Atlas Magazine | Winter 2013

ATLAS

THE ELECTRIC ISSUE VOLUME 1 | ISSUE 6 | WINTER 2013

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ATLAS MAGAZINE STAFF EDITOR IN CHIEF

MEGAN BREUKELMAN

CREATIVE DIRECTOR OLIVIA BOSSERT

GRAPHIC DESIGN

NICOLE FARSHCHIAN

SOCIAL MEDIA COORDINATOR SOPHIA KAHLENBERG

CONTRIBUTING WRITER BRYONY HIPKIN

ONLINE FEATURES EDITOR BEATRIX TAYLOR

SPECIAL THANKS MATHEA MILLMAN

AMANDA LYNN JURIE

ENQUIRIES + SUBMISSIONS THEATLASMAGAZINE.COM THEATLASMAGAZIINE@GMAIL.COM

COVER + CONTENTS LINDSAY ADLER “CRIMSON” p.58 2 ATLAS MAGAZINE

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Editors Note

6

Izzy Pop

14

Life In Technicolour

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Chromat Interview

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Astral Projection

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Thunder & Lightning

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Bubble Pop

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One Night

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Electricladyland

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Food and Fashion

58

Crimson

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Huberegloff

70

Chinatown

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A Horizontal Trip

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Time to Bitch Talk About Fashion Films

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Lightning Bolt

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The Big Balmain Theory

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A Rush of Energy

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Obsession

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WHAT THE FUCK IMAGE ARE WE PUTTING HERE

IMAGE BY HENRYK LOBACZEWSKI 4 ATLAS MAGAZINE

ATLAS MAGAZINE The Electric Issue

Happy holidays from the Atlas Team to you! I sincerely hope that this issue is going to be electrifying. We had a few changes to the team and as we said goodbye to some very dear members, we gained another strong workforce to pull this issue together. Each season of Atlas brings inspired work from across the globe and, with our continued movement in a fashion-forward direction, the Electric Issue brings energizing content from your favourite up-and-coming designers, photographers, stylists and more. We are also happy to announce that our website will be featuring the work of artists between our seasonal issues. I, along with the team, wish you a fantastic start to the new year. We will see you in the Spring!

Megan Breukelman

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IZZY POP PHOTOGRAPHER KATRIENA EMMANUEL WARDROBE WATISONI LOMANI MODEL ISABEL “IZZY” FAITH @ AVA MODEL MANAGEMENT HAIR ALEESHA DARKE MAKEUP AND MANICURE CARLA SAKRZEWSKI USING MAC

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ELEMENTAL SHIFT DRESS HOUSE OF CARDS BRACELETS ADORNE NIGHT VISION NECK COLLAR ISOBEL BADIN EYEBALL NECKLACES JAY JAYS

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BLACK STAR SPANGLED SUNGLASSES CUSTOM MADE BY KATRIENA EMMANUEL TOP SOOT

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NECKLACE & BRACELET ADORNE BUBBLE POP NECKLACE WORN AS BRACELET TOP IZEEFUNDANO GLASSES WATISONI LOMANI HEADPIECE WATISONI LOMANI HANDBAG FURLA

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TEE HOUSE OF HOLLAND SKIRT GAIL SORRONDA JACKET MODEL’S OWN ROBOT ROCK NECKPIECE ISOBEL BADIN CHAIN NECKLACE ADORNE HELLO TAMAGOTCHI NECKLACE WORN AS BRACELET SHOES UNDERGROUND EARRINGS STAR STICKERS

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JACKET WHEELS AND DOLLBABY RIBCAGE HARNESS OS ACCESSORIES NECKLACES AND BRACELET ADORNE KITTY KREMETEE MINT SODA SHORTS SOOT HEADPIECE CUSTOM MADE BY WATISONI LOMANI

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DRESS RAG AND BONE SHIRT STYLIST OWN BELT STYLIST OWN NECKLACES ADORNE STARBURST CHOKER ISOBEL BADIN SHOES JEFFREY CAMPBELL SOCKS KMART HEADPIECE CUSTOM MADE BY WATISONI LOMANI THE ELECTRIC ISSUE 13

LIFE IN TECHNICOLOUR STYLING NATALIE ARMIN MAKE UP & HAIR LAURA GINGELL PHOTOGRAPHY CRAIG FLEMING MODELS ELEANOR @ BOSS MODEL MANAGEMENT & TESSA DESIGNERS CHLOE GIVNAN, EMILY HUGHES, ISLA SKELTON & REBECCA NIELD

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CHROMAT PHOTOGRAPHY ALLY LINDSAY

An interview by Mathea Millman with fashion designer Becca McCharen of Chromat. With a very successful career currently growing, Becca has already designed for the likes of Beyoncé, Lady Gaga and Madonna. Here is your chance to get some insight into the life and ambitions of one of the industry’s most promising designers.

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y name is Becca McCharen, I’m from Virginia and I’ve been doing Chromat in NYC since 2010, but I have a background in architecture and urban planning. The name Chromat is the Greek derivative from the word Color.

It comes from my obsession with monochromatic things. I love organizing things by color, like my closet and my books.

Now that I’m in New York I feel like I’m creating culture. I grew up watching MTV and BET and that’s when I was an observer of culture. But in New York, we are the ones creating the culture that is shipped out to the rest of the world. It’s amazing to be in the center of that creativity and inspiration.

The Pompidu center in France is one of my biggest inspirations for Chromat. It spawned my obsession with scaffolding and the structure of the building and the framework. The architects took all the internal functions of the building and extruded them to the exterior and that’s what we are interested in doing with Chromat.

Analyzing what’s inside the garment - the seams and zippers and boning - and extruding it to the outside, into its own structural scaffolding for the body so to speak.

We just debuted our Spring ‘14 collection at NYFW, which you guys [Atlas] covered. We are currently designing the Fall ‘14 collection, which will debut in February.

The response to our collection this year at fashion week was overwhelming and there was a huge turnout and a lot of great people at the show.There is a fast turn around between each season but there are things that trickle in from season to season. Especially things that we didn’t get to explore this all the way in the previous season, we try to find a way to incorporate those aspects.

It’s hard to talk about how we get inspired. I start out with our mood boards and the concept development. I’ll say general ideas, like a color or a fabric or a person and then my team researches images. It builds slowly and is very organic. I mean we are obviously very influenced by trends in New York and what we see around us like what women are wearing, but our inspiration is all over the place. We try not to get too literal with our inspiration because it can be a downward spiral, but the moods of the editorials we have on our mood board in the studio is what we focus on. It’s hard not to look to other designers for inspiration because I’m friends with so many other designers and I’m surrounded by their work. Its impossible, its like not breathing air. But it’s a choice. You can pin up other peoples’ work to your mood board and copy it and change a few things about it but I think that’s boring. It’s not exciting or hard or interesting.

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I think the material research is what makes designing interesting for us. It’s always fun and exciting to figure out what a material can do. I liked working with leather and vinyl. We did a little bit of LED work, which we are going to do more of in the future. One of the big things about each season is that we choose different materials to explore. Last season we worked with neoprene and we worked with steel for the first time. I choose new materials based on what I’ve seen or what I’ve been meaning to work with. It’s an excuse to try new things. Our structural formation remains intact each season, but going off of that, you can go in any direction, and all of our collections build upon one another.

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Sometimes words help too. Like last season ‘competitive mathematics’ and ‘mathletes’ was what we kept thinking about. I was thinking about mathematical competitions and the kind of science and technical mathematics backgrounds that inspire a lot of our cage pieces. We have to know a lot about geometry and math to make these pieces. It was about the competitive environments, team uniforms, sport jerseys and the high tech fabrics that go into sport uniforms. It was great to create a season around those ideas and now we’re onto something completely different, which is something I love about fashion.

Every 6 months you get to explore something totally new.

One of my biggest inspirations is Bjork. I like how each of her albums are completely different than the last; sonically, visually, and the instruments that she uses. I take that as inspiration to do a 180º and to have my collections go from something like sport to something really romantic. I guess my inspiration is driven by power and these strong figures, which I guess have been men. Fuck that. I have been inspired by these ideas of authority and power and applying them to women’s bodies, which I guess is out of the ordinary. One source of women’s power is their sexuality so I think harnessing that and giving the control of the power to the woman is something that we’re interested in doing at Chromat.

The first ever celebrity to wear Chromat was Nicki Minaj in 2010. It was so cool. I had NO idea she had one of our pieces and her stylist bought it from a store in LA, one of our first stockists. It was when I had just moved to New York, and her stylist put it on her for a performance on Jimmy Kimmel. It was such a big deal. Madonna and Beyoncé have also worn our designs. We were inspired by them and then they saw our work and they, in turn, were inspired by our work too, so it feels like a back and forth, which is truly one of the best feelings.

It’s cool to see our work out there in the world and in editorials, because I feel like the stylists get what we are doing. Stylists do the same thing as writers do, they have to contextualize everything and so they have that skill to see our work re-contextualized in different editorials. Generally, the editorials that we see our work in are with strong women, which is our big inspiration. It’s cool that our pieces lend themselves to those kind of performers. The performers that wear our pieces are really bold and unafraid and really stand out so that vision for our brand definitely stays true to how people perceive it as well.

Our designs are featured in a Lexus commercial right now. I feel like we are a band, because it’s a big deal for musicians to be in a car commercial, and it feels like the same kind of thing, to be featured in their commercial. That was a pretty exciting new use of our clothing and I thought the commercial was really cool. I think Lexus is doing a lot of weird fashion stuff right now, which is nice to see. One of the other unique things I’ve seen is that a stylist has pulled our stuff for is a dance troupe, a modern dance troupe, called Cedar Lake, based in New York.

They are so good and I really want to see them but they are touring Europe for the next year or something crazy. I’m obsessed with modern dance and weird choreography, and seeing them in the pieces just totally transforms our garments into a whole new realm. It’s amazing. I’ve seen videos of what they’ve done with them. The guys and girls were wearing them and were dancing in this water. That’s probably one of my favorite pulls.

I think one of the best things about fashion is that I’ve been able to find other “makers” like me who are creating ideas and making things who aren’t so much into the shopping fashionista side of the industry. It was a big change when I realized that fashion designers are craftsmen. They are the ones who are making these things and that’s the part where I feel like I fit in. I’m a maker. Once I realized this world existed then I was like ‘okay I can do fashion’.

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ASTRAL PROJECTION PHOTOGRAPHER DREW LENALE MODEL LENOX TILLMAN WARDROBE ALISA HUTCHINSON WARDROBE ASST CHALANE BAUZO MAKEUP BRITTANY YOUNG HAIR REBECKA ELLIOTT

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THUNDER & LIGHTNING PHOTOGRAPHER SALVADOR DEWALD ASSISTANCE JOE BORSOS & LUKE CHARLES DESIGNER LUCJA SLIWINSKA MODEL FRANCES @ ESTABLISHED MODELS MUA NATALIA ANAKKAR

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BUBBLE POP PHOTOGRAPHY ELISA VON BROCKDORFF ART DIRECTION & STYLING LEONORA MIRANDA SCOTT HAIR KT GALLAGHER MAKE UP TABBY CASTO USING MAC PRO & DERMALOGICA MODEL LUCY CATES @ MOT MODELS, LONDON DESIGNERS TAWN ASHLEIGH DOWNER , LILI COLLEY, CATHERINE WALES ASSISTANTS LILI COLLEY & DAVID BUTLER LOCATION SHOWTIME RETRO VINTAGE STORE, RAMSGATE

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JEWELLERY LILI COLLEY BRA CATHERINE WALES THE ELECTRIC ISSUE 39

BODY SUIT AMERICAN APPAREL MASK CATHERINE WALES KNICKERS MODEL’S OWN 40 ATLAS MAGAZINE

TOP TAWN ASHLEIGH DOWNER ORANGE BODY SUIT AMERICAN APPAREL JEWELLERY LILI COLLEY THE ELECTRIC ISSUE 41

SEAWEED TOP TAWN ASHLEIGH DOWNER ORANGE BODY SUIT AMERICAN APPAREL MASK CATHERINE WALES JEWELLERY LILI COLLEY 42 ATLAS MAGAZINE

COAT TAWN ASHLEIGH DOWNER JEWELLERY LILI COLLEY TROUSERS TOPSHOP TIGHTS MODEL’S OWN THE ELECTRIC ISSUE 43

ONE NIGHT PHOTOGRAPHER/WARDROBE SCARLETT CASCIELLO HAIR SRADHA GARBUJA MAKEUP TOM SELMON MODEL LEXI LEWIS ASSISTANTS LIAM FULLER, ELLIOT BIRCH BAKER, JACK CODLING STYLING EEL SKIN JACKET AND SKIRTS BY VICTORIA ROWE GIORGIO ARMANI DRESS MONSOON MOHAIR JUMPER BODEN PONYSKIN HEELS

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ELECTRICLADYLAND PHOTOGRAPHER RITA ZIMMERMANN MODELS ELFIE MAHE @ STARSYSTEM, NEWSHA SYEH, SARAH BUDGE WARDROBE SAMARA WILSON MEGAERA WHAITE, BABYLIKESTOPONY HAIR DEBORAH BRIDER MAKEUP DIANE DUSTING ALL LINGERIE IS FROM BABYLIKESTOPONY

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FOOD AND FASHION WRITER BRYONY HIPKIN

ILLUSTRATIONS ANNA BLACHUT

Food and fashion have been entwined in a hateful relationship when it comes to the fashion industry at large. All that is coming to a swift end as skinny is out and strength is in.

University is a tricky subject for most. As teenagers and young adults we are coaxed into perusing further education, either via our schools or family. There comes a time though when you have to make the decision for yourself; mine came over three years ago. It hit me quite hard that I had decided to take a year out to go travelling, and on my return I would have nothing to come back to. No safety net of compulsory education. If I was honest with myself, I knew that I had absolutely no clue as to what I truly wanted to do with my life, and I’m sure that relates to most young men and women.

During my GCSEs I had thought I wanted to chase a dream of being a surgeon. That was quickly nipped in the bud when I contracted chickenpox and chronic tonsillitis. I could only sit half of my exams, I chose to take English over Chemistry, and from that point I knew where my heart really lay. After two years of studying the International Baccalaureate I achieved all the grades I had needed and hoped for but I still was not entirely surely which direction I should take. In hindsight it was a poor choice, I applied for the same course at two universities, and decided that if I got in to neither then I would look for options elsewhere. After pondering courses I was adamant that Fashion Journalism was for me, a perfect combination of what I loved most, clothing and writing.

Everyone who has applied for University is well aware of the waiting game; will you even be given an interview?

Or will they dismiss you based solely on your initial application? I was stunned when I got through the first round of applications, followed by essay submissions, a group interview (they failed to mention that) and finally an unconditional offer to study within my first choice. I was sure of myself, almost definitely over confident in my ability as hundreds of people had applied for a very few places.

University, like fashion, is unpredictable and is likely to throw you out of your comfort zone the moment you get complacent. I never dreamed of what would happen in my first tutorial on my first day.

Twenty of us were sat with our tutor, and as the register was passed around, it reached the back of the room. Our tutor looked up and said to the girl holding it, ‘Walk it to the front, you look like you could do with the exercise.’ It was one of those moments where you are quite sure you must have misheard. Did a professional and a lecturer you are supposed to have faith and confidence in just make a weight jab at a student? He did, and comments like these have plagued my time at university. For the first year comments like these unsettled me, the tutor in question has half his teeth missing from substance abuse to I found it quite ironic that he would have the nerve to pick on people for their looks. Fashion can be cruel though, and if you’re successful like he is, it can give you license to act and say how and what you want. On that first day too my flat mate, who is at the same university and on another fashion related course, sat in her first seminar and was shocked at her lecturer telling the room, ‘You should make friends with the skinny, attractive people because they’ll be more successful than you.’

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My issue lay here, I love food. Before I came to university I could ‘make’ cereal and that was that. Living without the support of mum and dad on a daily basis meant that I had to get my ass in the kitchen and learn how to feed myself properly, instead of getting rickets from only eating Special K. It sat badly with me, but even during the short time I’ve been interested in fashion times are changing. Heroin Chic was an era in the industry credited to the likes of Kate Moss and other incredibly slender models. In the past few years the trends have changed and fit bodies are more in trend than ever. Models, muses, magazines and the media are propelling forwards in what is attractive. Just seeing Kate Upton on the cover of Vogue Italia was a huge breakthrough for girls who have beautiful bodies but are not what we usually credit to a model. Upton merged seamlessly with thinner models during Marc Jacobs’ final show for Louis Vuitton. Usually she’d be spilling out of tight Basques and low cut dresses that only emphasize her size.

There has always been a debate about how models become or stay thin, or as many of us say, too thin. As a petite girl I am well aware that most clothes look better on people that are four or five inches taller than me, and that’s okay.

This is part and parcel of the industry but my faith in the industry is slowly being clawed back. My all time dream model is Karlie Kloss. To me she is the epitome of what a super model should be. Kloss is regularly slammed by the press for being too thin, but at 5’11 she towers over most models and industry insiders. Her presence and stature have landed her twelve Vogue covers to date and there are going to be countless more. Kloss and her model pal Jourdan Dunn have expanded into cookery. The pair have shared recipes together and Dunn has her own web series for Jay-Z’s website Life + Times. Models today have to have a personality, look at Cara Delevigne who posts photos of her self on her social media sites gorging on a McDonalds, models want to eat and as an industry we should be letting them.

These new faces and trendsetters are behind the curve when it comes to cooking. The world’s sweetheart Sophie Dahl went from the most curvaceous model on the catwalk and the face of campaigns for Versace and Alexander McQueen to a best selling author for her novels and food cook books.

With two books under her belt that celebrate her love of food, ‘Miss Dahl’s Voluptuous Delights’ which spun off her BBC2 six part cooking series, ‘The Delicious Miss Dahl’.

Dahls’ ability to give up modeling but keep a thriving career in fashion, she has a regular Vogue column and is a contributing editor at Harper’s Bazaar, shows that if you want it enough then food and fashion can go hand in hand.

Tom Ford has always thrived off a little controversy, this time however it was for all the right reasons. For his Spring/ Summer 2014 show he only wanted models that were physically strong, powerful women who exuded physical strength alongside their killer attire. Ford wanted his girls to look like swimmers and athletes, it was Rick Owens who took this to a new level for his Spring/Summer 2014 show. Paris Fashion Week is usually the epitome of grace and chic, Owens disbarred the norm and replaced models with a sorority of hip-hop dancers. Christina Binkley at the Wall Street Journal was reported saying, “The dancers fit the general dimensions of real women… Finally, accessible fashion.” These were women who you would not trifle with, who exuded physical power, confidence and strength. We have long spoken of ‘power dressing’, Owens took it literally and created his most discussed and critically acclaimed collection to date, thanks to his use of very real, very normal and very healthy women.

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CRIMSON PHOTOGRAPHER LINDSAY ADLER MODEL LAN @ WILHELMINA WARDROBE LSC STYLING FOR 4SEASON STYLE MANAGEMENT HAIR CHRISTI BARNES MAKEUP ALEXIS WILLIAMS USING CHANEL MANICURE VICTOR AMOS USING MAC RETOUCHING ALEXEY ADAMITSKY

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DRESS CHENG BRACELET & NECKLACE TED ROSSI NECKLACE MARCO BOLOGNA RING VITA FEDE HAT VERITEE HILL THE ELECTRIC ISSUE 59

TOP & SKIRT FEMME D’ARMES HOUGHTON CAPELET RING VITA FEDE RING VERSACE NECKPIECE STYLIST’S OWN SHOES ANTONIO MARRAS

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TOP & PANTS MARISSA WEBB NECKLACE & BRACELET AVANT GARDE RING SHINY SQUIRREL HAT MANGO SHOES DONNA KARAN THE ELECTRIC ISSUE 61

TOP & PANTS MARISSA WEBB NECKLACE & BRACELET AVANT GARDE RING SHINY SQUIRREL HAT MANGO SHOES DONNA KARAN 62 ATLAS MAGAZINE

SUIT VICTOR DE SOUZA NECKLACE & BRACELET VERSACE RING UNCOMMON MATTERS BRACELET VITA FEDE SHOES WALTER STEIGER THE ELECTRIC ISSUE 63

JACKET DANIELLA KALLMEYER PANTS ALICE ROI NECKLACE NOIR NECKLACE MICHAEL KORS HAT GIOVANNI SHOES WALTER STEIGER 64 ATLAS MAGAZINE

JACKET & SKIRT GIULIETTA BRACELET TED ROSSI RING DELPHINE CHARLOTTE PARMENTIER SHOES ALEJANDRO INGELMO THE ELECTRIC ISSUE 65

HUBEREGLOFF PHOTOGRAPHY RETO SCHMID

The brand huberegloff was founded by Andreas Huber and RaĂşl Egloff Alcaide in 2012 in Zurich, Switzerland. We have gained extended experiences in international fashion brands such as Balmain and Lanvin in Paris, Kostas Murkudis in Berlin, and in collaborations with Mykita and Coccinelle. At last we worked successfully together at the well-known brand Akris in Switzerland

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hat is it like to run a fashion business in Switzerland?

Switzerland does not exist on the international map in terms of fashion. It has its positive and negative aspects. It is easier to stand out and get attention in our country, but the international press does not look over the french and italian border. Yet. We want to proof that swiss fashion can be relevant and innovative on a international level. We believe it is best to start a brand, where you have your closest people, who support you. It makes things way easier in daily business.

Where do you take inspiration from?

Anything can be used as inspiration. We take inspiration of real people and real life. There are always finely interwoven themes. Our philosophy stands for the power of unexpected contrasts and to transform things into a contemporary and outstanding language.

What does your brand represent?

The garments are marked by a strong sensuality, high quality fabrics and innovative cuts. The collections are wearable, but at the same time challenging. Our aesthetic combines inventive creation with highest comfort.

What is the aim behind your clothing?

Our indisputable vision is to be progressive and surprising.

We think small fashion houses like us are interested in implementing their very unique vision of fashion into the market. Our brand stands for high quality fabrics and refreshing exclusivity.

What kind of person would you imagine wearing your clothing?

It is important to us, that our garments are easy to wear in daily life. We definetly see our garments on women of all ages.

We do not believe in eliticism.

What advice would you give to a young fashion designer?

Dedication, passion and persistance. And especially the courage to challenge his own point of view!

Where do you see your brand going in the future?

Designing fashion is for us a general, extensive way of communication.The main focus is to establish our vision of the brand, to grow constantly and to push things forward! It is very important for us to create innovative, unique garments for everyday life.

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JACKET AND PANT DAMIR DOMA NECKLACE ROBERTO CAVALLI 70 ATLAS MAGAZINE

CHINATOWN PHOTOGRAPHY HENRYK HENRYKPHOTO.COM STYLING JASON REMBRANDT HAIR & MAKEUP AMELIA AXTON MODEL LI MING @ FORD MODELS LOCATION CHINATOWN, NEW YORK

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JACKET AND SKIRT 3.1 PHILLIP LIM GLOVES AND CHOKER KANYE WEST CUFF MAWI 74 ATLAS MAGAZINE

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A HORIZONTAL TRIP PHOTOGRAPHER ESTEBAN VARGAS MAKEUP & HAIR GABRIELA AREVALO MODEL SEBA @ WE LOVE MODELS SPECIAL THANKS LORETO GIBERT

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CAPE POLA THOMSON SHIRT COS LEATHER TROUSERS VINTAGE SUNGLASSES OPTICA BAHIA THE ELECTRIC ISSUE 79

WOOL JACKET ZURITA SHIRT COS SHORTS VINTAGE SHOES UNDERGROUND 80 ATLAS MAGAZINE

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TIME TO BITCH TALK ABOUT FASHION FILMS WRITER CLAIRE CAILLAUX ILLUSTRATION ANNA BLACHUT

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Claire Caillaux of Short of Tequila discusses her views on the current rising trend of fashion film.

s I began to research this piece I realized something terrifying.

You know that girl in your class who is so incredibly normal but tries so hard to be unexampled? She has never once shopped at a non-vintage store and insists that “I don’t conform” as she stares at you blankly, Starbucks Latte in one hand, iPhone 4S in the other (the iPhone 5 would just be too“so totally mainstream”).

That girl, aside from having exquisite taste in hot beverages (yes, my usual is a soy vanilla latte, sew me) is fraudulent and trying way too hard to be something she just isn’t. This season’s fashion film circus can only be defined as that – fraudulent and trying waaay too hard to make fashion film something it was never meant to be.

Spring Sumer ‘13 brought with it fresh, young and vibrant films focused on the clothes and the pop-culture standing of its brands. From Kenzo’s psychedelic five minute visual maze to Prada’s poetic arrangement of floral garments, floral shades and, well, floral flowers; the reoccurring theme seemed to be the one of ‘animated ad campaigns’ which, in my humble opinion, is exactly what a fashion film should be. Unfortunately, the million-dollar question this season: is that really what a fashion film should be? Disclaimer: I have no friggin idea!!

After spending several hours contemplating the cinema noir wannabe films this season has vomited onto the cybersphere, I can tell you one thing: the Fashion world seems to be as confused as I am.

In fairness, some lables gave birth to quirky, lighthearted films that truly embodied the collection and the brand.

However, some (most) gave in to their annoying inner… what did we decide to call that girl from before?

Rodarte’s “This Must Be the Only Fantasy” pissed me off the most. In theory; what do you get when you mix an elegant blend of urban and fairytale, one of the most respected directors out there, Frodo and a unicorn? A fucking masterpiece. Then, set it all in total darkness so you can barely see the garments (I feel I should really push the fact this is supposed to be a fashion film), cast a model who can act about as much as I can tap dance as the protagonist, make it 15 minutes long and have no more than four outfit changes (again, fashion film!). What then? Well, it becomes a strange indie short with bad actors and cool clothes. Not a fashion film. Either make a film, actors and all, or an animated add campaign, models and all.

Lanvin also broke my heart a little. Last season the label came up with the most clever ad campaign in the land. We were transported into the campaign shoot when suddenly; Alber Elbaz casually pops up on Skype, as he does. You pick up and he begins charismatically ooing, aahing and narrating the moving sartorial image in front of you (if you haven’t seen it – watch it, so good). This season however, creativity seems to have escaped him. Well-styled models with strange voice-overs asking, “What is Lanvin, who is Lanvin? Am I Lanvin? I am Lanvin” seemed nothing but a

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less sophisticated version of last season’s Prada campaign video. And so, I find myself wondering weather this season has left us with nothing but the option of 15 minutes of garment-less film noir or 3 of plot-less (and pointless) speech and over charged visuals.

I blame Instagram (when in doubt, blame social media).

This season, the birth of the 10 second instagram video re-wrote the rules of the fashion game. The public had front row invites to all the ‘it’ shows and I think this bruised the fashion industry’s ego. Once upon a time, it was called the Garment Trade, now it’s the Fashion Industry and it has become a business in its own right. The elite nature of the Industry has begun it’s ceremonial decline as bloggers, street sartorialists and photographers take to the cyber stage. The public’s attention span in short and all we want is to be entertained. Last season, the industry gave in to this idea with ‘short and sweet’ films that gave an overview of the collections. This season, it seems as if the level of exorbitance has been elevated. Everyone has brought in fancy directors, with ambiguous narratives to try to distance the average Jo as fashion becomes more and more accessible to the masses (which is a big no, no). Fashion is fighting back. High-class elites unite!

Negatives aside, I mentioned there were some winners this season and they should not be left upraised. “Crush”

by Rachel Antonoff was simply too clever for words and demonstrated a savvy approach to Fashion Film. Inspired by her parent’s 1970’s blossoming love story, Antonoff weaves a funny, tender tale of the jittery anticipation of young love. Entertaining, full of high-larious characters (no really, they’re all high for most of it) and many, many scene and location changes, which allowed for an entire collection’s worth of clothes to be showcased (menswear and womenswear) it’s just really, really good. I realize “really, really good” is not the most original way to sell it to you but it’s just so damn cute!!

From young and fresh to classic and re-vamped, the silver stiletto goes to Salvatore Ferragamo. The only ‘up there’, timeless label to really impressed me this season (except for Prada. Always except for Prada. “The Future of Flesh” was so incredible that I would not feel comfortable telling you about it because I wouldn’t be able to do it justice. Watch it.

Watch it now.)

Anywho, about the beautiful Ferragamo film. You know the trailer for the 1996 Baz Lhurman Romeo and Juliet? You know how it grips you and evokes a troubling spectrum of emotions? Well, elevate the mystery, the intrigue, the wit (and obviously the clothes - holy shit, those clothes…) and you have the trailer of the elegant 8 part romantic comedy that is “Walking Stories”. Starring the major babe of a woman that is Kaya Scodelario (Effie, oh Effie…) and directed by one of the biggest names in Italian film, Luca Guadagnino, Ferragamo took it to the next level and did what Rodarte should have done. They did not try to make a Fashion film; they made a film and cast Fashion as one of the protagonists.

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LIGHTNING BOLT PHOTOGRAPHER ELENA IV-SKAYA MODEL FLORIANE HOAREAU HAIR HÉLÈNE CLÉMENT MAKEUP FLORENCE DELAUNAY WARDROBE LAURENT BERNARD

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THE BIG BALMAIN THEORY WRITER WILLIAM EVANS ILLUSTRATION DANIEL EYNON

William Evans looks into the rise of Balmain, and the man behind it all.

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ow’s the time, it’s party time. Not my words, not Olivier Rousteing’s words either but the words of the soundtrack that backed Balmains spring/summer 2014 collection during Paris fashion week. No questions asked we all know Rousteing loves the night life and he always has a plus one. Where in previous collections he has offered his customer a wardrobe of clothes for the evening, the dinner and the after party, this time it was clear he was keen to show the Balmain girl still has to dress for the day. The party doesn’t last forever; even though Olivier Rousteing makes the idea so much more appealing with sultry silhouettes and exuberant embellishments.

If Frankie goes to Hollywood’s ‘Relax’ had any lasting influence on the collection it was most undoubted in the final message; easy, real, relaxed and casual. Clothes are for the street and more for the day then for the evening; just go back four ready-to-wear collections to Spring/Summer 2012 and you will find a look that is more bling and glam then anything and the notion for this collection seems worlds away. It is, however, a welcome change and a recognisably intellectual move to make; girls want real clothes after all and more importantly they want options.

Elizabeth Erm opened with a new length to the Balmain skirt. Where before we’ve seen all but everything, this time the skirts stopped just before the knee; kicking and flaring away from the legs as the models walked. Cropped bomber jackets and crystal embellished tees tucked into these bottom halves nicely and were the most convincing pieces that supported Rousteings proposal of new ease to the house. Toni Garn’s look was another hit track in the mix as the quilted white and black bomber jacket with sleek and slouchy black leather trousers was the perfect look to echo Olivier Rousteings offer of ‘realness’. It’s hard to imagine any girl who wouldn’t wear that, day or night.

Joan Smalls look was similar to Andrea Diaconu’s in the way it showed that Rousteing could bring that sense of casual couture to the house that it needed. The black leather overalls along with the silver embellished ones were placed casually over crisp white shirts. Hands in pockets, shirt undone to the bust and chunky gold chains around the neck, sound like a Balmain girl yet? They had matching gold bracelets just as big if that helps. This collection was undoubtedly more relaxed but you still get that sense that the Balmain girl might move on but the party never stops.

Customers are queuing up in droves and it’s guaranteed there will be one piece from this collection that will sell out before it’s even available to buy. Most likely it will probably be the quilted denim bomber jackets that were trimmed with gold chain; so Balmain yet so street. Impossible? Never! Not now and not with the clothes that Olivier Rousteing is offering the Balmain customer. Call it the Balmain Buzz, call it whatever you like but you cannot argue that a girl in a pair of his fitted overalls in lustrous back leather wouldn’t make everyone stop and stare.

It’s hard to pin down the main succeeding factor in Olivier Rousteings electrifying formula that has transformed the label formally synonymous with glitz and glam mini dresses and embellished military jackets into something so much more.

Could it be the way Routeings pushes everything he does to the limit, leaving nothing to the imagination, yet holds back just enough that there is still more to desire? His collection for Spring/Summer 2014 proved one thing; he sure does love a party girl and can go out with a bang. Think of it like an electric current of fashion, with Paris undoubtedly the most powerful charge. Amongst this sits one of the most iconic houses in French fashion, Balmain; the heartbeat that keeps the Paris pulse alive.

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A RUSH OF ENERGY PHOTOGRAPHER SOPHIA KAHLENBERG STYLING VIENNTY ASSISTED BY NICZ MAKE UP MICHELLE COURT HAIR MARGARIDA MARINHO MODEL ROKSANA @ M+P SPECIAL THANKS CHRISTINA “THE PICADILLY COFFEE AND MEETING HOUSE”

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HEADPIECE PEBBLE LONDON EARRINGS PEBBLE LONDON JUMPER SETH YEUNG SHOES MICHELE HARTMANN THE ELECTRIC ISSUE 99

HEADPIECE PEBBLE LONDON NECKPIECE PEBBLE LONDON SHIRT H&M KIMONO VINTAGE BELT LIZ BLACK

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JACKET CHARLOTTE BOOTY SHIRT JOSH & NICOL TROUSERS TRYFONAS MODESTOU

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JACKET TAHIR SULTAN NECKPIECE PEBBLE LONDON TOP (WHITE) TRYFONAS MODESTOU TOP (NEON) AMERICAN APPAREL SKIRT SETH YEUNG SOCKS TOPSHOP SHOE’S STYLIST’S OWN 102 ATLAS MAGAZINE

EARRINGS DANGLE & HANG COAT LILLA BALÁZS TOP AMERICAN APPAREL SKIRT OF THE REALM TIGHTS DANGLE & HANG THE ELECTRIC ISSUE 103

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THE OBSESSION ISSUE

Submissions due January 31st 2014 Read our submission guidelines at theatlasmagazine.com Submit your work to the magazine at theatlasmagazine@gmail.com Submit for an online feature theatlasmagazineonline@gmail.com 106 ATLAS MAGAZINE

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