry," he said roughly, "About yesterday. I didn't mean to drag you into it."

She shook her head gently at him, "It was good. Good for them to hear the truth. We can only live in our dreams for so long and then reality needs to bring us down."

Draco looked at her, "But you, you need your dreams."

Luna shrugged, "I still have hope, and in the meantime I have you." Draco flushed, remembering his thoughts of leaving Hogwarts yesterday. They may not still be prisoners in Malfoy Manor but Luna and he were still very much prisoners. That he thought of leaving her to fight alone shamed him.

"We are a sad pair, aren't we?" he said.

"A gay broken hearted former-Death Eater and a trapped spirit of a lost soul," Luna said with a smile, "What a funny pair we are."

"How are we going to free you?" Draco asked.

"How are we going to cure your broken heart?" she countered. "Both are questions that can't be answered."

Twist of Fate, Chapter 19

Style is not acquired; it is cultivated. It is shaped by who we are, not what we own.

With this collection, Rave Rvw revives many of the contradicting feelings of being a little girl: a free imagination and curiosity at the same time being subject to rules. Drawing from children’s wear and baby doll clothing, AW26 works with garments designed to adapt: A-line shapes, adjustable waistbands, buttons or ties placed to reconfigure fit depending on the body that wears them. The pieces in the collection are not static, but something to be played with and lived in. Further, proportions follow a child’s sense of scale. Sleeves that trail too long are folded up on the arm, buttons feel big in the hand and collars appear way oversized.

Interiors are central to the collection, approached through the logic of Beauty and the Beast, where furniture is fully alive. Curtains, lace tablecloths, velvet upholstery, trims, piping, and covered buttons – materials once meant to frame domestic life – are displaced onto the body. This animated quality reflects a child’s way of looking the world. The garments operate within a perceptual space where fantasy and reality are continuous. Instead of borrowing the fairy-tale imagery, the collection moves within a world in which materials are alive and scale is subjective, even strange.

Furniture fabrics have long been integral to Rave Rvw’s work, through the reuse of deadstock, vintage textiles, or discarded blankets. In this collection, that approach is pushed further: original objects are not only reused but conceptually dismantled and reconstructed as clothing – seen in puffy blouses that recall upholstered furniture, or in piped skirts that hold themselves like lampshades.

Another reference is Ingmar Bergman’s Fanny and Alexander, where childhood unfolds within adult systems, and imagination becomes a way to navigate it. Interiors are charged with emotion, memory, and authority; the home is a place of care, but also of seriousness and restraint. This duality informs the collection’s more mature direction. As the brand has evolved alongside its designers, the work has shifted from overt patchwork toward more constructed, layered pieces. In this collection lines between the inside and outside or a garment are blurred – linings surface, structures are exposed, and color- blocked layers that appear to be separate are in reality fused together as one piece.

Soundtracked by original music from AK Cinder and a live violinist, the presentation of the collection will take place within the historic rooms of the Swedish Embassy in Copenhagen, a residence built in the 18th century and filled with Swedish design and material history. In this context, the reference to Fanny and Alexander resonates not as mere nostalgia but as a structural lens on experience: a semi-autobiographical period drama set in the early 20th century that explores family life and the realities of domestic space.

Unconditional Human Life

with no conditions like rent or work-hours, deportation or rejection, that can be used to coerce people and which the existence of destroys the capacity for consent.

She comes to life on their canvas bit by bit. A kind of dissection in reverse: putting together instead of tearing apart.  – from chapter 6 of my new Wattpad series Same Time, Same Place