Zoe Woods Scratch Skirt

The Zoe Woods Scratch Skirt is a midi double sided, reversible wrap skirt with an all-over high-resolution print in fluent modal-silk fabric, front closure, regular fit.

Stories told:
WOODS – MILAN, ITALY – 45° 29’ 8.82” N, 9° 11’ 16.61” E – Shot by Philippe Pelsmaekers
Somewhere in Milan, a small forest decided the city could slow down for a moment.
SCRATCH – HONG KONG, CHINA. – 22° 17’ 9.11” N, 114° 8’ 59.72” E – Shot by Alexander Pelsmaekers
Too much of anything hidden in a Hong Kong alley, a wall where temples, tigers, flowers, and Christmas somehow all ended up together.

WOODS: In Milan’s Isola district, a forgotten lot quietly became a shared garden, Isola Pepe Verde, shaped more by care than by concrete.
This mural carries the same quietness. Pale trees rise against a dark green background, while delicate white blossoms, a small owl, and a solitary deer slowly emerge from the surface.
The image feels almost suspended. Nothing dramatic, nothing overloaded. Just slender trunks, softened light, and small details waiting to be noticed. The forest appears less painted than gently placed onto the wall.
What remains striking is the restraint. The palette stays almost entirely within shades of green, white, and faded yellow, allowing texture and rhythm to take over. The composition breathes rather than performs.
Hidden between espresso bars, traffic, and the constant movement of Milan, the mural creates an unexpected pause. A small fragment of stillness in a city rarely standing still itself.
On textile, the vertical rhythm of the trees naturally elongated the silhouette, while the softer tonal transitions gave the print an almost faded luminosity.
A forest quietly holding its ground in the middle of the city.

SCRATCH: Hidden inside a narrow Hong Kong alley, this mural behaves less like a wall and more like an overflowing notebook.
White hand-drawn lines collide with animals, temples, flowers, faces, birds, mountains, Christmas wishes, and fragments of daily life, all layered onto a dark surface already carrying its own textures and marks.
Nothing sits quietly. Images overlap, interrupt one another, disappear, then return somewhere else. Delicate sketches coexist beside rough scribbles and heavier graphic forms.
The composition feels instinctive, almost restless, yet strangely precise at the same time.
The wall refuses hierarchy. A pagoda receives the same attention as a flower. A bird, a tiger, a portrait, a wrapped gift, an elephant, everything exists together inside the same visual conversation.
Like Hong Kong itself, density becomes part of the beauty.
Brown, black, chalk white, faded greens, and soft turquoise accents give the mural an almost weathered richness. The scratched lines create texture that feels raw and refined simultaneously, preserving the spontaneity of the original drawing.
On textile, the layering became even more intriguing. Certain details disappear into the surface from afar, while others slowly emerge up close, almost like hidden discoveries inside the print itself.
SCRATCH became a study of accumulation, instinct, and visual noise, chaotic in the best possible way.