The moody grunge-chic woman, Rachel Grey, stands poised in the concrete jungle of 1990 Manhattan, a haunting silhouette in front of the imposing silver high rise of Dakota, its glass and steel façade glinting in the soft darkness of early evening. Her sharp jawline and porcelain skin are accentuated by the dramatic, choppy cut of her platinum bob, styled in the iconic 90s edginess of an angry girl from the wrong side of the tracks. As she gazes out at the towering skyscrapers, her expression is a mask of rebellious intensity, her eyes flashing with the fierce independence of a twenty-something warrior from another era. The Agfa Vista 200 film captures the cinematic quality of this moment, the soft focus underscoring the sense of timelessness and grit that is the hallmark of this metropolitan siren. In black jeans, scuffed combat boots, and a DIY flannel shirt with a cartoon-hued world map emblazoned on the back, Rachel exudes a post-hipster cool, like the last remaining member of a misunderstood tribe from a bygone era, freely alive in the city's insistent pulse - Shot on a Zenit 11 with a 50mm f/1.7 Leica-inspired lens, in stark juxtaposition to the elegant, deceptively cruel high rise behind her, unafraid to turn the city's streets into a reflection of her open defiance - and we are delightfully puzzled to witness this fleeting moment of raw global identity.