Rush is not speed. It is the feeling of being alive in the in-between.

There is a particular absurdity to the way we move through cities — all that urgency, all that velocity, all that conviction that wherever we are going is more important than where we already are. Rush takes that absurdity seriously, which means it also finds it funny. Shot in Berlin with long exposure and sharp flash, the images live in the blur: the motion that the eye catches and the body has already left behind. Each look is built around the shirt — cropped, maximal, wrapped, layered — because fashion, like rushing, is about transformation in transit. The films carry the satire further: ego at full speed, chaos dressed in something excellent, the joke that has a real point at the centre of it.