Atlas Magazine | Summer 2014

ATLAS THE CHROME ISSUE Volume II / Issue 8 /June 2014 / Claudia Link / Erica Van Noy / Henryk/ Daria Belikova / Antoinette Holmes William Evans / Joanna Kustra / Katriena Emmanuel / Bryony Hipkin / Tomokazu Hamada Nicholas Hayward / William Ukoh / Alexandre Paskanoi / Fernando Ceja / Victor Santiago / Claire Caillaux Tom Selmon / Kitsch-Nitsch/ Alena Krupetskova / Phoebe Cheong / Bianca Luini / Laura Cammarata / Tony Li 1

ATLAS MAGAZINE Editors-in-Chief Megan Breukelman & Olivia Bossert Copy Editor Bryony Hipkin

theatlasmagazine.com issuu.com/theatlasmagazine facebook.com/theatlasmagazine pinterest.com/theatlasmagazine @myatlasmagazine @theatlasmagazine

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Contents 4 Editors Letter 6 Pilatus 14 Bent, Not Broken 18 Chanel 24 Shine 33 The Princess that Wore a Rabbit 34 Aqua 38 The Shining 40 Sister Sister 46 Storm 54 Aluminium 60 Frames 66 Tribe 74 Let the Boys Play 80 The Business We Call Fashion 82 Heavy Metal 90 Whirlwind 96 A Match Made in Heaven 100 Element 110 Diamonds are Forever 116 The Sharp Issue

Image by Claudia Link 3

EDITORS LETTER

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hen we first came up with the Chrome Issue theme, I think there was both excitement and trepidation that went along with it.

We were delving into new territory for Atlas and hoping our artists would take the plunge with us. To our utter delight, the submissions we received for the issue were of the highest quality and truly wonderful to look through. We wished we could accept so many more–– which is when Atlas Web came about. With the release of this issue, we are delighted to further announce the revamping of the Atlas Magazine website. With weekly web editorials, we want to keep you inspired throughout the whole year on top of our quarterly issues.

We hope you enjoy the shiny new Chrome Issue and Atlas Web. Are you ready to shine?

Megan Breukelman & Olivia Bossert Co-Editors-in-Chief

Image by Claudia Link 4 Atlas Magazine

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PILATUS PHOTOGRAPHER Claudia Link MAKE UP & HAIR Rachel Wolfisberg STYLING Martin Spitaler & Sandra Stoppany MODELS Joel G. @ Time Models Agency Switzerland, Thamara Weiss @ Option Models Switzerland

Shirt Jean Paul Gaultier By Gassmann Shorts Ralph Lauren By Gassmann 6 Atlas Magazine

Pullover Zara Skirt Dice Kayek By Gassmann Necklace Martin Spitaler 7

Pullover Ralph Lauren By Gassmann Jeans Balmain Shoes Birkenstock 8 Atlas Magazine

Top Huber Egloff By Gassmann Pants Michael Kors 9

Leather Jacket Acne Shorts Zara Shoes Birkenstock Jacket Courrèges By Gassmann Sport Bra Hennes&Mauritz Skirt Sandra Stoppany Bracelet &Otherstories

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Leather Jacket Acne Pullover Ralph Lauren By Gassmann

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Jacket Zara Pullover Ralph Lauren By Gassmann Pants Boglioli Jacket Sandra Stoppany Shorts Joseph By Gassmann Necklace Martin Spitaler 12 Atlas Magazine

Top Akris Leather Pants Utzon By Gassmann Bracelet Hennes&Mauritz Earring Martin Spitaler 13

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BENT, NOT BROKEN Scoliosis is an abonormal curve of the spine, affecting 3% of the population. Erica shares her story of facing Scoliosis in the modeling world.

Written by Erica Van Noy Photographed by Will Thompson & Haley Nord

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y story begins when I was 11 years old and got the diagnosis of scoliosis. Scoliosis is a disease in which the spine curves to resemble either a “C” or “S”. It is extremely painful and emotionally taxing to endure. I was often viewed as delicate or fragile which was bothersome. Scoliosis brings out several emotions, most were negative in the beginning, but as I have matured I see that scoliosis made me more attentive, giving me the ability to sense when my body is in distress. I am grateful and would not take back any of the experiences I endured during my journey with scoliosis. I grew as a person and gained emotional maturity. This has benefitted me in all aspects of my life.

When I was initially diagnosed as a pre-teen, my spine doctor told me to wear a custom made back brace for 20 hours a day, with the hope that it would improve my spinal curvature. Not long after that I had dental braces applied. Combine all of this with glasses and I was the very definition of awkward. The back brace I was given to wear was bulky on my figure, left painful welts on my skin and did not conceal well under clothing. Through fashion, I learned how to manipulate layers, colors and textures to fit over my brace. Literally being covered in restrictive braces all the time made me feel trapped, while fashion allowed me moments of freedom. I felt a loss of control with my life at this time. Unable to achieve academically and socially, I turned to the one thing my brain has always understood–– fashion.

Swapping out my outfit 6 times a day gave me a minor, but necessary sense of control in the spiral of uncertainty that was my life. I was an 11-year-old girl with an unflattering back brace, dental braces on my teeth and immense pain every day. On top of it all, to assist my physical body in managing the constant, debilitating back pain, I was given heavy medication to help ease it. All of these trials combined with the unpleasant hormone changes that young girls experience made for challenging teen years.

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our years and two back braces later, my curvature was worsening each month. Surgery was the next step. My spine doctor at Shriner’s Hospital strongly suggested I get the Spinal Fusion and Thoracoplasty operations done because my paralyzing back pain and rapidly changing curvature were already affecting my lungs and would soon begin to affect my heart functions. I felt numb to the idea. Constantly struggling with school, friends and my scoliosis, the idea was difficult to digest. The longer we waited to get a date for the operation, the more anxious I got. I was going to miss months of school, fall behind and then have to endure life with metal in my back. Every day was a struggle, physically and emotionally.

I so often wondered why this had to happen to me–– what could I have possibly done to deserve this? My operation date was set for November, around Thanksgiving, early in the morning. I leaned heavily on my family during this time in my life. They always have and always will be my best friends. The emotions I felt the night prior to my operation were so deep and overwhelming to my senses. I was more afraid of the IV needle than the actual surgery because that fear was easier for me to conquer. The morning of the surgery came. The process of me arriving at the hospital to being taken to the operating room seemed to take an eternity. I was incredibly anxious, scared, and unsure of what was about to happen to me and what the rest of my life would be entail.

Waking up from anesthesia isn’t peaceful for anyone. There is vomiting, unawareness and often confusion involved. I was informed by several of the nurses who were caring for me that immediately after the operation, as my body slowly woke up, I began thanking everyone around me. During my stay at the hospital there were highs and lows. Days when I thought my battle would never end and days when I felt powerful and had great joy for how I was recovering physically. I was blessed to be in Shriner’s Hospital during my recovery, where I was surrounded by strength and bravery every day 16 Atlas Magazine

The joy of a 5-year-old boy without a foot carrying his baby sister around the hospital and the happiness of a young boy with no legs playing soccer and basketball with my brother–– it was moments like these that brought me hope in the idea that my scoliosis was a minor trial that I would overcome, and eventually thrive in life.

When I left the hospital I felt relieved. I thought that it was going to be easy from that point on, that I had already experienced the worst. Little did I know, that everything I had previously overcome was only the beginning. My mobility was greatly limited. I could not shower, get in or out of bed, use the restroom, bend, lift, twist or reach for anything by myself. And the medication I was on to help my physical body cope with the extreme back pain made me irritable and foggy. To relieve the emotional stress I began drawing gowns and ready-to-wear collections in my sketch book.

My designs were abysmal, but the act of creating has been in my blood my entire life. This was a way for me to escape and pretend for a moment I wasn’t in pain. Naturally, in times of great stress I lean on this element of my personality to help me cope. In the two years it took for my spinal fusion to complete, my back pain never stopped.

The hardware in my spine was very painful and as soon as my spine was fused I had to have it all removed. That meant another surgery; not nearly as traumatic, but it still included going through the same steps. At this point in my life I was exhausted emotionally from visits to the doctor, back pain and hospitals. I wanted it all to end. I so desperately wanted to enjoy being a teenager for the first time in my life.

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his was the year I got involved with modeling. When I arrived on the set of my first photo shoot, the chemistry felt right. Somewhere deep inside myself, it clicked. This was what I needed to be doing, this is the outlet of creativity I had been looking for.

Modeling isn’t simple, and when you have a fused spine, learning how to manipulate the camera is difficult. However, I am stubborn, determined and passionate. By practicing every day in front of the mirror, I taught my body how to trick the camera and I am working each day to continue to hone my skill. I began enveloping myself in fashion by researching and expanding my knowledge of the industry. I also learned how toxic the people involved in fashion can be. At the core of this

world, fashion has always been about expression of the human soul.

Discovering the dark secrets of the industry sparked a fire in me. I wanted young girls and women to understand that flaws are beautiful. Fashion was an escape for me; when I found my life too unbearable, I simply read a magazine or watched a documentary about the industry and fell head-first into a world of exhilarating emotions and interesting people. My trial with scoliosis is never ending, but my body continually gains endurance. I have dealt with back spasms, knots, swelling and nerve pain on set, and I learned quickly that people in fashion have little sympathy. I am lucky that scoliosis formed me into a stronger, tougher, and more understanding person. These qualities make me able to be in this cutthroat industry without losing myself. Fashion provided me comfort, freedom and hope when it was hard to come by. Modeling opened a path for me to express, create and emote myself while bringing someone else’s vision to life. I hope to continually expand, thrive and be enveloped in the industry that I am most passionate about. I refuse to allow my scoliosis to stand in my way. I may be bent, but I am nowhere near broken.

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CHANEL PHOTOGRAPHER Henryk @ debut Management STYLIST Joshua Flinn MAKE UP & HAIR Joel @ debut Management MODEL Chanel @ EMG ASSISTANTS Diego, Brendan Grimely & Gorm

Dress Steven Khalil 18 Atlas Magazine

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Top Alex Perry Corset Shorts Zhivago

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T-Shirt Bebe Sydney Mecca Lace Bra Guess Necklace Co Name Plate 21

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Jacket & Trousers Steven Khalil Bra Marlies Dekkers

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SHINE PHOTOGRAPHER Daria Belikova STYLIST Gennady Luk MAKE UP & HAIR Emma Trachtenberg

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Top & Skirt American Apparel

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Top & Skirt American Apparel 26 Atlas Magazine

Cardigan Dries Van Noten Earrings Dior Vintage Necklace Topshop Bracelet Topshop

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Cardigan Dries Van Noten Earrings Dior Vintage Necklace Topshop Bracelet Topshop

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Jumpsuit Reiss Necklace Topshop Bracelet Vintage

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Cardigan Dries Van Noten Earrings Dior Vintage Necklace Topshop Bracelet Topshop

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The Princess That Wore A Rabbit Writen by William Evans Illustrations by Antoinette Holmes

The AW2014 collections in New York, London, Milan and Paris were a sumptuous and generous offering of everything you would expect and more. From Prada to Pucci, Alexander Wang to Alexander McQueen and Hilfiger to Hermes; designers provided more than enough this season to fall for.

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he story begins like this: start with a message and fill it with words.

Make them the most beautiful words within a message that seduce you to dream. Inside that dream you allow yourself to spin into a web of wilderness and fall into the grasp of romantic danger, like a folkloric myth of wolves and beasts that chase the princess through the forest at night you find you are entranced; in the end the princess is saved and the beasts are slayed. Fairytales may not last forever, but fashion has always harnessed the power to make people dream. For the Fall 2014 collections, designers provided their own tales of delicacy chased by danger. Whether it was the wolf and rabbit fur, the black python and alligator, goat hair with a whisper of chiffon or embellished silk slips, you got the message from designers that this season, it was beauty that killed the beast.

With the fairytales came the sweetness, but Fall being Fall and fashion moving forward in a modern current, now more so than ever, there were a handful of standout collections that balanced ideas with reality–– maybe call it something like Ready-To-Wear, Ideally? In New York, Joseph Altuzarra and Jason Wu catered for their Upper-East Side customer with slinky silk slips under navy shearling jackets and rainbow patchwork fur coats; the sheen to the slips that sliced away at the bust were seductive and subtle. The gloss you got under all that heavy shearling gave you that butter wouldn’t melt feeling. Altuzarra’s slate grey sheath dress had a similar effect to Jason Wu’s deep set purple evening looks; the metallic reflection from some of the fabric reminded you of the recent iridescent based trends in fashion RTW and, most importantly, retail. Admittedly done to death, it still gave the collections a slice of shine and sheen that polished up the looks that could have suffered under the heavier shearling outerwear pieces.

Flip to London and head to Christopher Kane’s show. London’s biggest fashion star that undoubtedly shines brighter than any other, he delivered a collection for F2014 that felt like his most indulgent yet. It was eerie, it was passionate, it was this it was that–– something else then something else again, you get the point. Kiss of death in a collection surely to have too much all at once? For Kane however, the kiss of life feels more fitting. Mink, fox fur, black nylon, pink nylon, 3D pleated organza; entranced yet? A visual trip and a mental jolt is what the collection began with and a romantic tale of beauty and creativity is what it ended with. Think of Christopher Kane as the prince charming of London fashion week, giving Fall the kiss of true love to break the spell. In other words, he’s pretty damn good at his job.

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n Milan, metallic was the motive and Miuccia Prada stuck to the agenda by sending out an army of shearling jackets that burst from the seams with sheepskin, goat hair and the most sumptuous exotic fur. The gold bar straps that held up the chiffon and silk slips were heavenly in their transparency, placed under one of those red or yellow shearling jackets gave the most compelling visual message all season; you don’t have to bring out all the sparkle to shine. The essence of the princess running away in the night came in the silk dress-jackets that looked like they melted off the shoulders, but you got the bite of danger from the tailored chalky men’s pea-coats that put the Prada girl back in line for Fall. Similar to Marie Campbell’s classic fairytale of The Princess that Wore a Rabbit Skin Dress, Prada gave you the perfect mix of wild and tame this season with a gentle touch of otherworldly.

In Paris, Clare Keller gave Chloe a pussycat purr with shaggy shearling and dotty-rainbow fur coats, whilst Isabel Marant belted fox fur sleeveless jackets over khaki two-piece looks. Their girl is not usually followed by fur, but it was nice to see these designers lend a paw to the wilderness for Fall that pulled their customer away from the ruffles and pleats from Spring.

Where the sparkle, metallic and all things shiny came in was in the Fall 2014 collections from Balmain, Louis Vuitton and Lanvin. Olivier Rousteing was bound to bring some form of bling back for Fall, silk chord and gold chains lined the straps and waist lines of khaki leather jumpsuits and basket-weave dresses. Once you add in the chunky gold hoops fit for his Balmain muse, Rihanna, the lamb fur and leather bandage choker pieces that seemed a little strained at first started to feel like the real Balmain. Alber Elbaz provided the most exuberant and exaggerated collection of the entire season for Lanvin; silk dresses that were embellished along the seams and across the bust went marching out with silk fringing, tassels upon tassels, pleated leather and the most generous fur coats to walk the Paris runway. It may have seemed like a torrent of ideas, but they translated into the most beautifully seamless pieces of the whole fall season. The silver beading will catch people’s eyes, but the intelligence and execution is what will capture their minds

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AQUA PHOTOGRAPHER Joanna Kustra MODEL Vanessa Grasse @ Mandp Models MAKE UP Laura Louise HAIR Kasia Fortuna ASSISTANT Maria Fernandez

Shirt Pantsand 34 Atlas Magazine

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Headband Jane Bond Earings Linda’s Dream, Dream house Dress Stinak Fur Bracelets Radka Kubková, Dream House Opposite: Headband Kamila Vodochodská design Dress STINAK 38 Atlas Magazine

The Shining

WRITEN BY Bryony Hipkin PHOTOGRAPHER Katriena Emmanuel MAKE UP BY Tracie Weaver MODELS Edyn @ eMg Models and Emma @ Dallys Models

I cannot count how many times I have skimmed through a magazine, stopped on the editorials and think to myself, how do they achieve that? I have never been a make up person; it all seems a rather large hassle every morning, but what I hate most is that horrible midday feeling when your foundation starts to shift and your lipstick is making a break for the wrong side of your lip liner. It’s a hassle and most of us use foundation to cover up blemishes and ‘bad’ skin; the truth is, you’re probably making it worse.

Beauty editorials are there to make you believe that you must wear foundation, you must have primer, highlighter, alongside contouring your imperfect nose and hiding any teeny tiny blemish that no one will ever notice. Working on shoots as a stylist, you all-too-often see models with perfectly good skin being plastered under a plethora of creams and powders.

It is unnecessary. It was with a massive sigh of relief and a little celebratory dance that for the Chrome Issue of Atlas, we received a foundation free beauty editorial by photographer Katriena Emmanuel.

Taking inspiration from the 2014 runway trends, the team wanted to capitalise on glitter. On first glance, you may scorn me for writing about the need for minimal makeup. But once past the initial scattering of glitter and silver, you’ll notice the skin is dewy and natural. Speaking to photographer Katriena, she noted that “the highlighted skin trend seems to be growing as the ‘barely there’ makeup trend that has dominated the runways in the last two to three years takes it to the next level with glowing skin, created by those light reflective ingredients in the skin products used. The Philip Lim show shone brightest with the trend of luminous skin.”

We at Atlas aren’t expecting you to dive right into this trend or be dipping your hands in sparkles, but channeling this trend is easier than you think. All make up products are listed below.

Eyes: Mascara by Zuzu Luxe; Lashes by Red Cherry 747S; Eyeliner by Mac in Blacktrack Brows: Elf Brow gel, Naked Orb by Mac on the brow bone Cheeks: Blush by Inglot Cream Blush in Peach tone Hairgel by Eco Sevi used on both the hair and body Nails: nail polish by Zoya Skin – on body, Palmers Body Gloss; on face Lucas Paw Paw cream used lightly Lips: Lucas Paw Paw cream 39

SISTER SISTER PHOTOGRAPHER Tomokazu Hamada MAKE UP Katsu HAIR Teru @ Propagandahair STYLIST Linda-B CLOTHING Untitled Title And Koh T

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STORM PHOTOGRAPHER Nicholas Hayward MAKE UP & HAIR Tracy Grabs ASSISTANTS Jessie Lawrence and Tracy Grabs MODEL Vin Chen DESIGNERS Marc Mok, Emily Greene

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ALUMINIUM

PHOTOGRAPHER & STYLSTWilliam Ukoh MODEL Joseph Adamu

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FRAMES PHOTOGRAPHER Alexandre Paskanoi STYLIST Miu Koridi MAKE UP Lisa HAIR Weena J茅r么me AGENCY Scoop ACCESSORIES Vintage Frames Company

Versace S90 04M 60 Atlas Magazine

Hugo Boss by Carrera 5163 48 61

Alpina G82 1118204 62 Atlas Magazine

Ultra Goliath II pink 63

Harve Benard 11784 16 64 Atlas Magazine

Ultra Goliath II clear 65

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TRIBE PHOTOGRAPHER Fernando Ceja MAKE UP & HAIR Lana Adams @ Kim Dawon Agency MODEL Sam Perry @ Kim Dawson Agency PROPS Another Time and Place, Frisco, Texas

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LET THE BOYS PLAY PHOTOGRAPHER Victor Santiago STYLIST Bruno Manfuso HAIR Stefano Cimmino MODELS Lu達 Mayer @ Why Not Models Management, Reynaldo Berthoti @ I LOVE Models Management

White Shirt: Havana & Co Printed Shirt Leitmotiv Denim Blazer G-Star Raw Shorts Juliankeen Bow Tie Cor Sine Labe Doli 74 Atlas Magazine

Outer Shirt Havana & Co Inner Shirt Sous Vintage Shop Denim Shorts G-Star Raw Bow Tie Sous Vintage Shop Hat Stetson Shoes Sperry Top-Sider 75

White Shirt G-Star Raw Printed Shirt Sous Vintage Shop Snapback Hat Superd by Superduper Hats 76 Atlas Magazine

Denim Shirt G-Star Raw T-Shirt Angelos Frentzos Jeans Juliankeen Shoes Sperry Top-Sider Hat Stetson Bow Tie Sous Vintage Shop 77

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Left: White Shirt Hugo Boss Printed Shirt Sous Vintage Shop Pants Incotex Shoes Nike Sunglasses TYG Right Shirt G-Star Raw Pants Angelos Frentzos Tuxedo Belt Sous Vintage Shop Bow Tie Sous Vintage Shop Snapback Hat Sous Vintage Shop Shoes Converse Sunglasses Vans 79

The Business We Call Fashion A tantrum about the effect of technology to the fashion industry by Claire Caillaux of Short of Tequila.

Photography by Tom Selmon

Remember the 80’s? Neither do I. I was but a dream in my mother’s mind (one can hope) and yet, all I crave is the return of pre-millennium fashion morals.

-3,000 degrees and you look ridiculous in those shorts?!

Feast your eyes on one of King Lagerfeld’s first Chanel collections, for example AW 87/88. The runway was as narrow as the models who stuh-rut it. Full of life, full of energy and with no shortage of end-of-the-catwalk-twirl personality, the Catwalk was truly an evenenement, a magical, frozen moment in time.

The production value: minimal, the clothes: phenomenal (I mean, the once-great-but-now-nothing label, Coco Chanel was coming back to life stronger than ever driven by the brilliance of a certain German fellow with a pony tail). The models were having a blast, the buyers were tipsy, happy and partying like it was 1999 (except it wasn’t because it was 1987… so... yeah) but mostly, the clothes were the stand out starts of the evening - that, my friends, is why Fashion needs to take a good long look in the mirror and a good long step back.

Oh, right. My sartorial fairy godmother, Suzy Menkes, recently wrote of the glory days of Fashion Week, when buyers would gracefully filter in and out of the tents like elegant shadows of the garments they had just witnessed gliding down the runway. The way I see it, back in the day your fashion city became your family, your fellow editors were your siblings and buyers your closest family friends. Intimacy and influence ruled both the backstage and the front lines of fashion; this elegant bond and veiled intrigue is what makes this magical industry what it is.

All this is because of one thing, and one thing only: Technology.

Technology has improved all aspects of our lives in the past ten years; there’s no questioning that. I check Instagram more often than Charlie Sheen #wins (I should get some fresher cultural references) and I have recently found myself using the word ‘hashtag’ as a prefix to basically any mildly sarcastic statement. So, apart from the bump in the road that was ‘YOLO’, for us mere mortals it all worked out great! The question is why has it gone so... weird for the fashion industry?

Technology has given an industry that was once coated with mystery and Chanel No.5 a force it was not yet ready to take on, and perhaps, never should have taken on. The fashion industry was once the garment trade; the shows were reserved for the editors of the glossiest of glossy magazines and the buyers of high-society department stores. They were secretive events, the results of which would only be revealed to the public later that season when walking down Fifth or flicking through Vogue.

There was an air of mystery, an intrigue.

Being invited to fashion week meant you were in. You had made it, and betches best beware! What does it mean today? That you get to stand in the eye of the polar vortex, your Alexander Wang mules sinking into the fresh powder so you can maybe, just maybe (but probably not) be featured on page 245 of some street style blog? No. I mean, seriously guys? No! Unless your name is Leandra Medine or Chiara Ferragni (or if you’re like, so totally famous in the fashion world) it is not worth it. Go do something else. Go read a book. Or, hey, why not bundle up because its 80 Atlas Magazine

Deep breath. Meltdown over. Where was I?

Intimacy of that sort cannot be maintained with something as game changing (and ever-changing) as our dear old World Wide Web. Add iPhones (because, let’s face it, we didn’t have these issues when BlackBerrys were around–– may they rest in peace), social media and the sartorially delusional morons they have created and there you have it; the death of fashion as it once was. The death of fashion as it should be. From faster ways to create and distribute (can you say 1,000 dead in factory?), to the fact that thanks to Zara and H&M everyone and their sister thinks that they’re fashion mavens. Here’s a reality check; if you’re still wearing extra-high-stiletto-heeled ankle boots, you should promptly re-consider your life goals because you will be disappointed.

I realize that our iPhones have become an extension of ourselves and, in all honesty, if you took my phone I would probably revert to the fetal position in a corner of my studio, pondering the difficulties that come with being phone-less (because I wouldn’t be able to Google it). But, that isn’t even a little bit relevant–– my point is that the fashion industry as a whole is becoming trapped in its own presence. Fashion shows, for example, have become shows for show’s sake. When I read Sara Harris’s piece on whether or not “fashion shows are still relevant”, it broke my heart. Did you know that of the 2,520 invitees to the Chanel SS14 show, not one person was aware that the show had started until the third look was walking down the runway!? They were busy snapping, ‘gramming and tweeting so ferociously that it wasn’t until halfway through the show that the entirety of the audience had put their phones down, and yet, it doesn’t matter because by the end of the day, all of the looks will be up online. I don’t mean with a review or a critique of the show, just, online.

Maybe, just maybe including a caption vaguely indicating some sort of generic opinion, bright colours are back at Chanel–– no?

Really? You think?

I know I’m bitching, but it just makes me so sad to think that the intrigue of fashion is gone...

Nobody will ever be able to keep a label (three, actually) fresh and innovative for 40 years like Karl Lagerfeld has; he truly is a god amongst men–– so my question is: Why? Why do you have to invite 3,000 people? Why is there a need to import ice from Scandinavia so your models can look like they’re prancing around my grandmother’s snow globe collection (remember the Fall/Winter 2012)? Why do you feel the need to create a Chanel-riddled globe in what looks like a small stadium judging by how many people fit in there! What happened to the good old days? The glory days. What happened to the straight catwalks with simple scenery, fewer guests and an ability to paint with your garments on the blank canvas that is a brand new season of fashion week? Karl, people in this industry look up to you. If you (who, I know reads Atlas Magazine) take a step back, the rest of the industry will follow. All we need is a leader in an industry that, due to its primordial reaction to technology, has everyone believing they are the bomb.

I leave you with this passive-aggressive essay and hope you can see past my bitterness, through my heartbreak and straight on to my point. Next issue’s hate mail: Things girls (who don’t know a thing about fashion) say, and other entertaining rants.

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HEAVYMETAL ART DIRECTION & CGI JAKA NEON, DAVID KLADNIK @ KITSCH-NITSCH PRODUCT STYLING IVANA FRANKA KOLONICH

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here is a romantic undercurrent in everything digital. On one side, we have the dream of a better tomorrow attached to online interaction and exchange of ideas. On the other side, there is the freedom of escaping to a make believe world of Second Life or just constructing a better cyber version of yourself on some other social network.

Digital art is very romantic and idealistic. It is free from many of the budgetary constraints that prevent the good execution of an idea, and is also more able to transcend an image from its conception to realization without losing too much in the process. It carries a certain aesthetic with itself, made of one part near industrial perfect surfaces, shapes and textures, and one part impossible constructions defying the engineering and technological structure that make the digital possible. There is no gravity in digital. If there is, it can be manipulated easily.

These are probably the main reasons we were always more interested in the digital than the analogue. It is not that we cannot draw a picture by hand (although we can’t) or do nice looking studio photography (well, we can’t really do that either)–– it is the freedom and the possibility of easy manipulation that we are attracted to. We like working on the crossroads of concepts, combining a romanticized version of a possible reality with real world and very banal objects, much like shoes and clothing. Not that fashion itself is banal - how can anything not striving to be useful be anything else but pure beauty.

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There is, however, a dark side within computer generated graphic realm. Not using the technology to liberate the imagination, but to control it. Many of the products seen, especially in advertising, such as watches or cars are not photographs but renders themselves; thus creating a strange inception-like loop where images of real world objects are painstakingly recreated as virtual objects only to be sold as real ones. We see no possibility of expression in such endeavors, and we always intentionally create images that can be easily recognized as lies. A cyber lie is far more interesting than an analogue truth.

We prefer to combine real world objects with imaginary dream-like settings, a more robust realism of a photographed object with more subtle and clearly unreal landscapes. The shoes with the hyperreal chrome. The industrial reflection of the chrome with the very organic blobs, forms and liquid like surfaces, much like the machine manufactured geometric shape of the shoe fits perfectly on the very organic and imperfect shape of the foot.

We found that the best way to answer questions of what happens to real world objects when faced with circumstances they would not normally appear in are fashion editorials, as they are the least constrictive to begin with. We could construct this editorial in real life and spend hours Photoshopping it to look like it does now, but we prefer to work on our digital editorials (digitorials) and spend our time reading and strolling through the city park. If that is not romantic, we don’t know what is.

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Bag Fendi Shoes Robert Clergerie 84 Atlas Magazine

Shoes Alexander McQueen Shoes Tamara Mellon Bag Anya Hindmarch 85

Shoes Gianvito Rossi Clutch Stella McCartney Shoes Nicholas Kirkwood Shoes Pierre Hardy 86 Atlas Magazine

Clutch Proenza Schouler Shoes Karl Lagerfeld Shoes Ralph Lauren 87

Shoes Dior Bag Fendi

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Shoes Acne Studios Bag Marni Bag Chanel

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WHIRLWIND PHOTOGRAPHER Alena Krupetskova MAKE UP Marina Krupetskova HAIR Yulia Brueva MODEL Elena Marina @ Orange Models

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Blouse Shell

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Blouse Shell Feather Model’s Own

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Dress Rampage Sequin Cape Vintage

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Dress Rampage

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Dress Rampage

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A Match Made In Heaven Bianca Luini runs one of the millions of blogs on tumblr, Where I See Fashion however is not one of the blogs that you’ll skip over and not think of again. With an undoubtable flare for creativity and an eye for the opulent and the arts, Bianca pairs together fashion and art images to create flawless matches between the two industries. It has a beauty that is not easily achieved and takes consistent dedication and a passion for the creative arts. We got a chance to speak to the Italian fashion student and blogger about the creation of WISF and what it takes to keep a successful blog running.

How much time does it take to make one match for your blog?

Actually it can take a second or weeks! I save a lot of pictures everyday, sometimes I’m lucky enough to find two photos at the same time that perfectly go together, but usually I find the perfect pair after a few days, or even weeks. It’s not a regular or determined process; it kind of naturally happens I guess!

Did you always feel that you could see possible connections between fashion and other visuals?

Absolutely! I’m constantly inspired by the incredible creations of high fashion designers, I think it’s really interesting how we are all inspired by what’s around us but each one of us is attracted by different things. This is why I love to try to find out what inspired a design or editorial and show it in my blog.

You have stated that your degree covers a wide range of genres, which one of these helps with WISF most?

In general all the image research we have to do for our university projects has definitely trained my eye to notice the most beautiful and interesting pictures!

You’ve had Coco Rocha publicly follow your work, who would you most like to see it?

I still can’t believe Coco noticed my blog and shared it on all her social medias, I freak out a bit whenever I think about it.

To inspire a super model and fashion icon is something I never thought I would be able to do!

However the person I’d probably like the most to see my work is probably Lady Gaga. This woman inspires me like no other artist has ever done, I love her music, I love her as a person and I love everything she stands for. In particular when it comes to fashion I love that she highly values and appreciates the designers of everything she wears, and she taught me that fashion is a very powerful way to express ourselves and create our identity.

Do you find your audience like a particular type of imagery?

Not really, I get very positive feedback for the most different posts. I can’t seem to predict the success of a match, but I love this because it shows that fashion can inspire in the same way very different personalities.

Do you use Tumblr to source your imagery?

Yes, 99% of the images I use are from Tumblr! This is why I love it so much, every time I look at my dashboard I’m super inspired by the photos that people share there. It is also a wonderful community full of creative and interesting people, a place where you are completely free to share the things you love and your ideas.

Who are your favourite designers?

My favourite designer is Iris Van Herpen, her designs are incredibly artistic and carefully constructed, she inspires me so much! When it comes to my country, my favourite designers are probably Dolce & Gabbana, I love how they show a bit of the Italian spirit through their collection and campaigns.

How many images do you have waiting to be paired?

So many, I save a lot of pictures everyday. Actually it’s getting a little out of hand! I also have a folder with images that I have already paired waiting to be edited and queued, usually there are 5 to 10 pairs in there.

What are your favourite magazines? Firstly for imagery and second for other content.

I change my mind every now and then! Besides Harper’s Bazaar and Vogue US, the magazines I always keep an eye on, right now I’m obsessed with LOVE Magazine. It’s quite recent but I think it’s one of the best magazines when it comes to editorials and interviews; I buy every issue since I discovered it. whereiseefashion.tumblr.com

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Photos by Lindsay Adler and J.D. Doria

Photo by Olivia Bossert and Marco Baldanza 97

Bianca took images from our previous issues and matched them for us exclusively.

Photography by Dana de Coursey and Bianca Liuni

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ELEMENT PHOTOGRAPHER Laura Cammarata STYLIST Graciela Martin MAKE UP Natalie Bennett HAIR Takuya Uchiyama MODEL Megan @ Models1 ASSISTANTS Vitalina Barnova, Giuseppe Alaimo LANDSCAPE PHOTOGRAPHY Frank Kovalchek, Karl Johnson, James Wheeler, Martin Sharman, Rachel_Thecat @ Flickr

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Skirt and Sweatshirt Ean Kyen Seo 101

Coat Rumina Khutan Shirt Brooks Brothers

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Skirt Eun Kyen Seo 103

Dress Ming-Pin Tien

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Neck Piece This is Uniform Trousers This is Uniform Shirt Mango Shoes Zara

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Sweatershirt Eun Kyen Seo

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Shirt Mango Sweater Eun Kyen Seo Trousers Balenciaga Side Panels This is The Uniform 107

Shirt Stylists Own Skirt & Trousers This is The Uniform Leggings Model’s Own Leg Warmers Stylists Own

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Sweater & Skirt Ming-Pin Tien Shirt Brooks Brothers Trousers Maison Martin Margiela

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DIAMONDS ARE FOREVER PHOTOGRAPHER Phoebe Cheong RETOUCHER & DIGITAL ASSISTANT Estefania Aviles BEHIND THE SCENES & LIGHING ASSISTANT Nicole Gomes STYLIST Jheanelle Feanny STYLIST ASSISTANT Neil Christian HAIR Isabella Hyde MAKE UP & NAILS Julia Wren using MAC MODELS Ren Hui @ MiLK Model Management Bethan @ Models 1

Dress Vintage at Orsini Bracelet Vintage at Orsini 110 Atlas Magazine

Necklace Vintage at Orsini Top Orsini 111

Dress Ganni Necklace Charlotte Parementier and Stylists Own Earrings Charlotte Parmentier

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Dress Vintage at Orsini Bracelet Vintage at Orsini

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THE SHARP ISSUE

Submissions due July 31st 2014 Read our submission guidelines at theatlasmagazine.com Submit your work to theatlasmagazine@gmail.com 116 Atlas Magazine

Illustration by Tony Li

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