I approached my portrait of Zafira using a range of classical techniques (including a full grisaille underpainting to get those gorgeous folds of white satin to stay organized), so I don’t feel there is anything groundbreaking here in terms of paint application. Instead, the edge I was conscious of walking during the entire process was in how I presented the subject, and why. I set up what I knew would be a striking composition, with strong colour dynamics and opposing diagonals, all the while aware that I did not want in any way to sexualize the young woman portrayed.